#The Contender bluray

[spryfilm]

Blu-ray review: “The Contender” (2000)

“The Contender” (2000) Drama Running Time: 126 minutes Written and Directed by: Rod Lurie Featuring: Gary Oldman, Joan Allen, Jeff Bridges, Christian Slater, William Petersen, Philip Baker Hall, Saul Rubinek and Sam Elliott Laine Hanson: “Principles only mean something when you stick to them when its inconvenient.” Critical Commentary “The Contender” is a political drama film directed by…

[alpaca-clouds]

Dungeons & Dragons - Or: Why Capitalism Sucks at Making Money

If this past year managed anything, it managed to get me really into DnD. Before I did not play DnD much, rather going with Shadowrun or (heavily homebrewed) World of Darkness. But with first Honor Among Thieves releasing - and then Baldur's Gate 3 giving me brainworms tadpoles... Yeah, hurray. New hyperfixation unlocked.

But as I started to read through all the lore, but also meta stuff happening around it. And yes, I quickly understood why basically everyone was frustrated with Hasbro and Wizards of the Coast. But I also think, that this betrays one of the big issues with capitalist logic and how it often fails to reach an audience - for the reason I outlined before: capitalists are actually super bad at realizing what works and why, because they only judge based on spread sheets.

And yes, the headline is hyperbolic. But let me explain.

A Community-Based Game

I mean, the biggest scandal of DnD this year was probably the entire thing about the community license. And this is very much something that shows quite well, how bad WotC is at recognizing why DnD works and has worked so long.

DnD centrally has been build around this idea of community. Now, mind you: This community was very, very focused on cis white guys for the longest time, but everybody else just managed to get in there and make their own little bit of community. Which also lead to a lot of homebrew stuff, that at times tackled some issues that the rules themselves did not address at all or not well. The combat wheelchair is probably the best known example of this.

But even outside of marginalized communities... DnD always thrived through the community aspect itself. People self-publishing magazines and adventures for it since the fucking 70s. As well as play sets, dice and what-have-you. DnD was always very much about all this and thrived through it. And now in came WotC saying: "Oh, yeah, actually you will now have to give us a big cut. (The big irony was, how Unity made the same move later on.) The fandom outcry was obviously big, there was a boycot, it worked. And WotC went all:

Of course they basically won the world competition in backpaddling (though again, Unity was a big contender this year as well) and quickly went back on this. But of course there is a problem: When your entire product is so much build around community and your community starts mistrusting you, you got a problem.

And this is basically what happened.

The Audience Problem

There is another problem of course. Financially the DnD movie failed - and I actually think this says a lot about how WotC kinda misunderstands the audience.

Now, there will be people trying to tell you, that given that the movie had great reviews and stuff. But the movie had a production budget of 150 million USD and only earned a bit more than 200 million on worldwide box office. Given that the marketing budget was likely around 30 million, the movie barely broke even.

Of course, part of the reason for it was that it just had a bad release date. It released parallel to the Super Mario movie, which ended up being one of the most successful movies of this year.

A friend of mine could not believe that the movie had financially flopped. They were like: "What the hell? Literally everyone I know who watched the movie went to cinema like three times to see it again." But... Yeah, that is true. But the issue is that these people are a very certain group.

Because lets make one thing clear: The people, who adored the movie so much, that they went to the cinema several times and bought the DVD/BluRay on release... were mostly queer nerds. Because this is the group of people who this movie spoke to.

And let's make this clear: I love the movie for this. I love that it so clearly went for this audience. Because I am part of this audience - and I adore this film.

But basically the movie has a general issue in terms of audience. Because on one hand the movie is too nerdy to have a wider audience appeal of people who had never played DnD, while on the other hand the movie was kinda not nerdy enough to go full force for the nerd audience.

A lot of people in the fandom have instantly sussed out one thing about the movie: "Why doesn't Edgin cast any spells? And why do we see so little of the weirder species?" And part of the reason undoubtedly was budget related. But the other reason is that... well, it is currently a well accepted wisdom in media production that you cannot sell a high-magic story. At least not outside of animated media.

Hence... There is surprisingly little magic being cast in this. And we also do have a mostly human main cast - or why Doric is the most classically pretty tiefling you have seen with her human skin tone and all of that. Because media productions do not trust the audience to accept high magic concepts.

Who is DnD actually for?

Okay, let me talk a bit about DnD 5e - and a good decision, and a bad decision. And how that affected DnD.

Everyone, who is somewhat into DnD probably knows that 5e massively changed the game. With one simple goal: Make it more accessible. Which manifested in several ways.

For one, the game was in some ways made less offensive. Because prior to 5e there was a ton of racism, sexism, queerphobia and ableism inherent to the game rules and times to the game lore. This is just a fact. Things like species that are inherently evil and stuff like that - and also some of the real-life racial coding inherent to some of the species. Removing all that stuff is a good thing. Like amazingly good.

And also, they made the rules a lot more accessible. Before the rules were bogged down with a lot of stuff, that was simplified or removed. Again, this is a good thing.

And this worked. It worked really well. Of course, this was also partly due to stuff like Critical Role and other actual plays like that happening and promoting the game. The player base probably increased ten-fold from what it was before.

Yes, it should also be noted that there is probably a good topic for a study on how formerly nerd-thingies became more and more mainstream during the last 10 years or so, but yes, DnD was one of those things.

But in this there was also a rather bad decision made, which ironically also mirrors what happened with Marvel. And this decision is: Because we want to reach a wider audience, every single thing we release for this has to reach the widest audience possible - rather than allowing that certain things might have a more specific audience.

I am sorry to talk about the MCU here, but it is just such a perfect example of this: The MCU basically made two mistakes. Overwhelming their audience with too many releases. But also not allowing the movies to be for a certain audience, but for the broadest audience possible. A good example is how they dealt with the minority-lead movies. They got directors and at times even writers from that minority - but then basically did not allow them to be too specific and be too critical of, for example, a racist system because that might not go over too well with white mainstream audiences.

Now, WotC did not really do anything like that. But they also went with this idea that everything they officially released should have the broadest possible appeal. Hence the weirdly low-magic approach to the movie, of which I assume that it definitely was an executive decision made.

The fact that the movie resonated so much with the queers more than anyone else was also not intended - at least not from the production company. Like, let's be honest. No, Xenk and Ed were not supposed to be read as romantic. And how appealing the found family trope was, probably was not intented at least on the side of Hasbro (not sure about screenwriters and director).

The Lore Problem

This perfectly connects to one of the big issues that all the franchises going for a broad appeal after being very nerd-focused for so long, run into: The Lore Problem. And this is quite ironic, because I ran into the problem earlier this year as well.

See, as I was writing fanfics for DnD:HAT I quickly ran into the problem that I knew next to nothing about the world of Faerûn. Sure, once upon a time (like between 2007 and 2011, while I was living in Austria with my then-boyfriend, who really was into those games) I played the old games of Neverwinter Nights and Baldur's Gate 1 + 2. But let's be frank: I barely remember shit from those games. And getting to understand what actually happened in the lore between and after... Well, there is just a ton of lore. I mean, people are playing around with this world for literal decades. So, yeah. This can very much be overwhelming for someone getting into it anew. Like, where can someone new even start?

The fact that - at least partly for legal reasons - most of the Actual Plays also do not work with the official lore, rather just using the rules to create their own worlds, obviously adds to this. Even the tables I played on so far always preferred original worlds, because the lore of DnD is just very intimidating.

The one thing that actuall ended up getting me into the lore was BG3, because it left open just the right questions to go into the Forgotten Realms wiki and just look for stuff, before also starting to listen to lore podcasts.

But here is the thing: WotC is also not helping with this issue. Like, they absolutel could create a proper accessible compendium on DnDBeyond that would just allow people to get an overview of the world and the timeline of things happening, maybe go into some of the major factions of the world and such. I mean, heck, they really, really want you to use DnD-Beyond rather than roll20. Yet, in DnD-Beyond I do not even have a monster compendium without paying, which roll20 offers.

Like, sure, WotC, it is okay to lock up the adventure modules behind a paywall, no problem. But if you do give me even the most basic tools to run a campaign, I am gonna use roll20, thank you very much.

But yeah, what WotC should make just more accessible was just: Timeline, important places and the maps (heck, make them interactive, you have the fucking money), maybe also a proper list of the pantheons and factions within the world. Heck, add maybe some inspiration there for what players might want to do within one of the scenarios and then, under this, go and link "hey, we made this one adventure about this, if you are interested!"

Something I did not realize originally was how much freedom the lore still leaves the people. Like, often even the important settings and events are just set-ups for adventures that the characters can have in there. There might be a few novels or comics then, that go into an example of a thing certain established characters like Drizzt or Elminster did during the time, but there is a ton of freedom to explore.

But by basically locking everything up behind a paywall, you will never get people even interested in this kinda stuff.

Because here is the thing: I like my lore. I love lore. I adore lore. But... Without BG3 explaining some stuff and giving me specific questions to ask about it, the lore would have been very inaccessible to me.

Just think of people as... people

Of course among it all there lies the central problem that comes with capitalism running something like this. See, whatever CEOs and shareholders are sitting on those chairs with WotC and Hasbro, they do not see the players as players or the community as a community, but as consumers. Just as they see their employees not as valued constributors, but very exchangable wage slaves.

They do not see the value of the community exchange with stuff like fanmade modules and things. While incorporating a bit of homebrew stuff in DnD Beyond, they are absolutely not interested in the wider market of people just creatively interacting with DnD and making a little bit of money from it. If anything they see those people as potential rivals on the market.

Heck, they have issues seeing things like Critical Role or Roll20 as the enrichment for the franchise that either are - but more like potential rivaling forces and money they have lost.

And their employees? Yeah, as we learned... Most people who from the side of WotC helped the Larian team with BG3 have been let go by now. Because WotC and Hasbro do not care for their employees, they only care about having some numbers going up.

I fully admit it. Apart from Buying BG3 and the money I have invested in anything DnD:HAT related, the only money that WotC got from me, was some of the novels I bought on Audible.

But here is the thing: WotC is doing a shite job at wanting me to invest into any of their stuff. Partly because those modules I would like to have are not available anywhere anyway - and partly because... As I said, give me a reason to get something, rather than just expecting me to randomly get something.

And mind you, this is no slight against any of the people just working for WotC. This is mostly about shareholder and executive decisions made. Stuff that basically just sees either their employers or the players just as a ressource to exploit, rather than... people.

[nitrateglow]

So, I just upgraded my copy of Wait Until Dark to blu-ray, and as I was watching the opening scene with our three criminals, I started thinking about something...I don't think I've ever asked you this, lol...

What do you think Roat would have done if Mike hadn't insisted on looking inside the closet? If he and Carlino had agreed to do the job and just left? How would Roat have kept the two of them on the hook, so to speak?

Also, what do you think they would have done if Susy had not gone to Sam's studio? If Sam had told her that he wasn't going to wait for Leciana anymore, and he'd be home in 20 minutes...do you think they would have just bolted, leaving Lisa's body hanging on the closet door?

Time for a long answer. May God have mercy on my soul.

Btw good on upgrading to bluray. The bluray's image quality is so dramatically superior to the greyed out looking DVD.

As for your questions--

If Mike hadn't insisted on looking in the closet, I think Roat would have tried guiding him to the bedroom indirectly-- or directly, I suppose, if he felt Mike was too dense/stubborn. Lisa being dead is a big part of the con plot, so even if they were like "yeah we'll work with you" and even if they were like "cool you killed Lisa, I hated her," knowing she is dead and dumping the corpse where it will be found is still part of the story, so he very well can't have them leave without knowing. And even if they were like "oh no, you killed Lisa :( we thought you were cool," it still suits Roat's purposes. This whole mission is just as much about Roat having a good time as it is retrieving the drugs (something Arkin has said in a lot of interviews), and his idea of a good time is manipulating and controlling people. He ain't here to make friends.

If Sam had claimed he was coming home ASAP, Roat would have probably done what he did in the same scene in the original play-- call Sam up, pretend to be Liciana's assistant, and beg him to wait a bit longer to buy more time. Only it probably would have been at the phone booth, after sneaking out of the apartment-- which would have been a feat in and of itself given Susy's now staying put, but still doable depending on what she was doing/what room she was in.

If Sam was still going to wait longer and Susy planned on staying home, that could've gotten very unpleasant fast. Leaving the corpse behind would be the worst-case scenario since it would invite the cops over, delay getting the heroin back, risk the heroin being discovered by the police, etc. Really, the ideal scenario here would be the men being able to somehow lure Susy out of the apartment and then distract her outside while the other two move the corpse in the carpet to Roat's Scooby Doo van. It would be hard for them to communicate wordlessly with her there, but they manage it a few times in the actual movie, so who knows? (That would dance on the edge of farce. I’m just chuckling imagining it.)

And if they couldn't lure her out and weren't willing to leave the stiff in the closet? Well, that could get grisly.

While rewatching the movie the other day, I noticed when Susy floats the idea of waiting at home, the film cuts to a reaction shot of Roat and he doesn’t look nervous or even annoyed at the potential downfall of his entire scheme (see the clip above, starting at the 2 minute mark). He looks intrigued, but it’s hard to get a read on why that might be.

Because he likes the challenge? Or because he might get to skip to the physical violence?

If he did plan on just skipping to threats of arson and murder, he would still have the other two to contend with and I imagine he might suspect they may be squeamish about physically torturing an innocent woman. That whole thing could’ve been a shitshow and a whole other story entirely. Probably more like a giallo.

That was a fun question! Thanks for the ask.

[sunshine304]

Movies watched in 2021: Crazy Rich Asians

This movie is actually hard to come by! I missed it in the cinema where it only had a limited run I think. There’s been no DVD/BluRay release in German, which is an atrocity. They had it on Netflix but only until the end of 2020 when I’d just gotten it so I missed out on that, too. And then finally it aired on one of the regular tv channels with what feels like 1 year of commercials. >:(

Anyway, I recorded that and now I’ve watched it, finally!

Rachel (Constance Wu) and Nick (Henry Golding) have been in a relationship for a year when Henry has to go back to his family in Singapore, since his best friend is getting married and he’s the best man. He takes Rachel with him, but has neglected to tell her one little detail about his family: they’re filthy rich. Like, outrageously rich. Rachel is understandably wary of it all, but resolves to try and make a good impression on his family, especially Henry’s strict mother (Michelle Yeoh). Easier said then done, since she is not only from a poor background but also American Chinese, an even bigger affront.

I really enjoyed this movie a lot! It’s really funny in the beginning and then turns a bit more serious and heartfelt. The romance is cute and I was rooting for them. Constance Wu as Rachel is super likable and I was feeling quite bad for her when she found out about Henry’s wealth. I get why he did it, especially after meeting the women that usually frequent his circle - Rachel is just so normal and likes him for who he is and not because he’s the heir to a crazy amount of money. Still, perhaps telling her before actually flying over to meet the family would’ve been really nice.

I liked many of the side characters, too. Gemma Chan (as Henry’s sister) is a goddess and I was suffering along with her. Awkwafina was fun as Rachel’s former college friend who is rich but not that rich. XD The friends of Henry who get married are also really likable (and that poor guy’s stag uhm weekend was awful!!).

I’ve seen some comments that people don’t get the hype about this movie since it’s „just an average romcom“. Yeah, that’s kinda the point? It’s a fun and enjoyable two hour romcom, but this time all the characters are Asian. And it doesn’t matter all that much, because the tropes are just the same as in your typical Hollywood romcom. That’s actually what progress looks like. It’s a movie with an all Asian cast that you can simply enjoy for what it is without having to read up on several cultural and historical backgrounds first because you otherwise won’t understand a lot of the story (because that’s usually the Asian movies we get over here - edited down martial arts movies and the indie awards contender).

Highly recommended.

(Here have the scene that’s not actually in the movie. I actually questioned myself when I read that Harry Shum Jr. was supposedly in this movie and then I didn’t recognise him anywhere. Hoping for a sequel because I want these unbelievably pretty people to end up together. XD)

[n0nb1narycode]

Blu Christmas Holiday Movie Asplosion 2022! ⛄ Chapter 13: Die Hard 🦌 I end this little 'are they really holiday/Christmas movies, yes they are' block with one of the most argued/contended, which is really quite silly, as it's absolutely a Christmas movie, and a great one at that! It also set a new benchmark/blueprint for the action genre, which was starting to grow tired of the uber-macho musclebound ones that dominated most of the 80s. People actually enjoying/preferring a fallible and vulnerable "hero"? More likely than you think... Also, Alan Rickman was a gift, a gift to us all. "Now I have a machine gun...Ho. Ho. Ho." "You ask for miracles, Theo, I give you the F.. B.. I.." (and anyone who doesn't love Reginald VelJohnson is a monster) What a delightful movie. "Come out to the coast, we'll get together, have a few laughs" 🌲 ❄️ 🎄 🎅 #DieHard #1988 #BruceWillis #AlanRickman #BonnieBedelia #ReginaldVelJohnson #PaulGleason #JohnMcTiernan #NowiHaveAMachineGunHoHoHo #YouAskForMiraclesTheoiGiveYouTheFBI #ComeOutToTheCoastWellGetTogetherHaveAFewLaughs #yippeekiyaymotherfucker #BluChristmasHolidayMovieAsplosion2022 #iLoveMovies #christmasmovies #holidaymovies #xmas #christmasspecials #holidayfilms #holidays #movies #christmas #iLoveChristmas #blurays #bluray #4K #MovieNerd #abluchristmas #christmasfilms #christmasmoviemarathon https://www.instagram.com/p/CliE7ZwOFMiK5krv1qvUj75sC6js58uy6fzbMc0/?igshid=NGJjMDIxMWI=

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Body Heat 2010 Bluray 1gb Full English Movie Download 720p

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Body Heat - Official Trailer

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Body Heat video on demand from Digital Playground. Studs Scott Nails, Manuel Ferrera, Evan Stone and Tommy Gunn ignite the action in this to die for movie.

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Mexican Sergio Perez has signed to race for Red Bull alongside Max Verstappen next year.

The 30-year-old, who took his maiden win in the Sakhir Grand Prix, replaces British-Thai Alex Albon, who will stay with the team as reserve driver.

Red Bull said Perez had signed "initially on a one-year contract".

"Alex is a valued member of the team and we thought long and hard about this decision," team boss Christian Horner said.

"Having taken our time to evaluate all the relevant data and performances we have decided that Sergio is the right driver to partner Max for 2021.

"Alex remains an important part of our team as test and reserve driver with a key focus on 2022 development and we would like to thank him for his hard work and contribution."

Red Bull decided Albon had not performed strongly enough in his 18 months with the team to justify continuing in a race seat.

And Horner said it had been "impossible to ignore Sergio's performance in Racing Point, particularly in the second half of the season".

He added that Albon was still a potential contender for a race seat in 2022.

It is Perez's first chance in a genuine front-running car in a decade-lone Formula 1 career.

Perez said he was "incredibly grateful for the opportunity".

He added: "The chance to race for a championship contending team is something I have been hoping for since I joined F1 and it will be a proud moment to step onto the grid in Red Bull colours alongside Max.

"You can be sure that I will give next season my full focus. The team has the same winning mentality as me and I know I am here to perform and help the team fight for another title."

Horner said it would have been an "injustice" if Perez had not had a seat in F1 next year after such an impressive 2020, but added that the driver was "realistic" about what to expect going up against Verstappen.

"He knows the quality of Max," Horner said. "He's a seasoned racer now. He has a huge amount of experience. He knows what he's going up against and the quality of Max, who has been in immense form the last couple of years. I don't think he underestimates that challenge in any shape or form but he's absolutely delighted to get the opportunity and prove himself."

Perez was in danger of losing his seat in the sport following Racing Point's decision to sign four-time champion Sebastian Vettel on a three-year deal from 2021 to partner Lance Stroll, son of team owner Lawrence Stroll.

The Red Bull seat offered him a lifeline which many will feel his performances this season justified.

Perez missed two races in the summer after contracting coronavirus but still finished fourth in the drivers' championship behind Mercedes drivers Lewis Hamilton and Valtteri Bottas, and Verstappen.

His victory in Bahrain came after an outstanding drive in which he was last on the first lap after being crashed into by Ferrari's Charles Leclerc, but fought his way back through the field before benefiting from problems that took out the Mercedes of George Russell, substituting for Hamilton, and Bottas.

He also scored a second place in the rain-hit Turkish Grand Prix in November.

Perez made his F1 debut for Sauber 2011, taking a second place for the team at the 2012 Malaysian Grand Prix. His performances there earned him a place at McLaren for 2013, but the team were beginning a competitive decline and he was dropped after one year, partly as a result of a political fight between chairman Ron Dennis and managing director Martin Whitmarsh.

Perez joined what was then called Force India in 2014 and had stayed there ever since, and was instrumental in forcing the administration process that ousted former owner Vijay Mallya and allowed Stroll to buy the team.

Despite driving for midfield teams his entire career, Perez has scored a podium in six of his nine seasons in F1.

Red Bull gave Albon every opportunity to justify them keeping him in the seat, but the team were not convinced.

He was out-qualified by Verstappen at every single race in 2020, and was on average 0.523 seconds a lap slower.

In races, while Verstappen took two wins and nine other podiums finishes in 17 races, Albon's best results were two third places in the Tuscan and Bahrain Grands Prix.

He also spun when contending for strong finishes at the Emilia Romagna and Turkish races.

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[skistarmovies]

Attack of La Nina  (Matchstick Productions 2011)

SkiStar Movies Review: 4/5 Stars

Mark Abma, Sean Pettit, Eric Hjorleifson, Rory Bushfield, Henrik Windstedt, Cody Townsend, Jacob Wester, Ingrid Backstrom, Bobby Brown, Gus Kenworthy, Richard Permin, Colby West, James Heim, Callum Pettit, Alex Schlopy, Russ Henshaw, Torin Yater-Wallace.

 Directors: Steve Winter, Murray Wais, Scott Gaffney

 Matchstick’s ski movies are a big deal.  The have big budgets that allow them to do big things like rent loads of helicopters and fly to out of the way big mountain locations to film their crew of boss skiers as they race around like super heroes.  They can afford big things like Cineflex cameras which render mountain vistas so clearly that watching the BluRay on a big screen is like looking out a window.  It’s not a stretch to say that when autumn rolls around there’s a lot of us looking forward to what Matchstick will deliver.  Last year’s The Way I See It satisfied the cravings of all discerning ski movie heads and walked off with Powder’s 2011 Movie of the Year award as well as the Best Film and the People’s Choice Award at the 2010 IF3.  It was a movie that lived up to the hype and moved the whole genre ahead a step in its use of those wicked gyro-stabilized cameras.  Attack of La Nina arrives as a bit of mixed blessing then.  You get all the cool stuff you’d expect, as I have just described but here’s the downside: it comes in pretty much the exact same layout as last year.  “Haven’t we seen this before”, says Cody Townsend when he mockingly reprises his star turn from last year in the lead up to AOLN’s big final sequence.  Yes, Cody we did.  We saw the whole damn thing.

 In what is becoming a tradition, having been the opening slot for the past three movies is Sean Pettit tearing it up.  Then comes some big air with Bobby Brown and Gus Kenworthy popping off kickers in slow motion.  There are backcountry pillows with Hjorleifson and Abma.  There’s comedy with Cody West.  There’s more big air in Aleyska, AK.  There’s Ingrid Backstrom and crew exploring some relatively untouched British Columbian mountains: last year it was Bralorne, this year it’s the Meager Group, up past Pemberton.  And then, to wrap it all up and put a bow on it, Windstedt and Townsend do their two-man mountain slaying crew show. 

 But when you think about it, this complaint is superficial.  If you make this charge against AOLN, then what must you say about every Sunday afternoon NFL game or any mainstream pro sport broadcast for that matter.  It’s the same format because that’s what works to bring you the action.  And be honest, you’re not watching it for the format, though that plays it’s role in allowing the story of the game to unfold.  You are watching it for the action, the skill and the excitement.

 Freeskiing and the role ski movies play in freesking have a symbiosis unlike your everyday pro sports.  Action sports take place in far-flung locations.  There are no bleachers for which you can buy a ticket to watch James Heim shred 60 degree mountain faces.  You either fly the heli for him or you wait eight months for the movie to come out so you can see what level he’s skiing at.  Ski movies are the Sunday afternoon NFL game.  They might be produced by independent film crews but they serve the same role as NBC, ABC, CBS or cable sports do for the major leagues.  They are the crucial broadcasts that get the word out about the sport.   As I have argued elsewhere, at their best, these movies are art.  At a minimum, the athleticism alone makes a well-done ski movie a jaw-dropping thrill.

 So, with AOLN, I think it’s fitting that we look at some of the athletes instead of the “packaging” that surrounds their performance.  While I might not do that with every ski movie, it’s fitting with Matchstick’s crew because the skill achievements among the core group here is on par with the best of the best in any other sport.  Imagine not one Gretzky on your hockey team, but six of them. How about a half dozen Kobe Bryants?  AOLN’s roster of talent is simply awe-inspiring.

 19 year-old Sean Pettit’s audacious style continues to tighten to the point where he now resembles a Maserati whipping through mountain roads.  He has terrific control on the tightest of turns and the most vertical of pillow descents.  Whereas two years ago he’d execute a straight cliff huck, the same move this year usually comes with a 360.  He continually pushes his limits.  Factor in his class clown persona and it adds up to one thing:  Pettit’s a bona fide star.

 Richard Permin is the new guy.  After a solid intro in last year’s film he’s been given a higher profile in AOLN, skiing with Pettit.  A transplant from France he’s got boundless energy and a fearless approach to the steeps that makes him a contender for the Full Throttle Award at all times.  He also has the best line of the movie when after stomping a particularly massive hard huck, he groans “I can’t understand how Seth Morrison can do that shit everyday”.

 Mark Abma blows his knee again this year (not the same knee as last year) but not before getting a load of sequences in the can, so we’re fortunate to witness some of the most agile skiing possible.  Abma skiis powder like he’s on springs.  He’s got a little bounce that punctuates his already fluid style.   His corked spins off windblown, natural backcountry kickers in slow motion ought to be declared a national treasure by the Canadian Government.

 James Heim and Eric Hjorleifson come across like two of the easiest going guys on the planet.   Two very chill dudes.  Until you put them at the top of some gnarly big mountain line and then it’s all fireworks with balls-to-the-wall skiing. Both guys, with their helmet-cam sequences filmed at Meadow Lodge B.C., bring home some vertigo-inducing, adrenaline-spiked shots that are going to make most viewers scream “Whoa”.

 Bobby Brown’s spins and flips seem endless as he logs in a substantial amount of screen time here.  His triples now seem effortless, just pure grace in the air. 

 Lastly, Cody Townsend and Henrik Windstedt ski the bejeezus out of the mountains near Terrace, B.C.   The steep faces they go after and their cliff hucks are the highlight reel that you play for your buddies who might not watch a lot of ski movies, just to give them a taste of what’s going on in the genre.  Townsend takes a nasty hit; I’m not going to say “fall” or “spill” because he actually flies off the mountain into rocks.  Somehow he defied death.  Frankly, not the type of stuff I want to see all the time but definitely a reminder of the danger these athletes face when they walk into their “arenas”.

 Focus on the skiing and not the format this year with Matchstick.  These athletes are the shit.     By Mark “The Attorney General” Quail

  Watch the Trailer for Attack of La Nina

http://www.youtube.com/watch?v=KNI0ZKPA48A

[downordic-blog]

Project A II

Dragon is now transferred to be the police head of Sai Wan district, and has to contend with a gangster kingpin, anti-Manchu revolutionaries, some runaway pirates, Manchu Loyalists and a corrupt police superintendent.

Project.A.2.1987.1080p.BluRay.DTS-HD-MA.Nordic-EvilGoat Project A 2 1987 IMDB..........: https://www.imdb.com/title/tt0092501 GENRE.........: Action, Comedy, Crime RELEASED......: ON DANiSHBiTS KiLDE.........: BluRay LYD...........: DTS HD MA, English UNDERTEKSTER..: DK, NO, SE, FI ENCODER.......: EvilGoat FORMAT........: H264 - 6500kbps Read the full article

[sportsmafiaworld-blog]

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[love-midnight-sunshine]

Genre: Drama, Mystery 

Language: Japanese (Eng-Sub)

IMDb Ratings: 5.3/10

Quality: BluRay

Movie Size: 720p (1.03GB), 1080p (2.12GB) (5.1)

Director: Keishi Ohtomo

Movie Cast: Tatsuya Fujiwara, Elaiza Ikeda, Asaya Kimijima

Download Here -     

Sypnosis: Kazuo is down on his luck. He has had to work two jobs, pay his missing younger brother's debts and contend with a departed wife and child. His luck seems to turn around when he wins the lottery and is an instant millionaire. He is wise to how many lottery winners and millionaires turn out unhappy and seeks the counsel of his rich friend Tsukumo. This leads to his money and friend disappearing.

Watch Trailer

Screenshot

[100wordanime]

Yes, this post has been inspired by Darling in the Franxx’s Zero Two, unfortunately she doesn’t get a place on the list due to the uncertainty about how her character will develop from here.

Certainly she has all the traits of the characters below so far. Obsessively possessive of her chosen ‘Darling’, not entirely needing consent though does appreciate the thought, and willing to cut other people out of their ‘Darling’s’ lives if necessary. I’m pretty sure you can guess some of the names below but as always, I’d love to know who you would have included on your list. Which anime character do you think loves their ‘Darling’ to death?

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Announced – Pre-orders opening soon. 

Please note: There will be spoilers below.

Honourable mentions: Zero Two of course.

Number 5: Misa Amane from Death Note

There is no surprise that Misa made this list. The cute, sweet idol obsessed with Kira. She latches onto Light and promises to be helpful. She’ll follow his every command and do as he says. But no, he cannot date anyone else and no he cannot even pretend to be with other girls. Why? Because she’ll kill them in an instant and does not care that they may bring the police down on both of them. Misa was never one for a strategy. She went straight after what she wanted and what she wanted was Light’s absolute loyalty. And while Misa never did get Light killed, that was more good luck than good management. If it hadn’t been for her he would never have had to go through the whole confinement thing which would have made life a lot easier for him later.

Number 4: Haru from My Little Monster

Now, Haru is an interesting character and a lot of the time his bizarre actions are more a lack of understanding of norms than actual malice, and yet threatening to rape a girl the day after you met her is kind of extreme. The fact that these two end up being an adorable couple is kind of terrifying when put in that context, mostly because Shizuku spends a lot of time putting some very clear boundaries in place, particularly when he did punch her (technically an accident but still not cool). However, while Haru becomes far better at moderating his behaviour as directed toward Shizuku, Kenji Yamaguchi, who also kind of likes Shizuku, is not so lucky. At one point Haru nearly pushed him off a flight of stairs and was only stopped because he was distracted by Shizuku and another time Haru made it clear that his change in behaviour only applied to Shizuku. Not exactly an amazing example of reform or healthy relationships really. Fortunately though, no deaths in the show. It is a romantic comedy despite the serious doses of ‘what’ going on in Haru’s character description.

Number 3: Creed Diskenth from Black Cat

The guy is just obsessed with Train. That’s literally hit entire motivation and reason for being. He follows Train within the Chronos organisation and when Train leaves he completely loses it. The fact that Train left after being influenced by a friend (possibly closer than a friend) truly infuriated Creed and so Creed killed her. And then made sure Train knew that he had killed her. A lot of the time it is unclear is Creed is trying to kill Train or confine him or just mess with him but basically Creed is pretty stable as a character (as much as possible for a villain), until you throw Train into the mix and then he is a complete and utter psycho. I guess it never really occurred to him that Train legitimately did not care about him at all until he killed Saya. And even then, Train didn’t actually care about Creed. He just wanted to destroy the person who destroyed Saya. It didn’t matter that it was Creed. Again, Creed doesn’t manage to kill Train but he does come very close on multiple occasions.

Number 2: Yuno Gasai from Future Diary

I can already hear people asking, why is Yuno not number one on this list. And certainly, if we were just going with being crazy, Yuno is definitely a good contender. Still, in terms of loving their Darling to death, Yuno’s got some fierce competition. Mostly because I’m not entirely certain how much Yuno actually is in love rather than just obsessed with Amano. On the other hand, she’s one of the few people on this list who did in fact kill her Darling, even if it was in another timeline. So, basically, she swears to protect him in the death game, but mid-way through she tries confining him by tying him to a chair. Afterwards we learn that previously these two were the last two left standing and she killed him in order to be the victor and then she’s killed her past-self, inserted herself into that life, and done the whole thing again. You just have to wonder if she expected it to end differently the next time.

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US – Bluray

Number 1: Road Kamelot from D Gray Man

It absolutely had to be Road. She is a truly sadistic character who is, unfortunately for Allen, obsessed with our white haired exorcist friend. Mid-battle she can go from attacking him with kisses to shoving a spike through his eye in about the space of a heart beat and she sure doesn’t care about anyone near Allen, unless she thinks she can torture him by hurting them. Her obsession runs deep and she’s more than once allowed him to live when she could have killed him, but that doesn’t mean she hasn’t had a fair go at inflicting quite a bit of pain on him. D Gray Man Hallow saw her assisting him from her doll form, though whether that will continue or whether she is just leading him to yet another disaster is anyone’s guess unless we get another continuation of the anime (or, you know I could eventually read the source material). Either way, Road was the first character I thought of for this list. She is ice cold, completely obsessed, and has a real taste for pain.

Thanks for reading.

Karandi James

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  Tuesday's Top 5: Characters Who Love Their 'Darling' To Death Yes, this post has been inspired by Darling in the Franxx's Zero Two, unfortunately she doesn't get a place on the list due to the uncertainty about how her character will develop from here.

[n0nb1narycode]

I tend to loosely watch most of these each year in an order from least favorite to favorite, though not counting new ones of course, or special groupings or blocks, and I also keep changing the order anyway...In any case, we have now come to the top three. ❄️ 🎄I'll Have a Blu Christmas Holiday Movie 'Asplosion 2021!🎄 💿 Chapter 60: Miracle on 34th Street 🎞️ To be fair, any given year I may've wanted the George C. Scott Christmas Carol and possibly The Muppet Christmas Carol as well above this one in this loose order, other times not-- but I wanted a Christmas Carol block, and this is an excellent classic regardless, so it's perfectly fitting in the # 3 position. And Edmund Gwenn is the other primary contender for "is this perhaps the Real fantastical winter lord, Santa Claus himself?" ⛄ • • • • • #MiracleOn34thStreet #1947 #MiracleOn34thStreet1947 (#TheOriginal ) #EdmundGwenn #MaureenOHara #NatalieWood #WilliamFrawley #JackAlbertson #JohnPayne #GeneLockhart #TheRealSantaClaus 🤔 #SantaClaus #illHaveABluChristmasHolidayMovieAsplosion2021 #iLoveMovies #christmasmovies #holidaymovies #xmas #christmasspecials #holidayfilms #holidays #movies #christmas #iLoveChristmas #blurays #bluray #MovieNerd #abluchristmas #christmasfilms #christmasmoviemarathon (at Jersey City, New Jersey) https://www.instagram.com/p/CXub11qtpkU/?utm_medium=tumblr

[angel-of-spn]

Was making Reylo playlist and came across this gem. If this doesn’t SCREAM Reylo idk what does: (someone make mv with this - I will when I’ll have bluray footage of the latest movie)

Love, I have wounds, Only you can mend, You can mend. I guess that's love, I can't pretend, I can't pretend. (Kylo has wounds he knows only Rey can mend and he realizes that’s what love is - helping the one you love. he can’t pretend anymore he doesn’t love Rey) Feel, my skin is rough, But it can be cleansed, It can be cleansed. And my arms are tough, But they can be bent, They can be bent.  (he can be rough around edges, he has faults but he can do better - he won’t be 100% GOOD but he can bend - be better)   

And I wanna fight, But I can't contend. I guess that's love, I can't pretend, I can't pretend. (on the other hand, he wants to fight it, trying to say he doesn’t love her (he can’t love her, he’s Dark) but he can’t argue against it - he loves her and he can’t pretend otherwise (anymore)) Oh, feel our bodies grow, And our souls they blend. Yeah love I hope you know, How much my heart depends. (they both grow after their first meeting and their fight, they have a soulbond now. he hopes Rey knows how much his heart is controlled by his love for her)

[thejohncamp3ablog]

Is the DCEU in trouble, i don't think so by looking at the stats!

Contrary to popular belief, i think all in all DCEU will emerge as the winner in the long run !

A few things based on some hard facts and numbers rather than opinion and of course, I do point some speculation, which can be perceived as my own opinion in regards to the success of the DCEU or DC Films.

We have all been witness to internet false news, scoops that don’t turn out true, negative articles towards the DC Extended Universe. So far it sounds like a bunch of old man that do not want to see Super hero movies with a deeper script than punch, get punched, fight back!

It started with Man of Steel back in 2013, which critics call divisive, but monetary the movie is the biggest Superman solo grossing movie, now in terms of sold seats Superman 1978 might take the crown, but back in 1978 we didn’t also have piracy on the internet, BluRay/DVD sales, streaming etc. , so let’s just assume that a movie did what it did and then VHS sales were hard to track due to the lack of internet, tracking sites and tools for us mortals to use and find how much it generated after being released on home entertainment. I am sure that someone at Warner’s knows how much it did in VHS sales, but I personally don’t have this info. Basically, coming to the conclusion that both movies did fairly good in their respective times and conditions of release.

Man of Steel finished it’s run at 668 Million USD worldwide and added another 67 Million in DVD sales, that’s it not including the money it made from streaming and TV rights to various giants like Netflix. Now with all that being said, a Rotten Tomatoes score of 55 % is a bit of a head scratcher to me, since this movie has great and complex story, amazing visuals and one of the best musical scores out there for a superhero movie, along with TDK trilogy, Superman 78, Spider-man original trilogy, Batman 89 etc. You can like it or hate it, still the movie launched the DCEU and made many people that laughed at the idea of a Superman movie in 2013, after Superman Returns performed not especially high for WB, watch out for his next movies.

Now Batman v Superman and Suicide Squad the next movies in line to come out from the DCEU were bashed critically by the same RT reviewers, even worse than MOS, again the movies both performed very good in the Box Office, enough so that combined with Wonder Woman, it gave them enough money to go past the critically beloved MCU both domestically and internationally on average gross per movie. Have in mind that Marvel the teacher’s pet and favorite, is now a franchise associated with success on critical and financial terms, where there is turmoil just as much as any studio, directors leave, writers leave, people get replaced in parts without re-boots etc., but lacks the same negative press 24/7.

What I look at today is the more facts versus hear say, facts are that currently, the DCEU is doing the following average numbers per movie domestically $339,513,662 Million and internationally $776.500.000 Million, compared to Marvel’s Cinematic Universe $291,576,450 Million domestic average per movie gross and $743.700.000 Million. So, all said and done, if DC keeps on giving in the same financial aspect, we can expect the average gross per movie to remain in DC’s favor, I don’t see how Justice League doesn’t do 850 M plus or much more ( 1 Billion is the magic number) and I from what we have seen and heard about Aquaman, I think it is safe to say it will be really easy to reach that 800 M mark, which is all it needs for the trend to continue in 5 movies, reaching a good 5 Billion in 6 movies. For comparison, MCU’s first 6 generated around 3.8 Billion and they all were highly praised.

Now here is where things get interesting, we are waiting for a Batman movie by Matt Reeves, who made an Ape franchise profitable and this is something that we have seen lately, where anything non superhero related tanking at the BO, so expect The Batman to be a smash for WB. It’s possible that he gets back to his Billion dollar days as seen previously with Nolan’s last two movies, and as reported WB/DC are looking to do a trilogy. So we might be looking at a 3 Billion franchise there alone, something no Marvel solo character has done so far. Also, coming up is a Suicide Squad 2, a movie which in the hands of a great director like Gavin O'Connor could overperform the first one (made 745 M USD worldwide without China). So with a critically loved sequel, a better script and a great villain, this is another contender for the 800 M + club. Then we have Wonder Woman 2, the first movie is now closing in at 819 M worldwide gross, which we already know the sequel will beat as internationally people didn’t know the character as well as they do other properties from the 90s. We know superheroes can move pass 400 M USD worldwide once they are established to the local audience, so with WW2, i personally expect a 850 M + worldwide gross or more.

Then we have the Flash movie that will feature a Flashpoint story, and probably will feature some additional characters like Wonder Woman and others, so you know with the popularity of the TV show we are in for a winner here, another possible 800 M + movie is a no brainer. Batgirl by Joss, I would say, based on female lead action movies resurgence and adding the fact that DCEU fans will turn up to see it, it’s possible that this will be a 600 M + movie or least have this to be its finish number worldwide. Joker origin movie with Martin S. producing, that could be huge, depending on who they cast and the look and feel of the movie, Nightwing is another movie that by associating itself with the Bat world is a 650 M + optionally, Gotham City Sirens with a brand new Catwoman another one that can easily do 650 M +. Black Adam and Shazam, based on the fact one has the Rock and the other will be a more fun kid oriented flick, both can overperform, but at their lowest we are looking at 600 M +, then we have a Green Lantern Corps movie, which if done right can be a contender for those upper 800-900 M + BO numbers, if done right! So, with the DCEU ranking in good money, and possible sequels for Justice League and Batman, Wonder Woman fighting for that billion spot, I am definitely not worried for them.

On the other hand, Marvel are still protected by the fake news media, and their whole YouTube movie talk family, taking it easy on all their movies by default. But facts are Spider-man Homecoming (who’s profit went to Sony not Disney just FYI) is considered a success, but all I see is a Spider-man movie featuring the biggest seller in the Marvel family Iron Man that is still behind Spider-man 3 which was terrible! Also let’s not forget that Spider-man’s IP (Intellectual Property -all rights to merch and games etc.) is 3 times more valuable than Superman and Batman combined, so when MCU fans attack Batman V Superman for underperforming at 832 Million, then considering popularity, a single Spider-man movie should be easily a 1.5 + Billion dollar movie following that logic right?

I see Inhumans (already cancelled by ABC for a 2nd season) and Iron Fist holding the records for lowest rated superhero shows and movies with 7% and 17 % and I see a Defenders show in Netflix that didn’t perform better than any of the solo stuff on Netflix in terms of streaming numbers. Also, all MCU movies featuring the Avengers like: Marvel’s the Avengers, Age of Ultron and Civil War have performed with a 100 Million or more less in the BO over time, so if Infinity War doesn’t manage to rake in more than the original movie back in 2012, then the budget of the movie will kill it financially. People try to compare it to how Star Wars The Force Awakens performed in the BO* (BO- Box office), but that movie was 40 years in the making since the first original hit cinemas in 1977, and no one considers the prequels (episode 1 to 3) as successful and they didn’t really feature the original cast. So with that being said, with MCU giving people 2-3 movies per year, I think their audience has been solid but, not really taking them past a billion very often, so lets say this movie is a bigger event that The Avengers back in 2012, should be able to make 1.6-1.8 Billion right? Well, the only thing we haven’t seen from them is a full cast assembly and a good villain, the first is promised, the second is very doubtful for now. Anyway, I don’t think Infinity War will win general audience, with a plot about magic stones as much as MCU fans think, and I don’t think a pink giant will be a villain that will have regular movie goers running to the cinema, but it might catch up to the original, or do a “Iron Man 3” numbers 1.3 B USD. It is not easy doing Avatar or Star Wars numbers, Avatar at the time it came out, had a first ever 3D movie experience feel to it, not a lot of people went because they like sci fi as much, but more or less to see an event, this feel is now gone and I don’t expect the follow ups to score this pay day again.

You have each individual star in that movie from the entire MCU line up, plus additional actors for villains and supporting cast showing up, and we know RDJR charges a minimum of 15 M just to show up, not mentioning the backend, then we have Chris Evans who might have gotten 300,000 USD for the first Captain America movie, but since Winter Soldier I doubt that he gets paid even close to that number, he is getting  around the 10 Million for sure, and you can assume Scarlet, Mark, Chris H. etc., are not far away as numbers, so a movie that is spending close to 200 + Million on salaries and another 200 M on the movie itself or more, should be aiming for a 1.6 B at least.

This year Marvel escaped the long stick of the critics, since they all love them so much, but we know GOTG Vol 2 was just not good at all, Spider-man was not the best movie of the franchise, it managed to save itself with the MCU origin story and Iron Man crammed in it, but was pretty basic Spider-man storytelling and Thor 3 is up with a movie advertising itself as a Thor vs Hulk scenario, which from the trailers we already know, will not happen for more than 10 minutes.

So while you little bloggers point to the downfall of DCEU and call it as such, all i see is its rise and the decrease in attention for MCU movies slowly and effectively by general audiences, even FOX are doing more interesting things with X Force, New Mutants and Deadpool 2. Even with critics pretending that movies coming from the MCU in the style and quality of the Incredible Hulk, Thor 2, Iron Man 2, Hulk (which is only referred to as non MCU, but actually continues the story in TIH as it left off with different actors), Ant-man and other super basic movies that have 0 re-watch appeal, I can tell, that if Marvel/Disney don’t start putting 110 % effort in their solo movies and stop relying on their team up’s to carry water for their other movies, they will lose the box office very soon. Not to mention that Avengers 3 and 4 have 1 year time in between them and will most likely leave audiences waiting for the full conclusion, which might leave some people pissed off.

All in all, they might perform good, considering it will be an all-out war and someone in the MCU might die for real this time, and I don’t mind if they perform good, not at all. Still I just don’t see how people would come and see your movies for over 10 years when you don’t evolve with them (your audience). Most of the fans of the MCU are young guys (of course not only, it’s all ages and genders, but they do have a lot of kids as fans as well) and they haven’t stopped growing, just because Marvel has at some point. When they reach that 25 + age range, these films will lose some of their appeal to them.

See you in all in cinemas across the world on November 17th for the first ever DC shared universe event that has the entire League united!

Geek on!

[daleisgreat]

Guardians of the Galaxy

We are mere weeks away from the release of the latest Marvel Studios film, Guardians of the Galaxy Vol. 2, so naturally it felt right to pull 2014’s Guardians of the Galaxy (trailer out of the backlog box. I specifically remember thinking that this was going to be the first full-on flop from Marvel Studios. The comic it was based on was around off and on over the years but I never considered it a top-tier book from Marvel by any means and could not name a single character by the time the film arrived. GotG was certainly going to be the first Marvel film to focus on a character that was not in the upper-echelon of Marvel Heroes such as Iron Man, Captain America, Hulk and Thor. I also despised the original trailer for the first film. For whatever reason it played before nearly every film I caught at the theater for several months before the movie hit. The preview gave me all the wrong vibes that this was going to be full of bad jokes from a bunch of unknown heroes in the cosmic branch of the Marvel Universe that will go right over my head. I could not have been happier to be so wrong.

GotG centers around one Peter Quill aka Starlord (Chris Pratt). The film starts off with him as a young child at his mother’s deathbed, when all of a sudden a mysterious spaceship abducts him and the film immediately jumps a couple decades ahead where Quill is now a ‘junker’ (futuristic treasure hunter?) residing in a intergalactic community somewhere in another universe. A routine quest for a mysterious orb goes haywire and lands Quill in prison. It is here where Starlord teams up with some unlikely allies. His new comrades consist of Gamura (Zoe Saldana), Rocket the raccoon (voiced by Bradley Cooper), the monstrous brute Drax (David Bautista) and a full sized animated tree capable of speaking only five words Groot (voiced by Vin Diesel). Ronan (Lee Pace) is GotG’s lead villain. He is a lieutenant of the high and mighty Thanos, but breaks off from him after he finds a new source of power. Minus Groot, Marvel did a tremendous job with the casting. I will give props to Quill for this being his big motion picture breakout performance after several years on the ensemble mockumentary TV series, Parks & Rec. Saladana proved she is already capable of sci-fi greatness in the latest line of Star Trek films and went on to double down on that expertise in another sci-fi franchise. Bautista went above and beyond what anyone expected out of a pro-wrestler. Bradley Cooper shows all kinds of range with his voicing of Rocket, but Marvel could have saved a good chunk of money on the budget by having anyone voice Groot. Vin probably commanded a high dollar since he is in the midst of riding the success of the Fast & Furious money train. Watching the GotG unwillingly come together to break out of prison in a fantastic scene and transition into a well-oiled machine by the time they take on Ronan in the final act is simply an awesome experience. Part of the reason on how they got there is a stunning job in the CG department. GotG got nominated for two technical Oscars for Best Visual Effects & Best Costume Design. After witnessing a few of its dazzling-yet-intense spaceship duels and watching the behind-the-scenes feature on the multi-hour process of what Saladana and Bautista had to go through in makeup justifies the film as being a Oscar contender in those departments.

What also helped round off this sublime audio/visual package is a five star soundtrack consisting primarily of 1970s pop hits such as “I Want You Back,” “Hooked on a Feeling,” and “Cherry Bomb.” Director James Gunn stated in the commentary for the film that Disney got every single song he requested approved for the soundtrack, and I am presuming Gunn must have spent a great deal timing when each and every song would kick in at just the right moment to add that extra dose of impact. A couple of my favorite examples of this are when the Guardians are planning their final assault on Ronan to “Cherry Bomb” and the opening title screen where Quill is dancing away to “Come and Get Your Love.” I remember being super giddy the day Google generously released the soundtrack for free on its Play Store and it has been in a consistent rotation in my running playlists ever since. There is only one noteworthy qualm I have with GotG and it is the fact that it is too lighthearted. Do not get me wrong, nearly all the jokes and zingers in here are clever and witty and each character has several standout lines/moments in the film that cracked me up. That there is the problem however! Unlike other past Marvel films that know when to cut back and get serious, this one never lets up on the jokes, so the few times that GotG attempts to have a pivotal, meaningful moment in the movie I found myself waiting for the surprise gag to come from out of nowhere to steal the scene, and in a couple of those moments that is exactly what happened. Again, that qualm is not a deal-breaker by any means and when you are dealing with a talking raccoon and tree as two of your main actors, I could see why Marvel felt like they had to dial up the jokes to help the audience suspend their disbelief. They just dialed it up a bit too much.

There are a few extras on the BluRay you can easily cruise through in no time, but are worth consuming. There are four minutes of deleted scenes with or without commentary from James Gunn. If you have watched past Marvel films on video, you know they have some of the best produced gag reels out there, and GotG does not disappoint with a killer array of bloopers that culminates with a spectacular dance-off you have to see to believe. Intergalactic Visual FX is a seven minute look at the costume and makeup design that made me get sympathetic for what Saldana and Bautista had to go through every day on set. Guide to the Galaxy is a 21 minute all-encompassing behind-the-scenes look at the film hosted by Gunn where he explains the world lore, interviews the cast and goes into what it took to pull off the huge final battle scene. Finally Gunn goes solo for a commentary track on the film, and it is a decent solo commentary where he has a lot of notes filling everyone in on the backstory of the universe from the comics and a lot of recollections about the casting for the film. Guardians of the Galaxy made me feel like a fool for doubting it as it went on to be both a critical and commercial success. It is one of several movies I have seen in the theater twice. If you somehow had my original premonitions on this film being a flop and avoided it because it featured a lot of characters you were unfamiliar with then go ahead and put those reservations to the side and watch this immediately so you can be ready for the sequel in a few weeks. I recommend watching it solo so you can avoid others judging you as you jam out and get your dance on to the songs throughout the film! Other Random Backlog Movie Blogs 3 12 Angry Men (1957) 12 Rounds 3: Lockdown 21 Jump Street Angry Video Game Nerd: The Movie Atari: Game Over The Avengers: Age of Ultron Batman: The Killing Joke Batman: Mask of the Phantasm Batman V Superman: Dawn of Justice Bounty Hunters Cabin in the Woods Captain America: The First Avenger Captain America: The Winter Soldier Christmas Eve Clash of the Titans (1981) Clint Eastwood 11-pack Special The Condemned 2 Creed Dirty Work Faster Fast and Furious I-VIII Field of Dreams Fight Club The Fighter For Love of the Game Good Will Hunting Gravity Hercules: Reborn Hitman Ink Interstellar Jobs Man of Steel Marine 3 & 4 Mortal Kombat The Replacements Rocky I-VII Running Films Part 1 Running Films Part 2 San Andreas ScoobyDoo Wrestlemania Mystery The Secret Life of Walter Mitty Steve Jobs Source Code Star Trek I-XIII Take Me Home Tonight TMNT The Tooth Fairy 1 & 2 UHF Veronica Mars Wild The Wrestler (2008) X-Men: Days of Future Past