Month: June 2014

  • X-Men: Days of future Past

    I grew up with X-Men. The cartoon ran after I got home from school, and while it wasn’t brilliant, it was enough to get me acquainted with the most basic X-Men stories. I knew about Jean Grey and the Phoenix, had a pretty tight grasp on the Wolverine origin story… but none of these stories was quite as awesome to me as Days of future Past, in which the X-Men travel back in time to eradicate the Sentinels at their core.

    It was my first time travel story. I loved every bit of its twists and turns. And I also loved the movie adaptation – but for a wholly different set of reasons. Maybe I grew up?

    Sure, the time travel was as sweet as ever – but really, let’s not kid ourselves: It was mainly a trick to get some sweet Patrick Stewart and Ian McKellen action going. Sure, it worked, and they did provide a nice contrast with the past versions of Magneto and Charles (Fassbender and McAvoy, sexay as ever!), but ultimately, the story would’ve worked without the time travel shenanigans.

    On the other hand, Days of Future Past expanded upon First Class, where our good friend Fassbender Magneto caused the Cuban missile crisis. Expect Richard Nixon, a mutant-related JFK conspiracy and some awesome Super 8 footage of Mystique with an afro.

    So I guess Days of Future Past is a double time travel, in a way. Add to that a tight, unpretentious screenplay that has a very precise grip on the characters inhabiting it and you’ve got a solid two-hour rollercoaster ride to enjoy with a bag of popcorn and a coke. And that’s precisely how I like my X-men.

  • The Wall

    Treptow, Berlin.
    Treptow, Berlin.
  • Godzilla

    It’d been a while, but it happened for the first time since Peter Jackson’s King Kong: I fell asleep in the cinema. During the epic climax of the movie, no less.

    Victim this time: Godzilla.

    I wonder what it is about Monster movies that makes me drift off. Is it the vibrating bass in the monsters’ epic shrieks? Or maybe it’s the spastically moving CG-camera that rocks me to sleep? Or perhaps it’s the unbelievably stupid characters and dialogue?

    Nah, it’s just me getting old.

    (In all seriousness: Godzilla was quite okay. The plot was good enough, the dialogues were terrible – not even Bryan Cranston could save them – but nobody cared, and I loved the design for the epic monster: bulky, bearlike, almost hugable – until it shoots lasers from its mouth. Yet most importantly, Godzilla respected the ground rule of monster movies that made Cloverfield legendary to me: Size only matters in comparison. In every menacing monster money shot, there was a crane, a skyscraper or a huge bunch of people to show how massive this dude really is. Awesome. Now if only they’d use this logic for their characters: “Drama is only big in comparison.” The movie is filled with bulky army dudes with no real conflict other than a bighuge lizard stepping on their stuff – where’re the normal people, other than the one relatable dude that dies after twenty minutes?)

  • Bastion&Transistor – a videogame grab bag

    Here’s a surprise for you all:

    I love stories.

    (No way!)

    I read books. Comic books. Watch movies. TV shows. Listen to obscure audio games while jogging. And I play a boatload of videogames. Now each of these media are perfect for a certain type of story. Books have a certain poetry movies will never ben able to have, movies have the great potential of telling a story through moving pictures.

    But what about video games? What can video games do storywise that movies cannot? How do you optimally tell a story through a series of player actions?

    Most mainstream games act like makeshift movies: They allow gameplay for a bit, then they pause the action to turn you, the player, into a viewer to show you through the magic of a cutscene how the story continues. It’s about as elegant as using text overlays to gap two scenes in a movie.

    And it’s a shame, too, because in theory, video games have the most potent storytelling power of all time: The power to put you inside it.

    To me, that seems to be the essence of what Supergiant Games, makers of the superb Bastion, seemed to try. Bastion told you the story of its world as you were exploring it. The time spent on cutscenes and gameplay interruptions was minimal. As I approached the game’s finish line, I felt both excited and immersed – not because the story was brilliant, but because of its flawless execution inside the medium it served.

     

    Warning – this is where I get spoilery about Supergiant’s newest game–

    Transistor, their newest baby, tries to take this experiment even further – in that it doesn’t really tell a conventional story at all. There’s no real introduction, no overt conflict, there’s no explanation who the characters are… everything is up for grabs, letting you discover it by playing the game.

    It’s an interesting idea in theory, but unfortunately it doesn’t really work that well. By the time I figured out the main character was running through a disappearing world to avenge her lover with a sword that embodied his soul, the game was over. Had I known this up front, I would’ve been invested to hell and back – but nope, the game keeps everything shrouded in mystery. There is a reason I spoil it here – it’s basic stuff you should know up front when diving into this brilliant game. It’s the only mistake the game makes. Other than that, you’re looking at a six hour-long gem with awesome visuals, great dialogue, superb music and engaging gameplay.

     Everytime I play through the (short but sweet) game, I discover more of its interesting and touching story. With every minute, the game gets better. This is awesome – because it does this through my playing the game. By combining the many skills the game throws at me and interacting with objects in the game world, I get rewarded with pretty pictures, cool sounds and actions that make my heart skip a beat. By now, the final moments of the game move me deeply instead of confusing me.

    Press button -> stuff happens.

    So please, next time, Supergiant Games, please, just a tiny tip of the iceberg up front. Just enough to clear away my confusion and make room for my emotional immersion.

    And then you will have made the perfect example for how to use the videogame medium to tell a story.

  • Wagah

    Time for another movie, he said, and then started typing, so here’s “Wagah”, an endearing short by director Supriyo Sen about three kids and a fascinating ritual at the border between Pakistan and India.

    Click!

     

  • Work, work.

    Treptow, Berlin.
    Treptow, Berlin.
  • Bates Motel

    A gloomy laketown where people are lit on fire on a daily basis. A run-down motel where Asian sex slaves are sold. Fields upon fields of weed. And smack in the middle: The kid who will grow up to be Norman Bates – the killer from Psycho. Likes: Musicals, taxidermy, Mother.

    These are the ingredients to the weird cocktail that is Bates Motel, a show acting like a prequel to Hitchcock’s classic Psycho while also trying to be an earnest teen drama. It’s like one of those “What my parents think I do” memes, with Twin Peaks locked firmly under “what I think I do” and Dawson’s Creek under “what I actually do”.

    At times, it can be brilliantly creepy and produce wonderful moments like this:

     

    You’re on the edge of your seat, you’re intrigued, your heart is pounding in your chest and you’re dying to continue on…

    …Only then it does this:

     

    And you’re like “wtf”!?

    It’s the weirdest thing. One moment you have a dude killing another dude in cold blood, then you have a character trying out for a musical. The only thing keeping these trainwreck scripts together is the solid cast.  Freddie Highmore and Vera Farmiga perform wonderfully (especially Vera deserves a nod, there’s no end to the creepy slapstick she can pull off) – and more than that: They bounce off each other incestuously well.

    (I can’t believe I just typed that.)

    I know what you’re thinking – Bert, as a writer, shouldn’t you be a beacon of good taste? Why do you tell us about this bad show? Aren’t you ashamed of yourself? Don’t you want to crawl into a ditch and cower in shame!?

    Well, sure, but that is besides the point. The thing about Bates Motel is: It can be strangely honest sometimes. When Norma Bates tells her son (of all people) how she was brutally molested by her brother and hit on the leg with a red-hot iron, it’s so over the top it’s both tragic and hilarious. And somehow realistic. Yet nobody in their right mind would tell this to their 17 year-old son, especially knowing said son is probably a serial killer. Especially not with the iron cherry on the cake.

    But here’s the thing: No one on this show is in their right mind. There’s only one character who doesn’t have a therapeutic issue and, guess what, they gave her a deadly lung disease.

    So why do I watch Bates Motel? Because for all the schizophrenia this show is damn consistent.

  • The Hero Movie

    The internet is filled with movies. Thought I’d make watching them a bit easier by selecting the good ones. That way you can safely enjoy seventeen hundred three-second films of guys who get hit in the nuts without having to worry about accidently clicking on one about guy who gets hit in the butt.

    Anyway, without further ado, have every superhero movie ever:

  • This is Germany.

    Friedrichshain, Berlin
    Friedrichshain, Berlin