It is very rare that I find myself having little to say about…well anything. However, the Netflix original series “House of Cards” has miraculously and fantastically left me speechless (well almost). So many bad life decisions were made this week as I pulled a week-long after-work marathon of the entire first season. Nevertheless, once again I feel the deep and guttural satisfaction of life well spent. Therefore, please permit this week’s review to be a full out fangirl explosion over what is in my opinion, one of the best shows that I have seen since my first journey aboard the Tardis.
But wait, there’s more!
There are few people as zealously devoted today as the average 21st Century geek. You’d see legions of neckbeards flocking to snag new releases of anything really, trampling their brethren for the last figurine of their waifu, and overall proclaiming any such item X as “the best thing ever.” With such unquestioning attitude, enthusiasm, and disposable income any smart entrepreneur would know this is a golden opportunity should you happen to have a few good friends in the industry. Tonight, the Inverseman checks out the top cases of product placement in modern anime.
A review copy was provided by FUNimation Entertainment.
Fillers are a necessary evil. On the one hand, they prevent a series from catching up with the source material and thus going on hiatus. On the other, they are rarely entertaining, and are usually full of plotlines that contradict established canon. Today, I’m looking at One Piece Season Five Voyage Six, a DVD set containing episode 325 through 336 of the series. While the episodes on this set are flanked by solid moments, overall they’re full of the typical filler traps.
With the release of the second issue of Original Sin, we are treated with a few quick answers we had from last issue, and a few even BIGGER questions put right in their place. This event seems like it will be far more confusing and unnecessary than any event Marvel has put out in recent years. This is Original Sin #2.
It’s occasionally fruitful to have open a review with a brief discussion about how I approach a movie. There are many ways to assess a movie’s quality, but one I’ve found is a pretty universal metric is how well it evokes it’s intended emotional reaction. This is not the same thing as enjoyment: I didn’t enjoy a moment of 12 Years a Slave but I still named it the best movie of 2013, because of how it made me feel (horribly depressed, if you were curious).
Thus the most important metric of an action movie is how excited it gets me. Sure it’s nice if there’s more going on under the hood. Indeed, that’s what separates merely good action movies from the true greats like District 9 and Attack the Block but if all a movie is aiming for is to be merely a good action flick, just being exhilarating to watch can be enough to carry it if it’s competently executed. Why yes, I am talking about Edge of Tomorrow. How did you know?
Monster movies, the really successful ones, don’t stick around for decades after just because of their special effects and enthralling (or hilarious) narratives, but because they represent a very specific fear. The Thing would not have been as horrifying had it not come off the heels of the AIDS epidemic, the figure of the vampire survived so long by preying on the traditional Victorian values of sexuality and morality. Godzilla is no exception as this monster has stayed in the mainstream consciousness for over half a century.
But despite the size of this massive creature’s reputation, have we, as a global audience, outgrown this reptilian nightmare?