themomentstealer: (harley)

I have three reviews (I feel so iffy about calling them that. They're not nearly as professional as reviews ought to be, because most of the time it's just ranting. Maybe I'll just call them opinions) half-written out.

They've been put on hold for some reason but I'm not entirely sure what's stopping me from finishing them and putting them up here. One's for the second episode of Misfits and the other is about the ninth episode of Community, both of which are shows that you ought to be watching.

I could go and finish them up (I will, eventually. Things just keep getting in the way, like taking the dog to the vet, or my external hard drive frizzing up on me oh god it still hurts my heart). Or I could go and maybe type up another thousand words for NaNo (haha, as if it happens just like that), but instead I decided that I'd like to write about this absolutely wonderful movie I've just watched, while the love is still fresh.

It's called Bunny and the Bull, and it's brilliant to look at and laugh at. I label it to be Highly Recommended, for what it's worth.

I warn you, this may get a little long because the story is amazing and hard not to get into with great detail.

You don't need to read the review. What I think about the movie doesn't matter -- the screencaps do. A picture is worth a thousand words, and all that jazz. I just think that you ought to click on the cut to look at the pictures. This, ladies and gentlemen, is production design at its finest (and possibly scroogiest).

First off, and it really does require its own mention, the production design is insanely good. The first few minutes alone are kind of my own dream opening sequence, with warm light bathing the artifacts of Stephen Turnbull's life in a golden wash of Old Timey-ness. It's got animation (there's this brilliant horse-race animation made of paper cutouts, which I drooled all over), stop-motion animation, split-screen montages, and chroma galore. This film was probably a post-production VFX wet dream.

As for the storyline, well, if this call comes straight from the mind Paul King, the man behind The Mighty Boosh. How could it not be hilarious and surreal and strangely sad all at the same time? There are no musical numbers, though. Sad.

Bunny and the Bull )

I wonder if this is a thing with me. Amelie, my Favorite Movie Of All Time (that is how I describe it. You can hear the caps when I do, no lie), is about a painfully shy girl who lives more in her fantasies than in real life. The Bull and the Bunny -- another film about a near recluse who lives more in his mind than in the world. My thesis? Kind of the same, only it's everyone else in the world who's not living in it. In the end, the protagonists always learn to open up the windows and step outside.

God, I hope that's not a sign.

themomentstealer: (Default)

So this is the premiere I've been waiting for all year.

Last week, the first episode of Robert Kirkman's The Walking Dead aired -- in the States, anyway. Over here, we had to rely on our friendly neighborhood Internet pirates to save us from being left behind, which is the worst thing that can happen to you on a zombie apocalypse so this metaphor is relevant.

Also relevant, the guy who plays our fearless leader Rick Grimes was the "To me you are beautiful" guy in Love Actually. Yes, that is relevant. Secret British accents are relevant.

Anyway if you ask anyone who's seen the first episode, you'll soon find out that Episode One was been phenomenal. I might have even squeezed out a tear or two, and was thrilled to see scenes from the graphic novel so excellently brought to life.

There was, admittedly, one minor hitch, and that was the scene where Rick fires a bullet into a zombie at the police station. The scene later on when he finds the mutilated zombie and kills her out of mercy would have been so much more powerful if he hadn't killed the station zombie.

It also would have introduced the new morality of the world he now has to live in: mercy isn't an option when every bullet counts.

Still, I suppose that's two mercy killings, so that's double the character development?

At any rate, there are a number of television series have failed to rise above their pilot episodes (I'm giving you the stink eye, Glee) and doom their audience to an endless cycle of deception and disappointment. Can The Walking Dead keep up the momentum it's gained with its single gore-ridden, tear-stained, ass-kicking debut?

This week's episode answers with a resounding "holy shit yes arrrggghhhhh next week nowww."

The Walking Dead 1.02: Guts )

It looks like the series is settling down for a nice long stay, because this week's episode deliberately swerved away from Kirkman's story, drawing the tearful reunion out even longer, and gave the audience a new and hair-raising adventure before the real trouble is even expected to start.

Goes without saying that next week's installment of The Walking Dead could not come soon enough.

This may be premature and overly optimistic, but I don't even think Frank Darabont is going to give purists anything to complain about, and that's saying something.

March 2012

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