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matt_zimmerAlso reviews for the latest episodes of Doctor Who, Teen Titans Go!, Meet The Batwheels, Bob's Burgers, Family Guy, American Dad!, and the first three episodes of the season of Fargo, as well as the novels Doctor Sleep, and The Ballad Of Songbirds And Snakes, and the picture book The Mysteries,
Indiana Jones And The Dial Of Destiny
I really, REALLY liked it. There were plenty of nits for me to pick, but taken as a whole, I was very satisfied by that. My concern over my positive review is that the general consensus of The YouTube Neckbeards was overwhelmingly negative. I'm gonna push back on that a bit. Apparently The Neckbeards smelled blood in the water about both Disney and Lucasfilm here, and are gonna paint this in the worst possible light to feed into their so-called "Anti-Woke Agenda". Sometimes, there is no politics attached to a film. Sometimes a solid Indiana Jones film is just a solid Indiana Jones film. Maybe there IS no larger Woke Messaging or Hidden Agenda. Maybe the filmmakers simply created a film they thought people would enjoy. But that's as far as the conspiracy goes. Maybe The Neckbeards attaching messages to this film that aren't there says more about the Neckbeards than this film.
I'm not going to lie. I did not enjoy everything. I think the biggest mistake of the film was during the first part when they de-aged Harrison Ford for the WWII stuff. They forgot to de-age his voice, and it's jarring and feels out of place to hear Ford's current old man gravelly growl instead of young Ford's low-key soft and smooth voice coming out of that young character. And in Star Wars, in both The Mandalorian and The Book Of Boba Fett, they faced a similar challenge in bringing back Mark Hamill as Luke Skywalker from the Return Of The Jedi era. The main problem being that Hamill now sounds absolutely nothing like he did back then. Hell, I don't even think he sounded like he did in Jedi back in 1992 when he was voicing the Joker. But the Star Wars stuff took that into account, and artificially modulated the voice, and had his son do some stand-ins. The fact that a couple of TV shows (admittedly big-budgeted ones) can do this but an even bigger budgeted movie cannot is sad.
I like all the small parts for many of Indy's old friends like Sallah, and I was hoping beyond hope Karen Allen would appear at the end and she and Indy would reconcile. And that happened. Why would I hate the movie for doing that?
It helps that I don't view this franchise through rose-colored glasses. I think it's done exactly TWO great / good films (Raiders / Last Crusade), one mediocre film (Crystal Skull), and one dreadful film (Temple Of Doom), as well as an amazingly boring TV show (Young Indiana Jones). I was willing to take what this film gave me without too much fuss.
I love the bits where Indy grabs his whip and everybody in the room raises their guns at him. The gun comedy bit giveth in Raiders and taketh away here.
Indy claims he never killed anybody. No Indy. That gun gag in the first film makes you a liar.
I found Helena insufferable, but I think that's an unfortunate facet of many of the leading ladies and secondary characters. It was not jarring or unusual. This is what the franchise is.
Speaking of which, I know the bugs and the snakes scenes used to rile up kids on the playground in the 1980's over the gross-out, but it feels like a VERY outmoded scare after the Saw films, don't you think? I understand that's a big part of the franchise. But I think maybe it's one of those things they ought to have phased out in 2023.
Good move killing off Mutt between the films. Not just because Shia LeBouf is unhirable now, but it gives a legit reason for marriage problems with Indy and Marian. And really, the only person who ever liked Mutt was George Lucas himself. He actually thought that was a good name and it was a good character. The only thing that would have been better than learning Mutt died off-screen between movies is actually seeing it happen at either the end of the last film or the beginning of this film, so we all could have enjoyed it and appreciated it together. Seeing Mutt die horribly would have been the most pleasant of shared theater experiences.
I don't hate Crystal Skull as much as most Indy purists do. But Mutt, man. He was the worst.
I was unhappy the Black CIA lady got shot in the stomach and died. This is a movie franchise with few Black characters. Did the director understand the responsibility he had by introducing them for maybe the first time here? I believe every death you show in fiction makes a statement. So you'd better be sure of what statement you want to make before killing somebody off.
I'm not crazy about the Nazi stuff. Spielberg expressed great regret over using the Nazis as the bad guys in the early films around the time he made Schindler's List. He felt that was trivializing the horrors of the Holocaust. He wasn't wrong. So it's both a little disappointing it's returned, and that Spielberg actually has an Executive Producer credit (as does George Lucas).
I did like the idea that the main Nazi's plan to win the war was to go back in time and kill Hitler and take his place. As evil bad guy plans go, it doesn't suck.
I'm betting there's an alternate ending out there where Indy stays in Ancient Greece, and you know it probably would have been the better ending for the franchise. It would have finalized the Indiana Jones series if he was lost in time, as well as keeping the filmmakers' promise not to kill him off. Yes, the problem with the super happy cameo ending with Sallah and Marian is that they can now actually make a 6th movie if they are so inclined. But I still feel it's the more satisfying way to end things if this IS the last film (and the box office says it is).
I liked it a lot although it's imperfect. But I don't demand perfection to give out high grades. That's never been my deal. I'm super easy to please. ****1/2.
Doctor Who "Wild Blue Yonder" (60th Anniversary Special 2)
I liked the cliffhanger with Wilf, and I like the Doctor hugging him, but I had problems with the rest of the episode. It felt like a normal Doctor Who episode. Which I think is the wrong mindset for the 60th Anniversary Specials. That being said, Russell T Davies made some choices I approve of, which surprises me.
I mentioned in the last review what a disservice Davies did to both Matt Smith and Stephen Moffat in David Tennant's last episode. But the truth is Moffat didn't much boost Davies' tenure either. Outside of River Song and the Weeping Angels, for the most part, what Davies did in the relaunch was ignored by Moffat, at least until "The Day Of The Doctor" (and both River and the Angels debuted in episodes WRITTEN by Moffat, so he at least had a personal stake in them). Not retconned. But Moffat very much treated Matt Smith's tenure as a reboot rather than a continuation, which is something I never approved of. For some reason Davies and Moffat decided to keep clear of each other's canon. I don't know if it was a falling out or not (although that would explain Davies taking a dump on the franchise on the way out) but it hurt the show going forward for both Tennant's end and Smith's beginning.
Here Davies acknowledges both the Flux AND The Timeless Child plotlines, the second one during Chris Chibnall and Jodie Whittaker's run being extremely controversial. I'm glad Davies is actually taking what happened before him seriously. If that bit is ever changed, it will be because of a retcon, instead of simply being ignored. Which is all right.
When Fourteen and Donna are about to get into a huge fight, I love that Fourteen cools downs and grips Donna's head, looks her in the eyes, and holds onto her. Love conquers all.
I think a question I have is if Donna was being truthful when she claimed not to remember the Doctor's adventures in the last 15 years or she is being kind and lying. I think it's up for debate myself.
When Fourteen admits he's attracted to Isaac Newton he's confused, and asks if this is who he is now. And Donna assures him this was part of him back in the day too. I'm not sure I ever got that vibe, but in fairness to her, Captain Jack Harkness sure did.
I don't love "mavity". I hope that is fixed at some point. It's annoying.
Fourteen not only hugs Wilf, he holds Donna in his arms and kisses her on the forehead. I think Fourteen is superior to Ten in every way.
Davies making Newton randomly Black will rankle people, and I'm not crazy about it either (history is history) but the fact that it WILL rankle people IS the actual selling point of doing it. It's also outside of Davies' previous tenure in deciding to make a statement with a Black character in a positive way, instead of a negative way, so that's another thing to suggests he's falling away from bad habits. I'll live with it.
One of the great things about Davies' run, and even I will concede this, is he was pretty much the only showrunner on television who had the ability to make the audience lose their cynicism. His hour long episodes felt so epic because you felt at multiple points the Doctor or the Companions would die or be lost forever. I was scowling near the end of the episode because my cynicism was SO gone I actually believed he was gonna kill off Donna Noble. The fact that Fourteen pulls off the last minute save is now not just gratifying, but it says something good about Davies that he got me to worry and feel an entirely crazy and unlikely thing, and completely lose myself in what was happening.
I love the episode being dedicated to Bernard Cribbins.
Did I mention I love the new main title in the last review? If I did, I think I should point out I also love the new end credits.
The monsters are so dangerous because they know everything the Doctor and Donna do. In fact, the scariest thing is that once Fourteen works out the solution, they do too. And then it's a race. And Monster Fourteen can run on four limbs like a puma!
I feel like Davies needed to go all out here, but was a LITTLE too invested in giving Tennant an actual "normal" episode for his brief return. I don't agree with that choice, but Tennant and Catherine Tate's performances as the monsters were amazing, and played to the hilt (particularly by Tennant). ***1/2.
Teen Titans Go! "Christmas Magic"
Thank you producers for understanding the fact that we are allowed nice things once in awhile. As subversive as things can get.
Is this Mumbo Jumbo's first appearance? I can't for the life of me recall him showing up before and like Mad Mod I always felt his absences were WEIRD. I think this show did Mad Mod once using a different voice than Malcolm MacDowell, but like Mad Mod, Mumbo Jumbo is one of those goofy villains from the old show, that would translate perfectly here. And Tom Kenny is affordable. Is this his first appearance? In Season 8? That CAN'T be right. But even if I'm wrong, the fact that I thought it means even if they've used him once or twice, they REALLY should be using him more. He makes a more believable recurring villain for the Go Titans than either The Brain or Brother Blood.
I liked it. ****.
Meet The Batwheels "Bad Day"
Both the song and the clips feel a bit pedestrian. Not only has the show done better, so have these silly promo cartoons. *1/2.
Bob's Burgers "Wharf, Me Worry?"
Louise again getting the kids in trouble because she's stupid. Gene does not help.
Also have to point out that when they are in trouble they can't stop acting weird and off-putting and scaring people away from helping them. Tina's creepiness is equally at fault there.
I like Pop-Pop. I loved that he suggested if they didn't find the kids he had dibs on the stuffed gorilla. Just the fact that he wanted it makes me like him.
I love the woman in the restaurant played by Merrin Dungey. She's shocked "the guy is right there" and then asks not to be left alone with Teddy. I don't take good pictures either (which is why you can't find pictures of Matt Zimmer on the internet) but that's a whole 'nother level.
The rides keep falling apart and Bob is maybe wondering if a potential ride ban for the kids might actually be a good thing. Seeing that? Yeah, probably.
It was good(ish) but the kids sometimes REALLY annoy me. ***.
Family Guy "Snap(ple) Decision"
I love that in the escape they called back all of the Mom shopping tips. That was great.
I also love hearing that Meg thinks Peter's stupidity and dumb ideas are fun. Not my take but I appreciate that Meg has it. Her hug with Lois at the end was great too.
I don't know about Stewie and Brian's thing. I felt like the entire reason their friendship was threatened was because the friend therapist was playing headgames with them and pitting them against each other. And then he's shocked, SHOCKED (and outraged!) they get into a fight after his passive-aggressiveness goads them into it. I would not ever go to that idiot for relationship advice.
I love the bit about the yogurt pretzels. And yeah, she said it again. Peter is VERY good at being a bad kid.
I also loved the demand at the resort that every piece of food they were brought be in a hollowed out fruit. THAT'S luxury!
The shared kidnapping space was funny too, because it was being treated like an office.
Good week. Meg episodes tend to be good. ****.
American Dad! "Steve, Snot, And The Quest For The OG 4Loco"
Oh, well, the personas giveth and the personas taketh away.
No Stan lends credence to my theory the character is too big of a strain on Seth MacFarlane's vocal chords.
Good to hear Toshi again.
Callback to when Steve had boobs! Nice!
I actually liked the girl who liked Steve. I was rooting for Steve for that reason. I know they can't let Steve get laid, but I thought that would be a reasonable compromise. Oh well. ****.
Fargo "The Tragedy Of The Commons"
Incompetent and alarmingly violent criminals? Check. A would-be victim being far more resourceful than you thought? Check. A good and decent police officer surviving (an African American no less)? Check. Folks talking like cartoon characters? Check. Fargo is back.
The episode opening on the urban dictionary definition of "Minnesota Nice" was funny, especially leading to the unexplained PTA riot. What bothers me is we never learned what set it off.
Jennifer Jason Leigh is great at playing detestable characters (didn't the family photo with the assaults rifles make you want to retch?) but there is no denying she has aged far more gracefully than almost anyone of her generation. If you told me she was a teen star in the late 90's I'd think she looks fantastic. You tell me she's actually one from the early 1980's, I think supernatural voodoo must be involved.
The suspense nature of the kidnapping and Dot getting out of it felt very artful and spooky in a real terrifying way, instead of a gory one. Especially at the market. Super effective use of colored lighting.
I could have told the guy with the air horn not to do that, but that's why he's dead and I'm not.
It seems almost puzzling to me that when The Simpsons did its non-canon take on prestige dramas in "A Serious Flanders" Fargo was the one they based it on. It's weird because the show is SO damn funny and is a comic farce exactly as much as it is a serious drama. "A Serious Flanders" would do better to actually model itself upon a serious show. Interesting Simpsons ep though. No lie.
For some reason I prefer the Fargo stories set in a more modern era than the period pieces. Granted, I wound up disliking Season 3, but I liked both the film and the first season better than Seasons 2 and 3 for that reason. This being set in 2019 feels more vital than the show usually does.
My only real note that could be confused for negative is Fargo used to be (after this episode it's not anymore) a show that cast movie stars that you can't believe are doing a weekly TV show, even for a season. Billy Bob Thornton, Kirsten Dunst, Ewan McGregor, Chris Freaking ROCK, this is the show that stars people who don't belong on television. I don't feel this season has that. John Hamm is the biggest name, but he's more known for TV than movies. I'm not saying I'm necessarily disappointed, but it is noticeable one of the (if not THE) biggest hooks and selling points of the series is a nonfactor this season. Okay, maybe I'm a LITTLE disappointed.
Off to a good start. Dot scares me on some level, which is partly why I like her. ****1/2.
Fargo "Trials And Tribulations"
I love Dotty and want nothing but wonderful things for her, Wayne, and Scottie.
I loved her threatening the mother-in-law. She actually loses the cute accent.
Roy the Sheriff is this season's Big Sociopath. He's another one of those characters the show invariably gives us with no redeeming virtues. Then again, say what you will about the devil that was Lorne Malvo. Every bad thing he did was apolitical. I am real-world angry at the Sheriff's actions, and feel extra outrage and sympathy on Dot's behalf.
Don't take a shot at and miss the nihilist. The Sheriff's side isn't all that hot if they are too dumb to understand this simple truth.
Dot is "a tiger", no less. Yes. Yes, she is.
I almost wish I had waited to binge this after the season was over. It's so good waiting week to week will be tough. ****1/2.
Fargo "The Paradox Of Intermediate Transactions"
The stuff with Munch was legit terrifying. The 500 year ago flashback also hints there are supernatural elements going on with the character. Either way he's frightening.
It's an appropriate question to ask whether supernatural elements are appropriate in the franchise at all. I guess the answer is I will roll with it for now.
Roy's phone call with Dot calling her Nadine drew the battle lines clear. I want bad things to happen to him and good things to happen to her.
I really like Witt and him standing up to Gator's racist bullying.
Felt like a bit of an unfinished note to leave the episode on, but that's Prestige Drama for you. ****.
Doctor Sleep by Stephen King
If Stephen King Book Club has taught me anything, it's that usually the more I reread King's stuff, the more flaws I find in it. Not gonna pretend there weren't one or two moments of that here, but rereading this made me realize that all of the things I initially loved about it are still true and still work. King often doesn't stand up to close scrutiny in hindsight. "The Shining" certainly does not and is a VERY sloppily conceived and written book, as exciting as it is. And it's also racist as hell.
None of that here. Aside from the story of the True Knot and Abra feeling more fully realized and less random than the ghosts and history of the Overlook, the tone of the book is something I love. You can argue it's a thriller, or a suspense novel, and there ARE elements of that. But I don't think it's a horror book at all. It's certainly not the least bit scary, as least not for the reader. As far as I'm concerned Dan Torrance and Abra Stone are gonna kick ass and take names and nothing disabuses me of that notion. What's especially refreshing to me is that basically all of the heroes and their families survive. Stephen King hasn't exactly lost his edge (the horrible ending of Revival is still in his future) but I think age has softened his cynicism. The heroes are allowed to run rings around Rose the Hat, Crow Daddy, and the rest of the detestable True Knot and we are allowed to enjoy Abra's cruel enjoyment of Rose's suffering, and Rose losing her cool because she never sees any of this coming. King has his share of purely enjoyable stories (see "Drunken Fireworks"). But this is his most enjoyable story with actual stakes and characters you care about. And yes, the sequel to "The Shining" is better than "The Shining". By far.
My favorite thing is that it's pretty much a sequel in name only. Yes, it follows a grown-up Dan Torrance and his struggles with alcoholism, and his literally fighting his demons, but it's really Abra's story, and not about where the traumas Danny experienced in the Overlook led him. And my favorite thing about that idea is when the Overlook is returned to at the end, and some of the ghosts return too, I am delighted that Danny took these monstrous haunting things from his childhood and turned them against his enemies. When Silent Sarey faces the rotting corpse of Horace Dewhurst, I was delighted. And when Dan waves goodbye to the ghost of his father from the Overlook who just saved his life from beyond the grave, we are reminded that not all ghosts are all bad.
Another thing I appreciate about this book is that King through Danny is able to acknowledge Jack Torrance was an abusive monster. He was also good, but the problem with King's miniseries adaptation is it acted like he was well-intentioned, and the bad things he did weren't REALLY his own fault. For the Jack Torrance I read in the novel, I thought he was a loathsome jerk who blamed everybody else for his own mistakes. King identifying so strongly with him instead is a really uncomfortable thing for me. King allowing Danny's view of his as sometimes scary and both good and bad is rewarding to me as someone who never bought King's idea that Jack was as much of a victim of the Overlook as anyone else.
I want to talk about all I loved about the book, and there so much. I love that part of Abra finds Crow Daddy alarmingly attractive and charming. I love that once Dan tells his rock bottom story at his 15th Anniversary A.A. Meeting he realizes the only person who think it's a big deal is him. (And let me say, I happen to think it was a crappy thing myself. But the fact that Dan thinks it's worse than it actually is a point in his favor). I like that as damaged an adult as Dan has turned into, his job still involves helping people with The Shining and essentially doing God's work. I like that Dan's final patient in the book is the horrible Fred Carlson and he has to comfort this guy he hates and help him cross over. I like that everybody surviving and Abra's first taste of booze taking things full circle for her family makes me want another sequel (which we certainly won't get). I love that Dan turns out to be Abra's literal uncle. It's probably the fact that he's her half-brother which is the only reason Lucy Stone doesn't throw him out on his ear. "You have quite a temper, Uncle Dan." I love that. Dan cannot escape the legacy of his abusive father. Luckily he has people to talk him down. I love that a lot of the chapter and book titles were literal callbacks to The Shining. Dan looking into the mirror and seeing his face full of flies was a spooky shock, and it was pleasurable learning the reason he had those flies, and what he did with them. The narrative is just plain strong throughout.
That's a long paragraph. Why did I go through all that great stuff so quickly and cursorily? Because I need to talk about the movie.
I HATE the movie. I think it is one of the worst adaptations of a King book I have ever seen. Maybe if the book weren't awesome, I wouldn't mind the changes it made. But it is, and everything they changed was for the worse. Including Dan not being related to Abra. The climax's villains being the Overlook hotel and its ghosts rather than Rose and the True Knot. Dan dying at the end. It killing off beloved characters who survived the book because it cynically believed it needed to be a horror film, and audiences wouldn't accept a sequel to The Shining without a bunch of cruel and gratuitous deaths. I believe this is actually the reason Kubrick killed off Dick Hallorann in his movie adaptation of The Shining. The Shining is a scary book, but all the heroes survive it, and cinema horror cannot abide that idea (unless the film is "Get Out").
I'll tell you one thing I don't like about Stephen King. He likes that movie. Because it has the same ending as "The Shining" novel, and he believes it fixed the problems Kubrick's adaptation had. The film was a sequel to the "The Shining" film, not the book. First of all, I don't much like Kubrick's version either. I think it has cinematic merit that is lost on King, but the truth is it's not really scary, and it's strikes me as beyond foolish that Kubrick adapted a ghost story while excising the ghosts because he supposedly didn't believe in them. I mean, what's the freaking point, then? I do however think that while King is right Nicholson probably shouldn't have been cast because it means you EXPECT Jack Torrance to go insane, the truth is Jack always being insane is a credible interpretation of the character whether King can admit that or not. King's vanity on the subject of "The Shining" is so irksome because he appreciates a film that did MUCH dirtier by his amazing and better sequel to that simply because it decided to "redeem" the first film. Where is King's artistic integrity to "Doctor Sleep" and how amazing a story it is in its own right? "The Shining" film was over 40 years in the past! I don't care about it anymore, and neither should King! It speaks poorly that King gives a stamp of approval on one of his finest books being destroyed because the director built the message "King was right about the first film" into the ending, instead of ending it the way it should have.
Before I forget: King Connections Of Note: Sequel to "The Shining", if not precisely a direct, linear one. Sarey's ability to make herself Dim is shared by Flagg in Eyes Of The Dragon, The Stand, and the The Dark Tower books. Inside View. One of the True Knot's "homebase" towns is supposedly Jerusalem's Lot which raises a HELL of a lot of questions for me.
I think my favorite King books are Wolves Of The Calla, The Dark Tower (VII), Black House, and Doctor Sleep. Of those four, I think Black House is the only one I love more (and it was cowritten by Peter Straub). Doctor Sleep is so strong to me because it's not precisely a sequel and has its own messages and things to say. And it's fun to see a bunch of heroes kicking ass and taking names. King should do that more often. He's really good at it. And yes, I believe the sequel is superior to "The Shining". FAR Superior. *****.
The Ballad Of Songbirds And Snakes by Suzanne Collins
I'll say this. It was slightly better than I expected, but I didn't expect much, so that's not a HUGE brag.
Collins uses third person narration for Snow, whereas Katniss Everdeen narrated her own story. Most of the book was predictable. The ending was better than Snow deserved, and frankly better than I ever reasonably could have hoped. So, while I will not rave over the book, I won't dismiss it either.
The most predictable things about the book are the fact that Snow started out both poor and compassionate. Of course he did. There is no Evil Origin Story worth telling here if he didn't. Him being made a Peacekeeper was a genuine surprise though. I also was surprised Lucy Gray WON The Hunger Games. I expected her death to be the thing that drove him to the dark side. In fact, her fate is unknown instead. I find it EXTREMELY unlikely she died, and she almost certainly made it to District 13. And I LIKE that. That as Snow is talking himself into accepting corruption, she is (probably) not penalized for loving and trusting him. To be the cautionary tale in a world that Collins had portrayed as positively miserable by Mockingjay.
You ever see the movie "The Game"? The "happy" ending shocks you because it's Fincher. You never saw it coming. The measured and ambiguous ending shocks me here because it's "The Hunger Games". And it's especially unusual because it's the origin story for that trilogy's greatest and most evil villain. What I find most refreshing about Snow's humble beginnings, and the fact that his wants and desires are completely naive, is that it makes his later evil actions his own decisions. Him talking himself into betraying Lucy Gray did not happen because a tragedy befell him that made him permanently vengeful and bitter. He just doesn't like digging up worms. And I love that Collins eschews the tragic origin for Snow because she refuses to give his later actions in both the original books and even the Epilogue the slightest benefit of the doubt. He could have been an all right dude. But he decided a cushy life was easier.
Third person or not, I found Snow's naivete a bit annoying compared to Katniss Everdeen's world weary wisdom. I don't think Katniss was ever as wise about people as she thought she was (I actually think she was on the autism spectrum) but when it came to sizing situations and politics up, her cunning is a definite contrast to Snow's indecisions and questioning of his role in all this. Katniss is a survivor. Snow is a whiner.
My favorite part of the book was the notion that Snow immediately and irrationally hates the Mockingjays. No good reason for it here, but it does give a good reason in hindsight why he was ALWAYS on Katniss Everdeen's case, when even a SLIGHTLY lighter touch in their encounters probably would have quelled any rebellious ideas surrounding her. It's the Mockingjay thing. He can't think rationally about it and it makes him go bananas and overboard. And I love that.
I think Collins was given an impossible task in writing a prequel to explain Snow's evil and ambition. And I don't think she fully succeeded. But she succeeded far better than anyone else in her position would have. Another person who wrote a similar trilogy in tone, and then tried this EXACT kind of prequel would have totally whiffed it instead. Not bad. ***1/2.
The Mysteries by Bill Watterson and John Kascht
I knew, KNEW going in this was not gonna be my thing, but it's the first major Watterson project in decades, and I'd be an idiot not to at least check it out.
The good news is it's a quick read, so my time wasn't wasted. I don't mind disliking an entire book I read in under ten minutes.
And maybe that was my problem. I suspect people were more suppose to stare and be amazed at the illustrations, and have this be a huge immersive experience to pour over, and not simply be a page turner. I understand this in my head and heart, and still quickly turned page after page. Why?
Because the art is freaking UGLY. It's unappealing. I have spent hours marveling over some of Watterson's more intricate Calvin & Hobbes splash panels because they are colorful and beautiful. The monochrome grotesqueries here have me flipping the pages FAST in revulsion instead of savoring the art. I have NO clue what this book's reception was. As far as I know, I could be the only person who does not "get" and love this book, and that fact could make me look foolish. But I'm not gonna look up reviews for it online beforehand and twist my opinions to more closely match them. I'm gonna be honest about what I thought, whether it makes me look uncultured and foolish or not. And it actually might. I didn't dig it. **.
Indiana Jones And The Dial Of Destiny
I really, REALLY liked it. There were plenty of nits for me to pick, but taken as a whole, I was very satisfied by that. My concern over my positive review is that the general consensus of The YouTube Neckbeards was overwhelmingly negative. I'm gonna push back on that a bit. Apparently The Neckbeards smelled blood in the water about both Disney and Lucasfilm here, and are gonna paint this in the worst possible light to feed into their so-called "Anti-Woke Agenda". Sometimes, there is no politics attached to a film. Sometimes a solid Indiana Jones film is just a solid Indiana Jones film. Maybe there IS no larger Woke Messaging or Hidden Agenda. Maybe the filmmakers simply created a film they thought people would enjoy. But that's as far as the conspiracy goes. Maybe The Neckbeards attaching messages to this film that aren't there says more about the Neckbeards than this film.
I'm not going to lie. I did not enjoy everything. I think the biggest mistake of the film was during the first part when they de-aged Harrison Ford for the WWII stuff. They forgot to de-age his voice, and it's jarring and feels out of place to hear Ford's current old man gravelly growl instead of young Ford's low-key soft and smooth voice coming out of that young character. And in Star Wars, in both The Mandalorian and The Book Of Boba Fett, they faced a similar challenge in bringing back Mark Hamill as Luke Skywalker from the Return Of The Jedi era. The main problem being that Hamill now sounds absolutely nothing like he did back then. Hell, I don't even think he sounded like he did in Jedi back in 1992 when he was voicing the Joker. But the Star Wars stuff took that into account, and artificially modulated the voice, and had his son do some stand-ins. The fact that a couple of TV shows (admittedly big-budgeted ones) can do this but an even bigger budgeted movie cannot is sad.
I like all the small parts for many of Indy's old friends like Sallah, and I was hoping beyond hope Karen Allen would appear at the end and she and Indy would reconcile. And that happened. Why would I hate the movie for doing that?
It helps that I don't view this franchise through rose-colored glasses. I think it's done exactly TWO great / good films (Raiders / Last Crusade), one mediocre film (Crystal Skull), and one dreadful film (Temple Of Doom), as well as an amazingly boring TV show (Young Indiana Jones). I was willing to take what this film gave me without too much fuss.
I love the bits where Indy grabs his whip and everybody in the room raises their guns at him. The gun comedy bit giveth in Raiders and taketh away here.
Indy claims he never killed anybody. No Indy. That gun gag in the first film makes you a liar.
I found Helena insufferable, but I think that's an unfortunate facet of many of the leading ladies and secondary characters. It was not jarring or unusual. This is what the franchise is.
Speaking of which, I know the bugs and the snakes scenes used to rile up kids on the playground in the 1980's over the gross-out, but it feels like a VERY outmoded scare after the Saw films, don't you think? I understand that's a big part of the franchise. But I think maybe it's one of those things they ought to have phased out in 2023.
Good move killing off Mutt between the films. Not just because Shia LeBouf is unhirable now, but it gives a legit reason for marriage problems with Indy and Marian. And really, the only person who ever liked Mutt was George Lucas himself. He actually thought that was a good name and it was a good character. The only thing that would have been better than learning Mutt died off-screen between movies is actually seeing it happen at either the end of the last film or the beginning of this film, so we all could have enjoyed it and appreciated it together. Seeing Mutt die horribly would have been the most pleasant of shared theater experiences.
I don't hate Crystal Skull as much as most Indy purists do. But Mutt, man. He was the worst.
I was unhappy the Black CIA lady got shot in the stomach and died. This is a movie franchise with few Black characters. Did the director understand the responsibility he had by introducing them for maybe the first time here? I believe every death you show in fiction makes a statement. So you'd better be sure of what statement you want to make before killing somebody off.
I'm not crazy about the Nazi stuff. Spielberg expressed great regret over using the Nazis as the bad guys in the early films around the time he made Schindler's List. He felt that was trivializing the horrors of the Holocaust. He wasn't wrong. So it's both a little disappointing it's returned, and that Spielberg actually has an Executive Producer credit (as does George Lucas).
I did like the idea that the main Nazi's plan to win the war was to go back in time and kill Hitler and take his place. As evil bad guy plans go, it doesn't suck.
I'm betting there's an alternate ending out there where Indy stays in Ancient Greece, and you know it probably would have been the better ending for the franchise. It would have finalized the Indiana Jones series if he was lost in time, as well as keeping the filmmakers' promise not to kill him off. Yes, the problem with the super happy cameo ending with Sallah and Marian is that they can now actually make a 6th movie if they are so inclined. But I still feel it's the more satisfying way to end things if this IS the last film (and the box office says it is).
I liked it a lot although it's imperfect. But I don't demand perfection to give out high grades. That's never been my deal. I'm super easy to please. ****1/2.
Doctor Who "Wild Blue Yonder" (60th Anniversary Special 2)
I liked the cliffhanger with Wilf, and I like the Doctor hugging him, but I had problems with the rest of the episode. It felt like a normal Doctor Who episode. Which I think is the wrong mindset for the 60th Anniversary Specials. That being said, Russell T Davies made some choices I approve of, which surprises me.
I mentioned in the last review what a disservice Davies did to both Matt Smith and Stephen Moffat in David Tennant's last episode. But the truth is Moffat didn't much boost Davies' tenure either. Outside of River Song and the Weeping Angels, for the most part, what Davies did in the relaunch was ignored by Moffat, at least until "The Day Of The Doctor" (and both River and the Angels debuted in episodes WRITTEN by Moffat, so he at least had a personal stake in them). Not retconned. But Moffat very much treated Matt Smith's tenure as a reboot rather than a continuation, which is something I never approved of. For some reason Davies and Moffat decided to keep clear of each other's canon. I don't know if it was a falling out or not (although that would explain Davies taking a dump on the franchise on the way out) but it hurt the show going forward for both Tennant's end and Smith's beginning.
Here Davies acknowledges both the Flux AND The Timeless Child plotlines, the second one during Chris Chibnall and Jodie Whittaker's run being extremely controversial. I'm glad Davies is actually taking what happened before him seriously. If that bit is ever changed, it will be because of a retcon, instead of simply being ignored. Which is all right.
When Fourteen and Donna are about to get into a huge fight, I love that Fourteen cools downs and grips Donna's head, looks her in the eyes, and holds onto her. Love conquers all.
I think a question I have is if Donna was being truthful when she claimed not to remember the Doctor's adventures in the last 15 years or she is being kind and lying. I think it's up for debate myself.
When Fourteen admits he's attracted to Isaac Newton he's confused, and asks if this is who he is now. And Donna assures him this was part of him back in the day too. I'm not sure I ever got that vibe, but in fairness to her, Captain Jack Harkness sure did.
I don't love "mavity". I hope that is fixed at some point. It's annoying.
Fourteen not only hugs Wilf, he holds Donna in his arms and kisses her on the forehead. I think Fourteen is superior to Ten in every way.
Davies making Newton randomly Black will rankle people, and I'm not crazy about it either (history is history) but the fact that it WILL rankle people IS the actual selling point of doing it. It's also outside of Davies' previous tenure in deciding to make a statement with a Black character in a positive way, instead of a negative way, so that's another thing to suggests he's falling away from bad habits. I'll live with it.
One of the great things about Davies' run, and even I will concede this, is he was pretty much the only showrunner on television who had the ability to make the audience lose their cynicism. His hour long episodes felt so epic because you felt at multiple points the Doctor or the Companions would die or be lost forever. I was scowling near the end of the episode because my cynicism was SO gone I actually believed he was gonna kill off Donna Noble. The fact that Fourteen pulls off the last minute save is now not just gratifying, but it says something good about Davies that he got me to worry and feel an entirely crazy and unlikely thing, and completely lose myself in what was happening.
I love the episode being dedicated to Bernard Cribbins.
Did I mention I love the new main title in the last review? If I did, I think I should point out I also love the new end credits.
The monsters are so dangerous because they know everything the Doctor and Donna do. In fact, the scariest thing is that once Fourteen works out the solution, they do too. And then it's a race. And Monster Fourteen can run on four limbs like a puma!
I feel like Davies needed to go all out here, but was a LITTLE too invested in giving Tennant an actual "normal" episode for his brief return. I don't agree with that choice, but Tennant and Catherine Tate's performances as the monsters were amazing, and played to the hilt (particularly by Tennant). ***1/2.
Teen Titans Go! "Christmas Magic"
Thank you producers for understanding the fact that we are allowed nice things once in awhile. As subversive as things can get.
Is this Mumbo Jumbo's first appearance? I can't for the life of me recall him showing up before and like Mad Mod I always felt his absences were WEIRD. I think this show did Mad Mod once using a different voice than Malcolm MacDowell, but like Mad Mod, Mumbo Jumbo is one of those goofy villains from the old show, that would translate perfectly here. And Tom Kenny is affordable. Is this his first appearance? In Season 8? That CAN'T be right. But even if I'm wrong, the fact that I thought it means even if they've used him once or twice, they REALLY should be using him more. He makes a more believable recurring villain for the Go Titans than either The Brain or Brother Blood.
I liked it. ****.
Meet The Batwheels "Bad Day"
Both the song and the clips feel a bit pedestrian. Not only has the show done better, so have these silly promo cartoons. *1/2.
Bob's Burgers "Wharf, Me Worry?"
Louise again getting the kids in trouble because she's stupid. Gene does not help.
Also have to point out that when they are in trouble they can't stop acting weird and off-putting and scaring people away from helping them. Tina's creepiness is equally at fault there.
I like Pop-Pop. I loved that he suggested if they didn't find the kids he had dibs on the stuffed gorilla. Just the fact that he wanted it makes me like him.
I love the woman in the restaurant played by Merrin Dungey. She's shocked "the guy is right there" and then asks not to be left alone with Teddy. I don't take good pictures either (which is why you can't find pictures of Matt Zimmer on the internet) but that's a whole 'nother level.
The rides keep falling apart and Bob is maybe wondering if a potential ride ban for the kids might actually be a good thing. Seeing that? Yeah, probably.
It was good(ish) but the kids sometimes REALLY annoy me. ***.
Family Guy "Snap(ple) Decision"
I love that in the escape they called back all of the Mom shopping tips. That was great.
I also love hearing that Meg thinks Peter's stupidity and dumb ideas are fun. Not my take but I appreciate that Meg has it. Her hug with Lois at the end was great too.
I don't know about Stewie and Brian's thing. I felt like the entire reason their friendship was threatened was because the friend therapist was playing headgames with them and pitting them against each other. And then he's shocked, SHOCKED (and outraged!) they get into a fight after his passive-aggressiveness goads them into it. I would not ever go to that idiot for relationship advice.
I love the bit about the yogurt pretzels. And yeah, she said it again. Peter is VERY good at being a bad kid.
I also loved the demand at the resort that every piece of food they were brought be in a hollowed out fruit. THAT'S luxury!
The shared kidnapping space was funny too, because it was being treated like an office.
Good week. Meg episodes tend to be good. ****.
American Dad! "Steve, Snot, And The Quest For The OG 4Loco"
Oh, well, the personas giveth and the personas taketh away.
No Stan lends credence to my theory the character is too big of a strain on Seth MacFarlane's vocal chords.
Good to hear Toshi again.
Callback to when Steve had boobs! Nice!
I actually liked the girl who liked Steve. I was rooting for Steve for that reason. I know they can't let Steve get laid, but I thought that would be a reasonable compromise. Oh well. ****.
Fargo "The Tragedy Of The Commons"
Incompetent and alarmingly violent criminals? Check. A would-be victim being far more resourceful than you thought? Check. A good and decent police officer surviving (an African American no less)? Check. Folks talking like cartoon characters? Check. Fargo is back.
The episode opening on the urban dictionary definition of "Minnesota Nice" was funny, especially leading to the unexplained PTA riot. What bothers me is we never learned what set it off.
Jennifer Jason Leigh is great at playing detestable characters (didn't the family photo with the assaults rifles make you want to retch?) but there is no denying she has aged far more gracefully than almost anyone of her generation. If you told me she was a teen star in the late 90's I'd think she looks fantastic. You tell me she's actually one from the early 1980's, I think supernatural voodoo must be involved.
The suspense nature of the kidnapping and Dot getting out of it felt very artful and spooky in a real terrifying way, instead of a gory one. Especially at the market. Super effective use of colored lighting.
I could have told the guy with the air horn not to do that, but that's why he's dead and I'm not.
It seems almost puzzling to me that when The Simpsons did its non-canon take on prestige dramas in "A Serious Flanders" Fargo was the one they based it on. It's weird because the show is SO damn funny and is a comic farce exactly as much as it is a serious drama. "A Serious Flanders" would do better to actually model itself upon a serious show. Interesting Simpsons ep though. No lie.
For some reason I prefer the Fargo stories set in a more modern era than the period pieces. Granted, I wound up disliking Season 3, but I liked both the film and the first season better than Seasons 2 and 3 for that reason. This being set in 2019 feels more vital than the show usually does.
My only real note that could be confused for negative is Fargo used to be (after this episode it's not anymore) a show that cast movie stars that you can't believe are doing a weekly TV show, even for a season. Billy Bob Thornton, Kirsten Dunst, Ewan McGregor, Chris Freaking ROCK, this is the show that stars people who don't belong on television. I don't feel this season has that. John Hamm is the biggest name, but he's more known for TV than movies. I'm not saying I'm necessarily disappointed, but it is noticeable one of the (if not THE) biggest hooks and selling points of the series is a nonfactor this season. Okay, maybe I'm a LITTLE disappointed.
Off to a good start. Dot scares me on some level, which is partly why I like her. ****1/2.
Fargo "Trials And Tribulations"
I love Dotty and want nothing but wonderful things for her, Wayne, and Scottie.
I loved her threatening the mother-in-law. She actually loses the cute accent.
Roy the Sheriff is this season's Big Sociopath. He's another one of those characters the show invariably gives us with no redeeming virtues. Then again, say what you will about the devil that was Lorne Malvo. Every bad thing he did was apolitical. I am real-world angry at the Sheriff's actions, and feel extra outrage and sympathy on Dot's behalf.
Don't take a shot at and miss the nihilist. The Sheriff's side isn't all that hot if they are too dumb to understand this simple truth.
Dot is "a tiger", no less. Yes. Yes, she is.
I almost wish I had waited to binge this after the season was over. It's so good waiting week to week will be tough. ****1/2.
Fargo "The Paradox Of Intermediate Transactions"
The stuff with Munch was legit terrifying. The 500 year ago flashback also hints there are supernatural elements going on with the character. Either way he's frightening.
It's an appropriate question to ask whether supernatural elements are appropriate in the franchise at all. I guess the answer is I will roll with it for now.
Roy's phone call with Dot calling her Nadine drew the battle lines clear. I want bad things to happen to him and good things to happen to her.
I really like Witt and him standing up to Gator's racist bullying.
Felt like a bit of an unfinished note to leave the episode on, but that's Prestige Drama for you. ****.
Doctor Sleep by Stephen King
If Stephen King Book Club has taught me anything, it's that usually the more I reread King's stuff, the more flaws I find in it. Not gonna pretend there weren't one or two moments of that here, but rereading this made me realize that all of the things I initially loved about it are still true and still work. King often doesn't stand up to close scrutiny in hindsight. "The Shining" certainly does not and is a VERY sloppily conceived and written book, as exciting as it is. And it's also racist as hell.
None of that here. Aside from the story of the True Knot and Abra feeling more fully realized and less random than the ghosts and history of the Overlook, the tone of the book is something I love. You can argue it's a thriller, or a suspense novel, and there ARE elements of that. But I don't think it's a horror book at all. It's certainly not the least bit scary, as least not for the reader. As far as I'm concerned Dan Torrance and Abra Stone are gonna kick ass and take names and nothing disabuses me of that notion. What's especially refreshing to me is that basically all of the heroes and their families survive. Stephen King hasn't exactly lost his edge (the horrible ending of Revival is still in his future) but I think age has softened his cynicism. The heroes are allowed to run rings around Rose the Hat, Crow Daddy, and the rest of the detestable True Knot and we are allowed to enjoy Abra's cruel enjoyment of Rose's suffering, and Rose losing her cool because she never sees any of this coming. King has his share of purely enjoyable stories (see "Drunken Fireworks"). But this is his most enjoyable story with actual stakes and characters you care about. And yes, the sequel to "The Shining" is better than "The Shining". By far.
My favorite thing is that it's pretty much a sequel in name only. Yes, it follows a grown-up Dan Torrance and his struggles with alcoholism, and his literally fighting his demons, but it's really Abra's story, and not about where the traumas Danny experienced in the Overlook led him. And my favorite thing about that idea is when the Overlook is returned to at the end, and some of the ghosts return too, I am delighted that Danny took these monstrous haunting things from his childhood and turned them against his enemies. When Silent Sarey faces the rotting corpse of Horace Dewhurst, I was delighted. And when Dan waves goodbye to the ghost of his father from the Overlook who just saved his life from beyond the grave, we are reminded that not all ghosts are all bad.
Another thing I appreciate about this book is that King through Danny is able to acknowledge Jack Torrance was an abusive monster. He was also good, but the problem with King's miniseries adaptation is it acted like he was well-intentioned, and the bad things he did weren't REALLY his own fault. For the Jack Torrance I read in the novel, I thought he was a loathsome jerk who blamed everybody else for his own mistakes. King identifying so strongly with him instead is a really uncomfortable thing for me. King allowing Danny's view of his as sometimes scary and both good and bad is rewarding to me as someone who never bought King's idea that Jack was as much of a victim of the Overlook as anyone else.
I want to talk about all I loved about the book, and there so much. I love that part of Abra finds Crow Daddy alarmingly attractive and charming. I love that once Dan tells his rock bottom story at his 15th Anniversary A.A. Meeting he realizes the only person who think it's a big deal is him. (And let me say, I happen to think it was a crappy thing myself. But the fact that Dan thinks it's worse than it actually is a point in his favor). I like that as damaged an adult as Dan has turned into, his job still involves helping people with The Shining and essentially doing God's work. I like that Dan's final patient in the book is the horrible Fred Carlson and he has to comfort this guy he hates and help him cross over. I like that everybody surviving and Abra's first taste of booze taking things full circle for her family makes me want another sequel (which we certainly won't get). I love that Dan turns out to be Abra's literal uncle. It's probably the fact that he's her half-brother which is the only reason Lucy Stone doesn't throw him out on his ear. "You have quite a temper, Uncle Dan." I love that. Dan cannot escape the legacy of his abusive father. Luckily he has people to talk him down. I love that a lot of the chapter and book titles were literal callbacks to The Shining. Dan looking into the mirror and seeing his face full of flies was a spooky shock, and it was pleasurable learning the reason he had those flies, and what he did with them. The narrative is just plain strong throughout.
That's a long paragraph. Why did I go through all that great stuff so quickly and cursorily? Because I need to talk about the movie.
I HATE the movie. I think it is one of the worst adaptations of a King book I have ever seen. Maybe if the book weren't awesome, I wouldn't mind the changes it made. But it is, and everything they changed was for the worse. Including Dan not being related to Abra. The climax's villains being the Overlook hotel and its ghosts rather than Rose and the True Knot. Dan dying at the end. It killing off beloved characters who survived the book because it cynically believed it needed to be a horror film, and audiences wouldn't accept a sequel to The Shining without a bunch of cruel and gratuitous deaths. I believe this is actually the reason Kubrick killed off Dick Hallorann in his movie adaptation of The Shining. The Shining is a scary book, but all the heroes survive it, and cinema horror cannot abide that idea (unless the film is "Get Out").
I'll tell you one thing I don't like about Stephen King. He likes that movie. Because it has the same ending as "The Shining" novel, and he believes it fixed the problems Kubrick's adaptation had. The film was a sequel to the "The Shining" film, not the book. First of all, I don't much like Kubrick's version either. I think it has cinematic merit that is lost on King, but the truth is it's not really scary, and it's strikes me as beyond foolish that Kubrick adapted a ghost story while excising the ghosts because he supposedly didn't believe in them. I mean, what's the freaking point, then? I do however think that while King is right Nicholson probably shouldn't have been cast because it means you EXPECT Jack Torrance to go insane, the truth is Jack always being insane is a credible interpretation of the character whether King can admit that or not. King's vanity on the subject of "The Shining" is so irksome because he appreciates a film that did MUCH dirtier by his amazing and better sequel to that simply because it decided to "redeem" the first film. Where is King's artistic integrity to "Doctor Sleep" and how amazing a story it is in its own right? "The Shining" film was over 40 years in the past! I don't care about it anymore, and neither should King! It speaks poorly that King gives a stamp of approval on one of his finest books being destroyed because the director built the message "King was right about the first film" into the ending, instead of ending it the way it should have.
Before I forget: King Connections Of Note: Sequel to "The Shining", if not precisely a direct, linear one. Sarey's ability to make herself Dim is shared by Flagg in Eyes Of The Dragon, The Stand, and the The Dark Tower books. Inside View. One of the True Knot's "homebase" towns is supposedly Jerusalem's Lot which raises a HELL of a lot of questions for me.
I think my favorite King books are Wolves Of The Calla, The Dark Tower (VII), Black House, and Doctor Sleep. Of those four, I think Black House is the only one I love more (and it was cowritten by Peter Straub). Doctor Sleep is so strong to me because it's not precisely a sequel and has its own messages and things to say. And it's fun to see a bunch of heroes kicking ass and taking names. King should do that more often. He's really good at it. And yes, I believe the sequel is superior to "The Shining". FAR Superior. *****.
The Ballad Of Songbirds And Snakes by Suzanne Collins
I'll say this. It was slightly better than I expected, but I didn't expect much, so that's not a HUGE brag.
Collins uses third person narration for Snow, whereas Katniss Everdeen narrated her own story. Most of the book was predictable. The ending was better than Snow deserved, and frankly better than I ever reasonably could have hoped. So, while I will not rave over the book, I won't dismiss it either.
The most predictable things about the book are the fact that Snow started out both poor and compassionate. Of course he did. There is no Evil Origin Story worth telling here if he didn't. Him being made a Peacekeeper was a genuine surprise though. I also was surprised Lucy Gray WON The Hunger Games. I expected her death to be the thing that drove him to the dark side. In fact, her fate is unknown instead. I find it EXTREMELY unlikely she died, and she almost certainly made it to District 13. And I LIKE that. That as Snow is talking himself into accepting corruption, she is (probably) not penalized for loving and trusting him. To be the cautionary tale in a world that Collins had portrayed as positively miserable by Mockingjay.
You ever see the movie "The Game"? The "happy" ending shocks you because it's Fincher. You never saw it coming. The measured and ambiguous ending shocks me here because it's "The Hunger Games". And it's especially unusual because it's the origin story for that trilogy's greatest and most evil villain. What I find most refreshing about Snow's humble beginnings, and the fact that his wants and desires are completely naive, is that it makes his later evil actions his own decisions. Him talking himself into betraying Lucy Gray did not happen because a tragedy befell him that made him permanently vengeful and bitter. He just doesn't like digging up worms. And I love that Collins eschews the tragic origin for Snow because she refuses to give his later actions in both the original books and even the Epilogue the slightest benefit of the doubt. He could have been an all right dude. But he decided a cushy life was easier.
Third person or not, I found Snow's naivete a bit annoying compared to Katniss Everdeen's world weary wisdom. I don't think Katniss was ever as wise about people as she thought she was (I actually think she was on the autism spectrum) but when it came to sizing situations and politics up, her cunning is a definite contrast to Snow's indecisions and questioning of his role in all this. Katniss is a survivor. Snow is a whiner.
My favorite part of the book was the notion that Snow immediately and irrationally hates the Mockingjays. No good reason for it here, but it does give a good reason in hindsight why he was ALWAYS on Katniss Everdeen's case, when even a SLIGHTLY lighter touch in their encounters probably would have quelled any rebellious ideas surrounding her. It's the Mockingjay thing. He can't think rationally about it and it makes him go bananas and overboard. And I love that.
I think Collins was given an impossible task in writing a prequel to explain Snow's evil and ambition. And I don't think she fully succeeded. But she succeeded far better than anyone else in her position would have. Another person who wrote a similar trilogy in tone, and then tried this EXACT kind of prequel would have totally whiffed it instead. Not bad. ***1/2.
The Mysteries by Bill Watterson and John Kascht
I knew, KNEW going in this was not gonna be my thing, but it's the first major Watterson project in decades, and I'd be an idiot not to at least check it out.
The good news is it's a quick read, so my time wasn't wasted. I don't mind disliking an entire book I read in under ten minutes.
And maybe that was my problem. I suspect people were more suppose to stare and be amazed at the illustrations, and have this be a huge immersive experience to pour over, and not simply be a page turner. I understand this in my head and heart, and still quickly turned page after page. Why?
Because the art is freaking UGLY. It's unappealing. I have spent hours marveling over some of Watterson's more intricate Calvin & Hobbes splash panels because they are colorful and beautiful. The monochrome grotesqueries here have me flipping the pages FAST in revulsion instead of savoring the art. I have NO clue what this book's reception was. As far as I know, I could be the only person who does not "get" and love this book, and that fact could make me look foolish. But I'm not gonna look up reviews for it online beforehand and twist my opinions to more closely match them. I'm gonna be honest about what I thought, whether it makes me look uncultured and foolish or not. And it actually might. I didn't dig it. **.
no subject
Date: 2023-12-03 05:14 pm (UTC)But I'll want to watch the other Indy movies first. Crystal Skull was....ahem....disorienting, but oddly enough I don't remember watching Last Crusade or Temple of Doom, and since they're classics, I'm bound to see 'em at some point.
There was a point where I was pissed at Dial of Destiny for even existing after having heard about how Phoebe-Waller Bridge's vapid Mary Sue character was supposedly set to replace the now old, broken, and decrepit Indy, but hey, this movie can't possibly be unwatchable or as bad as Crystal Skull, so I'll give it a chance.
no subject
Date: 2023-12-03 05:22 pm (UTC)Indy has a female lead in almost all of the films, and with the notable exception of Willie in "Temple Of Doom" (yes, that's her actual name) they are always capable adventurers in their own right.
Also Temple Of Doom is awful and easily the worst film.
no subject
Date: 2023-12-04 11:53 am (UTC)Aside from that lot, I don't think I've heard from anyone who actively disliked Dial of Destiny. I thought it was a perfectly solid romp, and I appreciated how it tried something a little new with the formula. When they were in the plane and Indy reaised the thing about continental drift, I was thinking "oh, here we go, it's yet another 'bad guy gets macguffin only to be killed by it' ending. But then we GO TO ANCIENT GREECE AND MEET ARCHIMEDES. Can't top that.
no subject
Date: 2023-12-04 04:17 pm (UTC)