Lights in the Sky: X-Men Unite!

"X4" By Daz

To call Daz’s latest film “a superhero film with a twist” is a fallacy in a few senses; mainly that this is not, in the strictest sense, a superhero film, and also that it needs no gimmicky twist to pull itself out of the mush of forgetfulness, but instead depends on its own, inner ingenuity to excel forward. In doing so, we maintain a much more firm script which doesn’t need super powers to be a thriller with class and a drama with enough action for the masses. A diverse and hardly dense cast of characters share the screen with a grace of suspense, always leaving at just the right moment for the next scene to come up, only to, yet again, leave us hanging on an off note. In this manner, it is appropriate, even beneficial, to view each scene as a segment, and to reap the takings from each part as they come. Throughout, as is so common in a Daz film, emotions are mixed, moods glazed over, allowing a full variety of each, and a fantastical sequence of events still manages to be capable of happening in a gritty, dirty and corrupt world that seems, somehow, so familiar.

To put it rather bluntly for bluntness’ sake, this film has many big scenes. By that, I mean there are moments in which you will not be able to stop reading, ranging from an odd noise in a deserted city to a nice battle scene; though it is not necessarily the action itself that takes center stage but, like all good thrillers, the set-up. Alfred Hitchcock once said that a bomb hidden under a table was much more “scary” if it didn’t go off, leaving us hanging, then if it did. Well, here, not only does it not go off, it throws on twists and thrills until you don’t even know which detonator does the trick. On top of all these moment though, the ones which held me in something more then a trance is no filler, but a more refined definition of filler, which, through a mixture of relationships in characters, mutant “species-ism”, and other such elements never fails to keep the plot moving at always more then a breezy speed.

Something that I was, at the start, both curious and uneasy about was how the characters would be handled; knowing that with such a large cast, there is little room for development. I was not only genuinely surprised in that regard, but also in how fresh and different each character seemed, and how real their “romances” felt. One specific connection concerns two major characters, Rouge and Gambit, a minor subplot that both begins and ends with a fine note, but such is only one example of the little delicacies this film hands out like sweets, being careful not to overindulge, but still treating that temptation for more we all share.

Both Gambit and Daz have a way with words, and coming from, of course, Daz’s other “superhero” film “Gambit”, we can see that he has long since mastered the use of making a character his own, but not a dictatorship. Each character has their own room to roam and experiment, free from the director’s bonds and let loose in the viewer’s imagination. It is the way they are written which allows me to talk so casually of them, so recognizable; as scarce before has realism been so equally matched by the charming wit that only a fantasy can bring, and the lines that sound good no matter how they are said, which leads me to admitting a amount of shock entered me when I saw myself, at such simple lines as “Run” and “Identify this” (one of my personal fav. quotes of the film), quotes usually, on their own, would allude to an action film, very much so thrilled, near, at some points, the verge of high anxiety. It is that perfect construction that I have, criminally, failed to mention as of yet why this works so well. The pacing is ever so tuned to make the viewer feel not cheated by the cutting that occurs, but alluding us we are taking something of a coffee break from one “plot”, moving on to a next, and then back again. And how well it works too!

To name flaws would feel forced, as if I were justifying myself that this is a fair review. This is a fair review, and still, I cannot bring myself to name much flaws. There were, I suppose, some elements to it which the casual film goer would not take to as well as others. Fort example, there is much preliminary scenes, and not as much action as the term “X-Men” would lead you to believe. Also, the ending of the film is one which, as good as it is, doesn’t end with the action climax everyone expected, or at least, I did. However, to me, it sounds like I am naming pro’s, not flaws, and here is where the ambiguity enters, depending on what you enjoy. Is it a slow moving superhero film with little to say for it in terms of explosions? Or is it a well paced, high wire suspense thriller? You decide.

I do not mean, with the paragraph above, to scare viewers away though. I am not hinting towards an unmatched pretension, nor a dramatic scale of daunting measures. I only mean to insinuate some mere political thrills, as well as the nicely played looks at the characters, not using them to fulfill violent needs, but actually seeing them as entities. When, for example, a character is in danger, or our favorite villain makes the X-Jet go haywire, we do not see this as bland showy enjoyment, but identifiable fear and anticipation, knowing, before they occur, the reactions of the character based solely on who they are.

Overall, I was quite pleased to see that this came off so well, as I can say it is easily a movie I had high hopes for, and, after it all, would casually place second behind “Brunch” as Daz’s finest film. Scarce were the flaws, and so subjective to each viewer, that they cannot be pinpointed, nor should they be. This is a treasure of a movie, a treasure of a thriller, and while some bent the edges, the first film to really leave its superhero bindings behind so nonchalantly, so effortlessly as if it were not even trying. This is definitely entertainment at some of its most realistic (albeit still fantastical) best, a superhuman film!

My Conclusion- See it, you must, that is, if you enjoy your entertainment with a bit of meat on it. If you can grip the, for its genre, complex storyline, you are in for a treat, if not, then you are missing on a film more suspenseful then just about any random film you can pick from the achieves.

One Year and a New York Minute Later...

"Max Payne" by Batman

The concept of “noir” filmmaking is a tricky one indeed. It involves taking the clichés of the genre; a hero who will deny his own goodness, the dark, dreary look at the world as well as, so commonly, a certain cold dish named “revenge”; and uses these not only as a vantage point, but as a compelling force to, though not necessarily drive, at least hammer the story home. This film recreates everything exciting, fresh and distinct of its genre, a walking advertisement for a world we can only now visit through film. It has its pitfalls, of course, a few deviations from its bleak and “curled lip” style, although it masks them so absolutely and efficiently, yet knowingly; seeming to hold a “practiced bravado”.

Max Payne is a tough cracker, in a world as tough as he is, though lacking a sensible determination. We never doubt his judgment concerning his quest, nor do we double take at much of his moves; as we, throughout a series of inner monologues, come to trust him, to feel as if he is in control, and if not him, then something as high up as fate. This makes him a nice character, and while not always a layered character of sep4erate layers, he is one to grasp onto in this world devoid of any light, lest we lose our path. His narrations are done with a gritty sarcasm, and often strike a note of somber humor, and, for sure, are my favorite moments in the film. I feel that, while they do not tell us much of Payne’s inner feelings, they still allow us access to a simpler, more direct form of communication with him and the scenario. See it as a guide, or more accurately, a pretentious news reporter, taking the current events and adding a metaphorical manner of speaking.

One of my concerns, of which I cannot name many, is the dialogue that comes in key certain scenes; such as the lighter moments, scenes where a story is told simply. It seems like noir-lite, and coming out of those wonderful narrations, I expected more. On top of this, I noticed that it seems to be something of a story being told for its own purpose. There was not a large portion of complexity here, nor was there much development to speak of. However, with this detached view, we really do seem to “see” the world of this moment, detached to even those who live there, but I would have enjoyed one thing to see change, or shifted in ideals, to act as a bitter contrast to the icy city. Payne substitutes, but with the amount of layering put into him; he cannot hold the weight for long.

Do not let me misstep you in considering this a fine, one of the great, action films of MR. The scenes of action are taken well, and perform the rare, so often left out, task of feeling like they belong to the story and connect to it, practically in it, where as other such films will force in where it doesn’t belong. A misfit of disastrous proportions, but not here. Not since “Captain Scarlet 2” did action come off so clean cut and viable, not only this, but entertaining. I had an immense good time reading them, and this film, for that matter. The gunfights may have been slow-mo, but the film read like a charm.

The details provided, that is, the description, acted as a sidekick to the more blatant charms of the film, and acted, as described above, as morphing the film, to some success, into a time capsule of a past era, and in doing so, encompassed both the pro’s and con’s of the style associated with it. A wonderfully mood, nicely set scenes of thrills and action, albeit static characters and often one layered drama.

Overall, I was shocked to find how enjoyable this film really was, and how engaged I was without intending to be. What pleased me most was the quality of writing, the narration in particular, and with not too many faults, I can say it places itself on a high caliber of the “action film”. I encourage, implore, it to be seen by all; this time, not pushing a film due to the grandness of it, or the extravagance, but because of the level of delight it can bring an hour or so of your time, the nice story it can weave in little more then a New York minute.

A Script Full of Money?

"The Great Gatsby" by Movie Lord Productions

The American Dream, for what it is worth, provides both the world’s most alluring fantasy, as well as some of the more illustrious stories to come out of, so to say, the woodwork. I suppose no one would know this with more comprehension then Jay Gatsby, confident, attractive, debonair, yet alas, phony Jay Gatsby. But, to quote Breakfast at Tiffany’s, he is a real phony, right down to the quite (and apparently surprisingly) authentic books he holds in his library. The novel, written by F. Scott Fitzgerald, was first introduced to me a year ago. I read it, and like much of the literary world was stunned. Since then, I have re-read it countless times and have wondered, oh so curiously and apprehensively distressed over how a film version would fare. It came out as expected in some areas, unexpected, though not necessarily poorer, in others; faithful as a loyal dog, not “messing up”, an informal phrase transformed to proper criticism with the wave of Hollywood adaptations, the story, all the central themes, but holding to them dear, adding a nice twist of more modern styles. A point of concern though, was holding to the story so tight a strong attachment to the original source, and thus, noble; or was it a life raft to which detouring from led to impounding doom? Or was it both?

As I have said, the style is quite updated, at least, to undermine it, slightly bulked up. Though, do not let this pry you from that sweet and distant feeling of the past. It is there. Using nice clothing mentions, wording choices, and other such detail, we feel, not transported, but at least sharing of a common familiarity with the period it was meant to take place in. Using this as a backbone, the characters seemed vivid and, to strike a note of pessimism, coldly bona fide, with the shocking revelation of having words that mean things and plot details that go a bit below the surface. And for what does this film deserve credit? Where does the originality of this remake take hold? It gave us the facts, somewhat abridged and looser, and for that, the ability to lend others access to this story without the novel format and wordiness of a book, it succeeds. I cannot give it much more then that though.

Knowing that this is derived from somewhat older literature, and that it is so close to the book as to be a condensed account, I cannot find it in myself to recommend this film to everyone. I wholeheartedly advocate the book, and it should be read, but with that currently out, I see this as only a “if you don’t have the time”. I had the time, and so this is hard for me to distinguish book from film, as a bias forms, but trying the best I can possibly do, I must say, read the book, then read the film as a well meaning reminder about the true beauty and soul that rests in the story.

As for description, though, and for the written dialogue, it holds up well; quite well, as a matter as fact, and seeing a few lines change makes me smile to note the work that had went into this project, and the heart. I cannot fully condemn something that is so close to devotion to its own source, since then, a fan of the novel, I would be reined inconsistent. I can though, make a point in case that the two are identical, and simply a rehashing of a fine tale. It is just that, but luckily for the film, the tale is one to be rehashed over and over, never getting tiresome.

Overall, I am happy to see this novel getting fair recognition with an adaptation loyal to it, and in this, considerably worthy of it, to a point. I cease to see the significance behind the film, or what, save for the book’s blatant message, it could be saying. Perhaps an appreciation for literature? A love for the fine things in life? Perhaps, but perhaps not. The film, thus, becomes what its main character has been; an attractive, confident phony.

"Lights...Camera...(Notice I Cut the Quote "Short")

"The Fame" (T-Mac)

Fame and fortune is not, as once declared by a seemingly naïve Ed Murrow, morally neutral, but on the contrary, through it, that is, riding its path, one is subjected to the demons of vice and temptation, the turmoil of many an inner divergence between ethics, and all but the damnation to hell as you are swept up by the public, thrown into a rush of decadence and a selfish egotism; all until you are so consumed in yourself, so self centered that, like the devil, you are thrown into a pit of fire and brimstone. Hey, welcome to Hollywood!

Such is the path we see of “protagonist” Drew McKenzie, an up and coming star, brim full of talent and that oh so boyish idealism of sitting in the public’s ever watching eye. Such a journey taken, with so much a swerve in principles, do we not expect to see a level of development? Do we see it? Yes and no; for I enjoy my depth below the surface, and while I saw the clichéd, but still fresh, hints of a worth while attempt to launch into, no matter how vaguely, the human psyche, it fell short, both literally and figuratively. To be sure though, we are only given Drew to sink our teeth into. With his exception, maturity of character seems sparse, if non-existent, and even with his inclusion, it all occurs in jolts. For example, he refuses a drink, then takes drugs. Everything is fine, then a death, be it his or Ricky’s. You see this erratic movement from event to event, filler all too absent. Not only does this make me wonder what lies in the creases of the book, the unseen sections, but it brings me also to proclaim a piece of criticism that I would have thought, in any other film, odd to use, and that is, don’t be stingy, when you take a cup size this big, fill her up by all means!

The actual writing of it, the dialogue and flow of words, is a spectrum to which no end is secluded. There are moments in which I feel impressed, alas saddened knowing that such a line or scene was a sore thumb in an otherwise choppy display; and also scenes that merely confirmed my criticism. All of it had this fantastical realism though, to use an oxymoron; as it was bitter more so then gritty; bleak rather then dark. A floating on air sense of cruelness, you can say, and in this, it succeeded, albeit not to the level we could have wanted, better then I initially expected. Seeing Drew with the vomit, in bed, I felt a coldness, not a sickness, but an impact at the first stage, none the less. My concern rests in if this is due process by character attachment, or if it is the general tone in which the scene, the pinpointed lines, are written? I find the second option much more palatable to my reaction of the film.

With the novel format, and I do mean “novel” in the strict definition of it, and not the ingenuity any other “wonderful” idea would have held, I cannot whole heartedly suggest this film to anyone. The pacing is that of, I was to say a squirrel, but let’s use “actor” for relevancy, on drugs; both inconsistent and unreliable, and the scenes range from half a page to somewhat over. There is little time to “get into” any scene, to actually find a bearing to which the scene sticks with you for the next; everything ends up flowing as it is, but with the missing pieces, we are left with a jigsaw puzzle. The box, and thus picture of it, is there, don’t get me wrong. But do we care enough to fill in anything save for the outside rim?

One segment of the film I was slightly curious to was how the love story would be handled, if it would at all. That happened to be one of the film’s benefits, as it was sweet, and more engaging then most other aspects; at times more sugary then the syrup you put on waffles, and at others vicious-lite. Paige was well done, to be sure, or shall I say, had well done potential, but where she fell was the fate she, even right when we met her, seemed so destined to. There was no real, authentic spontaneity with her, and her role fell very dependent. She would move when, and in the same manner, Drew did, and seemed stuck on a roller coaster she couldn’t get off.

Overall, I thought that the film was entertaining in contrast to what it could have been, and an easy read, though all but a section of the credit need be handed to the film’s short nature and choppy use of “quick edits” and montages. Then again, it is only natural these are used, as the whole film, essentially, seemed like a montage; a display of a life in a small quantity of time, pulling the “greatest hits” and most shocking moments to display, and, in result, we are left with common myths about fame put simply for us in a manner we can understand, the screenplay. Either way though, despite a all to clear message, the technicalities behind which it was made, and the manner of how we view the characters and the world they live in, due to the size and length of the script, we are presented with an all too real definition of the phrase fifteen minutes of “Fame”.

Questions of the Week (Week #1)

As you all know, we are indeed hosting a contest. Now, if you forgot the rules, or missed it in the previous episode, let me refresh your memory with the guidelines:

“I will give a hint from a new released film. Try to be the first one to tell me what film it is from and the answer. If you are, you get one point. The points will add up, and if you are the winner, you earn re-reviews to your entire body of work, starting right when it becomes June, with the reviews at a rate of one of your films every two days or so (depending on legnth, though I am pretty quick usually).”

Round two has finished, and so far the score is as follows:

Hanelle- 3
Indy- 2

However, there is still plenty of time to catch up, so let me waste no time and jump into the question. Remember:

I put two questions because the director of one of them will need to answer the other. You only need to answer one. Do not PM me, answer below in a comment. After someone answers one of them right, then no one else has a chance of anything until the next week. However, the first person to reply can answer both for two points. Again, even if they answer one, the other question is disabeled.

Question #1- How many times does "check" use the word "f*ck" (the star is in place of the "u")? Notice, "f*cking""f*cker" and all such do count.

Question #2- In "Supers", which hero is "great" on the dance floor?

Good luck!

"The Damned Irish!"

Here we have a trailer, perhaps the final trailer to Indy's latest film, well, one of his two latest films "The Fighting Irish", or, more accurately, "Ricochet Fight 2: The Fighting Irish", as it is a sequel to Indy's action-fest. Seeing this, I am interested if this follows a similar formula.

SMASH OPEN.SHOT OF:

HIGH- TECH LOOKING BUILDING

SHOT OF:

CALLOWAY (Pierce Brosnan) WALKING DOWN THE HALL. He turns to face the camera.

NARRATOR (OS)
Irish Secret Service.

Already, we are provided with basis of the story, and what strikes me as odd is how simply it has came to us. It is apparent this is a "cop" film (well, Secret Service, but they all follow the same rules, or same lack thereof). Seeing the first "Ricochet Fight", we know what kind of things we are in for, and where all of this is leading; and that makes it somewhat formulaic. I sense that it will start with either a hiring or some form of commission to help the Service; after an intro, of course. The character will be skeptical, but will eventually accept, Then, we will be left with action scenes to pave the road through a story designed by chasing and chasing, a never ending mouse hunt. And did I get this all through a man turning around with sunglasses, a line, and the previous film as a source? Yes, I did.

SHOT OF:

Field operatives run through an exploding warehouse.

NARRATOR (OS)
So secret, you didn't even know it exists.

This is the type of absurdity that I can only expect this film to be filled of. Does the government have secrets? More so then a high school girl. Do they lie? They'd make the polygraph test needle do jumping jacks. However, it is a cliche of the genre to have the government involved in some secret wing, or branch, that ends up being meddled in affairs such as this. Knowing this, I can predict many cliches coming out, though not always in a bad way. Of course, with my plot predictions above, I can sense the usual canon of choice words, guns that need no reloading and explosions thrown like firecrackers. However, as the first film was "dumb fun", I see this in similar light. If the first was "Dumb and Dumber", then this can only be "Dumb and Dumberer". Let's hope the misspelling is intentional.

Includes...SHOT OF: A mechanic disabling a bomb. COLOR TINT FREEZE FRAME.

NARRATOR (OS)
Anti-terrorism squad.

SHOT OF: Middle Eastern Town- Car Bomb explodes. COLOR TINT FREEZE FRAME.

NARRATOR (OS)
Foreign Policy Assistance.

Now, these are included for a reason besides showing us the factual basis for this Secret Service. It is also not in here to make a relevant point, but simply to convince. It wants to make us assume that the film knows what it is doing, and then we will, unabashedly, sit back and enjoy it. Only the skeptic viewer criticizes, and its job is to take that curious nature out of us and leave us with stripped bone entertainment. While this is not a bad thing in the least, I do hope that some meat is left on the bones, as most viewers are not ones to go for bare pickings.

SHOT OF:

Beach. Several uniformed people jump out of a car, armed with submachine guns. A guy in sunglasses jumps out of his armchair, pulling out a gun. The soldiers begin firing. COLOR TINT FREEZE FRAME.

NARRATOR (OS)And enhanced deportation.

Note the fact that everyone is in sunglasses. Now, I know that they, in fact, do where sunglasses, mostly. And also that it isn't intended to come off as "cool", but the fact that the director actually includes the fact in there is worthy of mentioning. Why not state "wearing a suit" or "wearing underwear", or even "wearing his prizes size ten's". It is because he wants our attention drawn to that detail, as sunglasses, as we all know, stand as a common symbol for the secret service, a cliched symbol, but still. Thus, I just thought that would be nice to notice, as this film is really hitting all the common themes, leaving us thoughtless, and leaving our brains turned off. However, it does look like it can be fun at times in this trailer.

SHOT OF:

OFFICE BUILDING. Calloway puts his fist on the desk, and looks up.

CALLOWAY
We want you to help us, Nathan.

We pan over to NATHAN JACK (Simon Pegg), sitting in a chair in a crumpled suit.

JACK...Right.

Ah, here it is; the hiring scene! So blatantly put forth, we have the gruff boss and the naive, nervous man employed to help. I often wondered why the men who were picked to help the most secret organizations in the world were always coming off as stupid; but then I realized the answer. They can;t have some professional, or a man of stunning intellect help out; why, that would be too realistic, and too easy! For enjoyment sake, the characters personalities are stretched out so far as to be exaggerated and what should be a colorful character can so often become obnoxious. As of yet, however, I see no such annoyance to speak of here, not overtly so anyways, so I just throw those words out as caution.

CUT TO: Hotel Lobby. CRAIG KILBURN raises a machine gun. COLOR TINT FREEZE FRAME.

TITLE ON SCREEN: THE TARGET: CRAIG KILBURN.

CALLOWAY (OS)He's a corporate terrorist. Uses his funds to blow stuff up.

Is that the technical way of putting it? But seriously, that is something else. When characters talk in this script, they do not talk to each other, but to the audience, and audience it assumes wants things handed to them on a silver platter, and thus, everything is put simply; very defined. Somehow turning big government into a fifty page trailer.

SHOT OF: Board Room.

Nathan Jack and Craig Kilburn shake hands.

KILBURN
Glad to have you with us.

CUT BACK TO: Office Room.

JACK...
You want me to do WHAT?!

CALLOWAY
Stop the bombing. It's very simple.

"It's very simple". Yes, it is, at least put that way anyways. I note the capitalization of "what", and that is something I noticed in the last few movies Indy has made; unusual grammar ("haha", "swear words fifty times too fast, just informally written). Of course, in a text messaging era, this is self-designed, whether the director meant to or not, to appeal to the type who like an easy read. After all, if we spend so much time on text messages, what is fifty pages of it?

Begin Music: "Souljacker pt.1"- The Eels.

SINGER
OH YEAH!

I just wants to say that this bit made me smile, as it comes off as quite random. It is the script telling us, "look how cool this is".

SHOT OF: Jack jumps and tackles the Priest over the reservoir.

SHOT OF: Jack leans out of a minivan and shoots his handgun.

SHOT OF: Jack slides over a sushi bar, spilling stuff all over.

SHOT OF: Jack kicks Foucan in the face.

SHOT OF: Jack pulls a gun and points it at the camera.

A few action fast scenes, as so common in trailers, that are supposed to make us sit up and drool in anticipation. Well, I am not drooling, and it isn't because I have a dry mouth. These scenes start to seem repetitive after the second gun shot, and as they go on, their vagueness only increases their diminishing quality. Of course, I cannot harp on them too long, as I must admit, I see why they are there, I just think a stronger foundation at the first half of the trailer would make them more acceptable.

JACK

Ba-boom.

THE FIGHTING IRISH

And how can they not go out with a bang, making another line which can't help but to bring a smile to my face, as I am going to be interested how and when that fits into a script about a man with his life in danger. Though, realism seems to take little part here, so that is to be expected. After all, it's just those "damned Irish"!

COMING SOON.

"Three's Company", The Beginning of the End

Back from the RCA comes yet another prize trailer, this one for Captain Blagger's highly anticipated "Captain Scarlet 3". With its release date coming up soon, lets take a last, and in depth, look at this trailer.

FADE TO:

An African jungle at night. A flaming meteorite-like object falls from the sky, crashing through the jungle canopy and setting trees alight.

CAPTAIN SCARLET (V.O.)
What year is it?

With the starting point, it instantly resumes "sequel"-mood, and seemingly resumes (taking us) to a familiar world besides going through the 1,2,3 steps of creating one. We are left to assume the meteorite is Scarlet, and that we are at the start of the film. With a pre-knowledge of some of the story from simple research and viewing "Captain Scarlet" and "Captain Scarlet 2", you can get an idea of his attitude upon arrival, and know that coming back is not going to be fun for him; which leads us to expect action from the start of the film (or, at least tension); and not have all of the set up that is required in first films. On top of this, we have an idea where the trailer is going; and that is a more fan fare, appealing version besides a plot driven trailer; so lets see if that goes as planned.

S.A.T.A. (V.O.)2019.

FADE TO BLACK.

FADE TO:

President Robert Anderson stands at a floor-to-ceiling window in an enormous metallic chamber, staring out at London from high above in the night sky. His back is to us as we slowly PULL IN towards him. A blue light is cast on him and the rest of the room by an unseen source.

Robert Anderson, a Mysteron, is another character we recognize fro before, and seeing him now; it shows this trailer is making its way around the room; giving us all the little aspects separately. Notice too the setting he is in. It really is an indicator of the visual style of the film (as the posters were), in displaying the futuristic, almost dystopian, use of colors and of shading. It makes the film seem other worldly, and this is intended to be such in order to distance us from it; making us realize how bad things have gotten in terms to ourselves. Not only this, as in visuals, but it is also done through the general atmosphere that is created; however, the characters seem not too far from us, so with this contrast, it places us in this created place, one where anything can happen to us.

CAPTAIN SCARLET (V.O.)
The President is a Mysteron?

S.A.T.A. (V.O.)Every world leader is a Mysteron. Things change.

FADE TO BLACK.

CAPTAIN SCARLET (V.O.)
What is this place?

OLD MAN (V.O.)
Have... you been out of town?

With these two scenes, they seem to be placed back to back to show Scarlet's upon-arrival-purge for information, as well as the possible revelations that are to come to him. The old man, we will remember, has a more dramatic side to the story, so I looked at that in regards to this trailer, and it seems to me that he has this tiresome attitude to the world, since he had been there so long and had seen it go through so much change. I can imagine he is sick of the quo pro status of the political sphere, and some of this may rub off on Scarlet, and I sense a certain side story may crop up, having Scarlet losing determination to continue on helping. After all, there are easier alternatives.

FADE TO:

Captain Scarlet, wearing the armour of a S.A.T.A. (Spectrum Assault Team Agent). His hair is scraggly and unkempt, and he has a thick, messy beard. He looks like he hasn't showered in weeks.

CAPTAIN SCARLET...Something like that.

Using small hints, we can put these scenes in a bit of order. Knowing the SATA action scene revolving in the woods, we know this comes after. Of course, this isn't as important, but I always find it better to have the ability to sequence things; and as I go on, that is what I will try to do. Looking at what this gives us, only Scarlet's appearance, he certainly mimics that of the looks of a man who had given up hope. Decidedly that, he has seemed to be growing old (as seen through the beard); and that convinces me that he will be paralleled with the old man at least during their scene together; probably further on.

CUT TO BLACK.

CUT TO:

Scarlet, clean shaven, walking out of a building in street clothes at night. He loads a cartridge into a pistol.

Practically removing the effects of age and stress; near defying the natural change of growing old; here he is, shaven and clearly with a more youthful appearance. As he had just, somewhat, defied the natural order, that alludes to the fact that, if he does face these inner demons I had mentioned, they are either not present, or tucked away in him; as he seems fit and ready to change fate again. Speaking of which, I feel fate will play a big part in this film, and that the ending will be foreshadowed throughout the film, even in the most obscure ways.

CUT TO:

Scarlet ducking into the entrance alcove of a building to hide as a patrol truck passes by down the street.

COLONEL WHITE (V.O.)We're being hunted.

IN A WORLD RULED BY FASCISTS

Notice the heavy use of Fascist references here., First, the clear use in the text; then the fact that the patrol car is riding down the street, pushing Scarlet into hiding menacingly; and finally, the calling them "hunters". This reminds me of the type of futuristic world where the gov. rules over all with an iron fist; and I have a feeling this will be the same way; I recall loudspeakers on the streets from a certain trailer showed. And, using action as it comes, I feel that suspense will be the preferred use of plot force here, since they seem to be creating a form of it in every scene, and here,p it seems more political then anything else. Either way though, what this actually comes off as is a film with a message; one which means to predict the future, and while we know this isn't quite true, we cannot help but to see it as such in some angels; especially those displayed here just now. A more horror-ish atmosphere will most likely fog over this film, making us feel the fear in our own future, and with this mood going to the other aspects; I have this general idea that everything will be far more gritty then the two previous installments; featuring more corruption and more bitter realism.

CUT TO:

A bar. Captain Black enters, flanked by two S.A.T.A.s. They approach a scared looking man.

CAPTAIN BLACK
Martin Ross.

Black pistol whips him in the face. The two other agents begin to drag his unconscious body out of the bar.

Coming after the scenes it was just placed in; we seem to be seeing an arrest or a torture capturing. That is not so important though, as how it is done. Firstly, look how Black does it himself. This tells us that either the prisoner is someone of importance, or, and still evident in the first theory, Black takes a large role in affairs of the people, an overbearing role; as the Mysterons slowly begin to "take over": the world almost. It is like the poster indicates, all they want is power; and what is the best way to get power? Fear. Secondly, it happens to fall in a bar. While this is usually commonplace for criminals, I cannot help but feel the bar was included to show people escaping, for so short a period, from the world they live in through alcohol. If so, then this would be a subtle display of how, even though they are forced to keep quiet, they have this silent ambition to live in a better place.

THE FEW

CUT TO:

Scarlet, Colonel White, Lieutenant Green and Telum sit around a kitchen table.

CUT TO:

Captain Blue in a metal prison cell, bouncing a ball against the wall and catching it. Blue light is cast on him.

Here are the "good" guys, and while we only see them for a second, they are circled around a kitchen table; probably in a dark, obscured room. Almost like rebels fighting for an illicit cause; and any world where freedom is illicit, you know it is bad. Secondly, notice the blue light again appearing on Scarlet's face. This can tell us he is in the same location as earlier, and of course, no other explanation is needed besides stating he is captured. Bouncing a ball off the wall though, he seems distracted and reflective, not trying desperately to escape. His inner demons, I feel, are inside him, and he will be lost in thought many times during the script.

ROBERT ANDERSON (V.O.)
Why would we want peace when we have power?

CUT TO:

Destiny Angel in a similar cell, curled up on a metal bunk. Blue light is cast on her.

MUST FIGHT THE MANY

CUT TO BLACK.

All of this really goes to confirm what was listed above except we see, for the first time in the trailer, another character we recognize locked up. Ending with some riveting words though, we know we are going to be appealed to through the underdog story; that of a small force against a big force.

The music cuts out.

CAPTAIN SCARLET (V.O.)
We need to tell them that a revolution is coming.

FADE TO:

Scarlet, Blue and Destiny standing by a truck, Scarlet in armour without a helmet. Black stands close to Scarlet, looking carefully into his eyes.

CAPTAIN BLACK
Well, well... It IS you.

One good line from Scarlet at the top, not good in its complexity of words, but in what it stands for. It is, as many things are, taking the more political side of the story, mostly by using the term "revolution" -we cannot help but to think of the historic revolutions the world has had. Of course, a revolution often concerns many people, so leads me wondering if the general consensus of people will be joining forces against the gov. Secondly, another line from Black; nothing big, though it is, we assume, the first time they meet since Scarlet was left in an escape pod. Black sounds almost impressed with the "well, well", and most possibly sees him as a formidable enemy, and realizes he must be cautious.

CUT TO:

Scarlet in an escape pod, banging on the window as it flies through space.

CAPTAIN BLACK (V.O.)The last time I saw you, you were banging against the window of an escape pod for dear life.

CUT TO BLACK.

CUT TO:

Back to the previous scene by the truck.

CAPTAIN SCARLET
Didn't take.

So, there is the scene I mentioned earlier about the space pod; and this segment in the trailer really doesn't do much except for build a mood, but it does make us remember the previous films and these two character's history together. Knowing this, it is impossible to feel nothing but a little tug of excitement, since we know, as Scarlet himself said, a "revolution" is coming.

Scarlet, in an aeroplane, walks forward quickly aiming a pistol at somebody offscreen. A S.A.T.A. runs into him, smashing him into the emergency exit door and ripping it off its hinges. They fall through the open doorway, fighting and grappling in mid-air as they tumble towards Earth.

The first in a series of action scenes that will be played back to back; and looking at this one first, it seems that not only is Scarlet in considerable danger, but also that the level and style of action in the film will be consistent with the other two films. Clean cut, intelligent, and free from mess. In fact, it almost seems set to music, and my guessing is that if you were to play a song, any song, during this film; then it would somehow fit in wonderfully. It is this kind of finesse that is needed in action, to show it for the beauty it can be. And what is more beautiful then floating to the bright earth, gripped in a death lock fight while slowly fading away.

Blue runs along a wreckage-strewn bridge. A Raptor fighter jet screams past overheard, firing missiles and just missing him. The explosion knocks Blue sideways into a car, smashing its windows.

Another scene of spectacle shows us yet another scene of action; this time down on Earth, and concerning Blue. Of course, it only is here for a raise in blood pressure and anticipation, but it also confirms my thoughts that the action is very musical, almost a sequence. A fighter flies ahead and shoots the missile, Blue flies sideways; and almost like the "duh-duh" of the opera ending, he hits a car. No mess there.

Scarlet and Black fight on top of a speeding truck.

CUT TO:

Scarlet looks up at an enormous, 160 storey metal citadel with anger burning in his eyes.

CAPTAIN SCARLET (V.O.)
I never thought it would come to this.

There is an anger present in these two scenes which were not in the ones before. Obviously, Scarlet is going to have this built up rage following him around through the film, and as time goes by, what with his personal demons and all, he is bound to snap at the edges, and while his creases unfold, we will see a display of brutality from him. Could this mean a moral line will come into play?

S.A.T.A.s fast roping down an office building and smashing in through the windows, landing on the ground with a roll and standing up aiming silenced sub-machine guns.

A small child pushes a door open, white light glowing from inside the room and obscuring our view of what it contains.

CAPTAIN BLACK (V.O.)
We wanted blood for blood, but we've drawn droplets.

More use of color; this time from a small child; and featuring the fact that the child could very well grow up in a world without Mysterons (provided Scarlet "saves the day"), this light can also act as a symbol for hope. Obscured, as, as of yet, we do not see it as apparent. Finally in this segment is Black's line. Drawing droplets, but wanting more; a repressed brutality which, like Scarlet, will likely fountain during the same time, and lead us through the script.

Scarlet and Blue fire guns from behind cover in an office building.

COLONEL WHITE (V.O.)They've taken our world from us through death and destruction...

CUT TO:

The metal London citadel shoots a thick, constant beam of bright blue electricity from a lens set into the roof, lighting up the night sky and causing the clouds to emanate lightning.

This time, when we see the color, it has foundation, and a clear source. However, that does not stop it from having a chilling feel to it. With the start of lightning, and the dark sky; it is indisputable that the setting clearly shows an eeriness, and a mystery element that is given to us in the many unknown factors we have seen here. Coming after White's line, though, can this be the destruction he means; so close to occurring? If so, would this mean the plot will revolve around Scarlet working on a tight time restraint to save things quickly?

CUT TO:

Scarlet shooting his way through the corridors of Cloudbase.

CUT TO:

A warehouse exploding in an enormous fireball.

COLONEL WHITE (V.O.)
...and we need to take it back.

CUT TO:

White standing at the front a crowd of hundreds of cheering people.

This is an interesting clip, as right after declaring the world needs to be taken back, we cut to him surrounded by a happy audience. Can this allude to the fact that he accomplished his mission? Either that, or maybe this is the gathering of the revolution Scarlet noted; the people gathering to win their planet back.

WALSH (V.O.)The world will never be the same again.

CUT TO:

Black grabbing Scarlet by the lapels and leaning him over the edge of the Cloudbase runway - outside. Wind rushes and threatens to knock them both off.

I just wanted to stop here to say that the last action scene is truly a mesmerizing one so far, and a thrilling one; as both the major villain and hero are in danger. Making it outside (after seeing the lightning and blue light- thus, feeling outside is eerie), makes matters only worse; as this is probably in a dark sky, thus, wrestling in a dark nature, the only good not yet made.

CAPTAIN BLACK
THIS WORLD IS MINE!

The last few quotes have had this "world" motif, and this one ends it by stating greed in terms with the planet, where as the last all involved sharing it with the people ("WE need to take it back") This only demonizes the enemy and makes us see how obsessive the power is with him; and how controlling he has gotten. Throughout this simple line, true evil is shown.

CUT TO BLACK.

FADE TO:

Scarlet is launched out of an office building window by an unseen force, torpedoing towards another building. In slow motion, a helicopter descends from the sky... The spinning propeller blades moving directly into Scarlet's trajectory.

And finally the end of it all. Not much to add, but yet further proof, a reminde rof what we are getting. What is my response to this. "Please sir, can I have some more?"

CUT TO BLACK

Clocks "On My Mind" (No "Missing Pieces" Here!)

Right now, and this is quite exciting, I have Hanelle's RCA trailer for "Clocks: Generations" , the long anticipated finale to the just as long running show. Let's look at this carefully, as there are, for sure, bound to be "Revelations".

PEN on a BLACK SCREEN. The soft sound of a ticking CLOCK is heard.A digital clock SLAMS on screen. The red numbers count down.6:00....5:59...5:58...

CUT TO:BOLD white letters appear on the screen reading:

IT ALL STARTED WITH A TERRIBLE ACT

A few quick flashes from "The Pilot" involving Marianne being assaulted in the dark alley.

From the start, it is apparent that we are dealing with a trailer, like a clock, that will build suspense over time. This is how I see the episodes of the show, and how I will see the finale; as a timebomb, waiting for a revelation to hit when the hand strikes twelve. We start with a flashback to the pilot; one of the pivotal scenes, and as time goes on through the trailer (though that cannot really be said, as Clocks follows no linear timeline), the pace to the trailer, and finale, I am assuming will pick up. If you have not seen the show, this trailer is actually well made in those regards as well. The words, "it all started", can lead you as to what is important, and give you a notion of the sort of situations that Clocks holds dear. Of course, looking at this first bit, I am left with an inevitable question; what happens when the clock strikes zero? The chaos from the first scene of the pilot?

ALL CULMINATING IN A FINAL EVENT

John, Sophie and the older Seth run through the chaotic city streets. Tanks roll down and military personnel fire at some unseen enemy in the distance. Sophie ducks, narrowly missing an oncoming bullet.

This next bit is a scene involving bullets, but is still taken in a slow manner; a set-up, not an "event". However, on top of this, it seems to be, as you would know from the show, that Clocks is something of a spectacle in the lightest sense of the word. There are effects, and violence, and suspense built up. Taking a view from one who has not seen the episodes, this would lead me to make some natural guesses. One would be that this finale will be filled with death of main characters, a few twists, and characters finding things out. Though those seem cliche in general; specifics are needed to really guess what is going on, or what will go on, in the finale; and we can only guess.

THIS MARCH

Seth, Ron and Rose stand over a fresh grave in the middle of a cemetery. They stare at the ground in a fusion of anger and sorrow.

The three of them standing as they are, looking down, shows us, as the trailer says, sadness, but it also has this feel of redemption around it, or, for a more accurate phrase, the desire to do something. I think that this finale will not be one of death and of depressed shocks, but of hope and of comfort, despite how dark and damp things might (and will) get.

THE PAST

Marianne stands in a long line outside of a brick building. She stares ahead, numb to the world around her.

THE PRESENT

CLOSE on Eva's face as she screams in horror, sweat pouring down her cheeks.

DOCTOR
Eva, you need to push....your baby is almost here.

Here is what I meant by not following a timeline; and it has became evident in the series that it will continue throughout this ending, as there is a drama and plots with each tense. Here, we see two woman, and while different, one can feel a contrast for what the world is like at the given moment. The first, we see a woman waiting in line, and we are reminded of something like a bum would do to get food or food stamps; which can draw connections to the pilot. It seems like nothing, not anything of stimulation, but "numb"; a place where you cannot feel. The present, however, feels somewhat different, as there is a birth; actual creation of life, and that alludes to an attempt to fix the world. It looks like some optimism can be held there.

THE FUTURE

Thomas sits in a bunker with a few of his aides around the table.

AIDE

Sir, it's not safe.

THOMAS

I can't stay here forever...the people need me in the spotlight now more than ever.

Again, there seems to be this ever present mood to help things, and do what the people need. However, we see that, obviously, as it will show in this movie, that the future is the test; and with the world on a brinking point, the start of the pilot episode seems all too near. Only with a clearing of the past troubles and present, though, can the future take hold; and things are all bound to meet up soon enough.

ALL IN ONE EXTRAORDINARY TWO-HOUR EVENT

A younger Seth sits on a bus-stop bench. Next to him sits a creepy older man with bulging bloodshot eyes. Neither speaks but the tension in the air can be cut with a knife.

For this bit, let me just say what I think of the man. Seeing him in the other trailer as well, I think that he is Mr. Black, and essentially represents the end of the world, or an almost higher force. He is present with Eva's baby too, and he seems to be the power which stands as the end of all things. If he is Mr. Black, then he is old here and in all the other tenses of time, which would mean he is non-aging; and has been through all things.

ALL GOOD THINGS MUST COME TO AN END

I pulled this quote separate, because I just thought I should note that this can act as a suspense builder, but also a plot indicator. In a world so chaotic and violent, there is still good; and when that comes to an end, everything ends; so this can semi-confirm the pilot episode's first scene.

A hotel door is KICKED open. The occupant, Doug Jones, jumps out of his seat in shock.

John leaps from the roof of a city building, his black jacket fluttering in the night breeze. He lands hard on the lower rooftop of the next door building.He looks back from his original spot to see two men in black suits watching him angrily.

Nathan Gorman cocks his pistol, pointing it directly into the CAMERA.

Seth smashes a wooden chair against the wall in a furious rage.

SETH
We need that code!

A few things. First, here we see the action scenes, the one which makes the pace more and more (like a clock) quicker. Also, the ending states that a code is needed; and this seems to be a code for a door or a bomb or a computer. Seeing it is present in the midst of action scenes, I would guess a bomb, and assume that the pilot's destruction scenes were caused by it. A literal clock; seems like a set up for the whole series.

Charles Abaddon walks through a crowd of reporters toward his car when a loud GUNSHOT is heard. Panic and chaos ensues.John rummages around a smokey burning building, desperately covering his mouth to breath.Ron slams Doug into a wall, denting the wall dramatically.A small group of military soldiers and a team of men wearing Hazmat suits enter a confined building, guns drawn.

CLOCKS: GENERATIONS

FADE IN:Seth stands over Charles, who sits complacently on his knees. In his hand he holds a gun, pressing it to Charles' temple.

Two gun incidents around Charles in this little bit and not to ruin anything for those reading the episodes, sop I will not get in details or latter surprises, but one earlier too. He should just stay inside! However, more building up of momentum; and a reminder of how shocking this can be. It is likely that neither of these times he will die, though this trailer wants to show us just how shocking it has the ability to be and test our emotions, see if we are "there" enough to feel the impact of everything.

CUT TO BLACK.Over the BLACK SCREEN we hear the ticking again.The digital CLOCK again SLAMS on screen. It now reads: 30....29....28...The TICKING is increasingly loud as we ZOOM OUT to reveal the clock represents the detonation timer of a large green and white nuclear bomb.

CUT TO BLACK.

Ah, and we see it was a bomb; and also one which connects this scene to the first (an allusion to the finale connecting their last scene to the pilot's first?). However, here we are at the end of what has been a very professional, well made and tension induced trailer; I can only sit in anticipation for this finale, and I urge all to quickly catch up on the episodes beforehand.

A Hunt For Updates; Interview With HellBlazer

I've managed to grab HellBlazer here for an interview; which, as we all know, is perfect timing, considering that he has an upcoming film, "The Hunt For Nuns", a comedy film that, with its comical trailer, has some built up anticipation surrounding it. Let's see what we can learn.

Casa: Hello everyone, and I hope you all join with me in welcoming HellBlazer, as I was just about to thank him for his time tonight. It has been a slow few weeks, and even though one may not notice much happening, HellBlazer is one of the directors who is still typing away, and I was hoping to find a little more out about that, but first off, how are you doing?

HB: Oh, I’m doing alright Casa. Working on Hunt for Nuns (With a new March release date) and planning some other stuff. How are you doing?

Casa: Well, I'm doing fine, thanks; though I must admit to being curious about something, and that is how "Hunt" is going. Surely everything seems fine, the trailer was well made, though as you type more and more, how do you see the direction of the film heading, is it pleasing you?

HB: Oh, it's coming along nicely. I'm, at a guess, about 75% done (Not saying how many pages it is until it's done hehe) and so far, it's coming along just like I hoped it would, that being a really good MR-based film.

Casa: You seem to have worked hard on this film and, in return, had a nice schedule for writing it, and will undoubtedly have a marvelous release date for it. How was the process of working on its, did you allow yourself to have some freedom and just have fun with it? Was it more of a relaxed period then your previous work? Do you think audience’s will have as much a good time with it as you did?

HB: Yeah, it's much more relaxed writing a total comedy instead of a horror TV show or any of the failed movies before HFN. And since it's a comedy, I don't have to make myself try and make it filled with action, or scares. Just write what I think will be funny, and that's really relaxing, since I seem to be good (or at least I hope I am) at writing jokes. And will people enjoy it as much as I have? I really hope so. Nat and Bat's both complimented me on pieces I've showed them, so I'm hoping everyone who reads it will at least get a chuckle out of it.

Casa: Well, it does sound like you are taking it where you want, which leads to my next question. Have you a future in comedy? Surely you have other projects you will want to work on; do you expect any of them to be in the vein of this? How many of them are movies and how many television shows?

HB: A future? I'm not sure. I'll probably do another comedy at some point, maybe a sequel to HFN. Am I planning what to do after HFN? Of course. No comedies at the moment. A movie based in the Resident Evil universe (The games, not the movie) but it'll be original instead of covering any of the games, since the last time I did that it failed like hell. And I'm thinking of a crossover mini-series at the moment.

Casa: What about this mini-series, have you any news for us at all? With experience writing television, cutting things into episodes, do you feel you have the capacity to make a successful series, spacing out plot turns and such out enough?

HB: Not really, as I’m still unsure as to whether or not I’ll make it. I can tell you that if it’s made it would star Hugh Laurie and Paul McGann. And yeah, I think I could make a successful mini-series, as I think I’d be able to pace the story right to fit the time frame, like with Urban Legend.

Casa: So you are in a stage of more deliberation, then, where you are running through options of what to write? This is good though, as it leads right into my next question; how do you go about picking a project and what inspires you?

HB: Yeah, I guess you could say that. At the moment I don’t want to really start writing anything else so I can finish HFN without getting distracted again. What inspires me? God, just about anything. Music (This is a big thing, it inspires more things from me then anything else), TV shows and movies, books, conversations with friends. You name it, it could probably inspire me at some point.

Casa: And all these forms, do they influence the way you write, do you think. More accurately, what part of your writing is 100 percent original and what is influenced by your likes and mentors?

HB: I like to think my ideas are at least somewhat original. Even when I write something using previously made characters, I try to make the story original without seeming like something that’s already been done using said characters. And to answer the second part, I’ll give an example of a character I recently came up with. I got the basic idea from listening to “An Englishman in New York” by The Flying Pickets, but from there I improved on the idea and his friends and enemies, becoming more and more original from the basic idea of “An Englishman who knows nothing about America moving here”

Casa: Enhancing concepts as you do, are you a director who feels that once you have a character, you have a film? What makes a movie, for you?

HB: No, not at all. A character can’t be the sole selling point of a movie. Without a decent story to keep the character afloat, then it won’t seem complete to me. And what makes a movie? It’s a few things. Interesting characters, a good story, and a good writer. You can have the best story in the world and the most interesting characters anyone will ever see, but if there’s not a good writer behind them to meld them together and make them work with each other, then the movie won’t seem right.

Casa: And out of those things you named off, which of them is emphasized in “Hunt For Nuns”? Does it have uniquely compelling characters, a great story? Or just plain out good writing?

HB: Which is emphasized? I’d like to think the characters stand out the most, not to say the story isn’t good as well. In my opinion at least. And I’ve been told, from bits and pieces I’ve shown others, that it’s good writing, but I’m worried they might be just saying that to make me feel good, so I’m really not the best person to ask about whether or not the writing’s good.

Casa: Is it pulled off as more of a spoof film, or do you stick pretty close to a constant and continuous story? From the trailer, it looked somewhere in between, and that is what I am guessing, but have you any intention of how close it will be to some narrative?

HB: Alright, I’ll be honest with you. The trailer was made when I was still finalizing the story, so I just made it up of jokes I’d thought of for the film, so that’s probably why it appeared “in the middle” for you. It does actually have a consistent story, not really being a spoof. More “g” then “Scary Movie”, though I really don’t want it to be compared to g, as it’s still one of the best MR movies ever. The story might be somewhat cliche’, but I like to think I can make it good regardless.

Casa: So, in short, you plan on appealing to sheer enjoyment without restraints? Also, will you be using clichés as a parody, or avoiding them? And lastly, as it is of similar nature, and wrapping things up, what do you feel about the latest batch of MR comedies, or upcoming ones, even if you have not seen them, judging on the trailers?

HB: Staying away from them, thank you very much. I don’t want people reading it and saying “Oh, look, I saw that before!” every ten pages or so. And MR comedies? There’s only a few recent ones I’ve checked out, mostly just the trailers, and most of them excite me. I’m definitely looking forward to (no homo mr arigato) and 19th Road. Especially 19th Road. I’m not excited for check at all, it just seems....bland. I’ve also read Renegade Justice, which I loved and laughed at so much, and Electric Boogaloo that...well...I’m not really gonna talk about it.

Casa: I agree that clichés, while sometimes used with caution, often lead to a familiarity that makes the film of considerably less originality and value. However, that is going off on another matter, I would like to, though, thank you for your time and finish off with one more question, the one we ask always, what do you see for the future of Mr and At the Movies?

HB: As always, I can only see bigger and better things for it. This is one of the best sites I’ve ever been on, and your show will be a big part of it for a long time. I look forward to the RCA awards this Friday as well, as it’ll promise to be awesomesauce.

Casa: I’m sure they will be; once again, thank you!

Hey, We're Back: "Honest to Blog!"

Well, after recently switching to a "new" format titled "At the Movies", a crash course down disappointment hell; here we are, new and redone!

Now that we are back and bloggier then ever, I am able to post things at my own pace; and when nothing seems to be out, or my PM box just so shy of tickets, I can post all I have without waiting for an episode to bulk itself past five pages. Worry not; interviews, Trailer Analysis, reviews, all will continue, as with each new material posted, you can just check here and find it somewhere. Some of you may be a bit sad to see us go off the TV, but this way there are no deadlines, no episodes to cram full before I consider it acceptable, and no pressure on you to see us only in twelve page chunks. Nope, here you can come, skim through perfectly organized segments, see what you want, skip what you don't care about. If this isn't modern, what is?

As I said, I will be updating as I see fit; so if your first question was a ballpark guess on when you should check in, I'd say every other day. Of course, it all depends on when things are released; but with every new poster, trailer, announcement; everything, there will be something.

So, I hope to have a nice and plentiful time; see a lot of good stuff perhaps. Reviews will still be posted on MR, so don't worry about missing one of those, but for everything else, well, here we are!