My Week With Marilyn Review
My Week With Marilyn Review
Marilyn Monroe is and will always be an enigma. A movie star by all accounts, Monroe had an ineffable quality that hypnotized men and women alike. She was the definition of bombshell, but what set her apart from beauties of that ilk in the past, present, and future was that she had the ability as an actor to carry a movie on her shoulders and make it look effortless.
However, that talent was marred by personal issues that eventually led to her death in 1962. She was plagued by a lack of self-confidence and the struggle to maintain her public image while never fully dealing with her private image. These issues are well-documented in books, articles, and movies. Simon Curtis' My Week With Marilyn presents a portion of these issues from another angle with varying results.
Based off of the non-fiction books The Prince, The Showgirl, and Me and My Week with Marilyn, the story is told from the point of view of Colin Clark, the third assistant director of The Prince and the Showgirl the adaptation of the play The Sleeping Prince. Sir Laurence Olivier brings in Monroe to play the titular Showgirl, and while he gets the performance he wants, he struggles with her emotional and professional baggage, namely her new marriage to playwright Arthur Miller, her acting coach Paula Strasberg, and her knack for taking multiple takes to get the scenes right. Clark, working through his infatuation with Monroe, strikes up a romance with her, witnessing her lows and her highs in front of and behind the camera.
This film is an acting haven, and the meat of the film lies with all of the actors bringing their A-game.
Michelle Williams becomes Marilyn Monroe. The mannerisms, the emotional struggle, the effortless shifting between her private and public persona, all of it captured with skill. All of the facial expressions are uncannily Monroe, and Williams makes sure never to come off as a cheap imitation. That ineffable quality of Monroe is perfectly emulated, giving us Michelle Williams' best performance to date and maintains her standing as one of the finest actresses of her generation.
Kenneth Branagh fully commits to being Sir Laurence Olivier. Branagh was the most obvious choice for Olivier - both are Shakespeare experts in theater and film, and both lay claim to the finest Shakespeare adaptations of Henry V and, arguably, Hamlet. He presents the quiet desperation of an aging British stage actor coming to terms with the youthfulness of the American Method. His lack of understanding counteracts with his fascination with one take that captures Monroe's perfection versus the many takes to get there. With that resolve, Kenneth Branagh gives one of his best performances in a long time, and makes me eager to see him age with grace on screen and off.
As the audience's window to the story, Eddie Redmayne does a fine job as Colin Clark. Clark is largely two-dimensional, and because he is a window for the audience, all that matters to us with him is that we see what he sees, but he allows us to feel his infatuation in all of its glory from conception to heartbreak, and Redmayne carries the film well. It may not be the showiest acting, but Eddie Redmayne holds his own amongst acting giants.
The supporting rolls make impacts as well. Dame Judi Dench is as wonderful as always as Dame Sybil Thorndike, a stalwart of British acting amazed by Monroe's magic. Julia Ormond briefly shines as Vivian Leigh, showing the admiration and jealousy as an actress seeing her former glory passed onto Monroe. Dougray Scott, unrecognizable as Arthur Miller, presents a husband who was captivated by his wife's public image while unable to deal with her personal strife. Dominic Cooper, as one of Marilyn's entourage and a man who had been in a similar situation as Clark, personifies Clark's conscience and better judgment with ease. Emma Watson, maturing gracefully from her stint in the Harry Potter series, is ever impressive in the small role of Clark's initial interest.
This kind of acting pedigree could have made any film great if there was a strong backbone to support it. However, director Simon Curtis never balances his work with the actors with a firm grasp on the technical aspects of the film.
The nature of the story is basic - man falls for woman, woman eventually falls for man, man and woman have a jolly time together, man and woman eventually part ways. There are a lot of more interesting details that pepper the story or could pepper it - British stagecraft versus American Method, Vivian Leigh and her eventual mental decline, Sir Laurence Olivier and his aging perspective - but those details are so briefly handled that they come off as missed opportunities. In fact, those avenues are more interesting than the actual trajectory of the film. The framework provided by screenwriter Adrian Hodges isn't enough to keep the audience's interest.
What's more frustrating is that the editing was sloppy, making what should have been a simple approach messy. The flow of the film isn't consistent as it wants to move briskly with a story that has no choice but to take its time. Scenes involving body doubles are obvious, bordering on unintentionally funny. Equally heinous are the cuts within a scene between a close-up and a general shot that don't match.
The more subtle but still important error made by this film is that it tells a specific story with a general theme about Marilyn that everyone knows already - her public persona was in conflict with her private life. No new insight is gained. If the audience knows the general idea before seeing the film, what purpose does the film serve for the audience?
It's a fundamental question that Simon Curtis doesn't answer. The purpose it serves for everyone else involved is to showcase talents either developed or developing. The unfortunate thing about *My Week With Marilyn* is that it is unnecessary, not functioning fully as art or entertainment. However, as a showcase for the actors and how the director works with the actors, it is a minor but unmistakable triumph. Movie Rating: 5/10 It's the basic story of a romantic fling between an ordinary man and a complicated woman. Moments of humor and drama, but nothing special story-wise. Film Rating: 7/10 The acting across the board is the sole reason to see this film. It's a master class in how to emulate well-known figures without becoming caricatures. Biopic Rating: 5/10 Michelle Williams is a wonderful Marilyn Monroe. However, the story doesn't shed light on anything new about Monroe.
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The Amazing Spider-Man Review
It's been ten years since Sam Raimi unleashed his vision of the Marvel Comics superhero Spider-Man onto global audiences. With dry wit, tight action, impressive structure, and soulful acting, Sam Raimi's Spider-Man trilogy became the definition of the comic-book superhero film series for the 21st cetury, with Spider-Man 2 being the golden standard alongside Superman: The Movie for what the genre can and should be. The series' importance carried through even after the release of Christopher Nolan's masterful and game-changing Batman tale, The Dark Knight. While Nolan focused on rooting superhero mythology into an image of the current state of the world, Raimi followed the path of the genre as a means of escape, showing that both approaches can exist with equal success. The third Spider-Man film failed to catch a fire among audiences, meaning that a new story from a new perspective was wanted. Enter Marc Webb, director of (500) Days of Summer, to take the reins of Spider-Man and tell his own story of the hero from the beginning with The Amazing Spider-Man. The trajectory of the beginning hits all of the basic notes of the origin story in the previous series' first film. Peter Parker is a geeky New York high school student who doesn't fit in. He lives with his Uncle Ben and Aunt May, inadvertently wanders near a secret project that leads to a radioactive spider biting him and giving him superpowers. At first, he struggles to get comfortable with his abilities, but a personal tragedy brings him perspective and a raison d'etre, and a threat to New York City shows him the man he needs to be. With there being only ten years separating the previous series' first film with this one, it could have been either lazy or boring to cover a lot of the similar ground. Then why does it feel different? 1.) We are shown who Peter's parents are and, to a degree, why they left them in Ben and May's care. This has a profound effect on Peter, showing why he is so intelligent, has a chip on his shoulders, and almost prefers not to fit in with his classmates. 2.) The love interest is Gwen Stacy, a geeky fellow student who works as an intern at Oscorp, the place where Peter's father's colleague, Dr. Curt Connors does research, and the place where Peter eventually gets his powers. 3.) The webbing he shoots is man-made, not an organic effect from the bite. This emphasizes his intelligence and well as provides a sense of danger in a couple scenes. 4.) Spider-Man is seen as a vigilante more than a hero. The police, led by Captain Stacy, want to lock him up as a criminal due to his outside-the-law crime-fighting activities. 5.) The criminal who caused Peter's personal tragedy isn't caught. This gives Peter a sense of failure that he carries throughout his endeavors, knowing that what happened to him could easily happen to someone else. These changes, as well as other stylistic choices, all keep the film fresh and engrossing, allowing the audience to see it as its own entity without reminding them of the previous origin story. The comic-book universe has several storylines for one character that play out, some in parallel with each other, and this is something that could be difficult to accept on film. Credit must be given to everyone working on the film for trusting the audience to give the film its own chance. The script, written by James Vanderbilt, Alvin Sargent, and Harry Potter alum Steve Kloves, is tight, having a constant sense of propulsion while allowing the audience to delve deep enough into the characters to want to join in on the ride. It tries to balance the grittiness and reality of Nolan's Batman series with the dry wit and fun of Raimi's Spider-Man series, and, for the most part, works well. The main actors shine thoroughly. Andrew Garfield has immense talent, as his work in The Social Network and Never Let Me Go shows, but it is still a surprise how natural a fit he is as Peter Parker/Spider-Man. He gives Peter the arrogance, heart, humor, doubt, and strength that fits perfectly for this film. Garfield understood how to interpret Peter in this universe, and his interpretation is wonderful. Emma Stone comes off as strong, snarky, tender, and sexy as Gwen Stacy. Gwen's personality could take any man on, but she lets her guard down with Peter, and the tender moments with Peter are a sight to behold. Her chemistry with Garfield is natural and flawless. Even if the rest of the film was terrible, every scene with Stone and Garfield together would still make it worth watching. Rhys Ifans as Dr. Connors is a conflicted man struggling with keeping a secret from Peter about his parents' whereabouts and with a formula that gives him his arm back but at the cost of becoming The Lizard. Ifans' filmography shows his range, and he maintains the humanity of Connors when the script sometimes forces him into the Lizard's psyche completely. The supporting roles work as well as they need to, but some are better than others. Martin Sheen takes his role in Wall Street and focuses more on how he manages home life, making Uncle Ben the father figure we love and respect. Sally Field isn't given enough time with Garfield to develop the connection they need, but her Aunt May is still welcoming. C. Thomas Howell is a great embodiment of how the world sees Spider-Man. Irrfan Khan plays a one-note character, but as one of Dr. Connors' bosses, he has plenty of menace. However, of the supporting roles, Dennis Leary is the standout as Captain Stacy, Gwen's father. His acting chops were honed on his show Rescue Me, and he takes the abrasiveness and New York pride of Tommy Gavin and files it down to a more sensitive, fatherly base. He feels threatened by Spider-Man as the superhero is doing the job that the police are supposed to do. This tension carries through the dinner with his family and Peter as a guest, and when he sees Spider-Man's true identity, he understands that while he may not agree with the concept of Spider-Man, he knows that the hero is an asset to the city and not a hindrance. Leary is superb as the moral center of the film. Director Marc Webb started out with music videos and short films before his impressive feature debut, (500) Days of Summer. That film showed how comfortable he is with a good script and great actors, and that carries through here. The best moments are the smaller ones, not only the scenes between Peter and Gwen but also when Spider-Man rescues a child from a threatened vehicle, when Ben and Peter are together, when Peter begins to get comfortable with the new powers, when Spider-Man is in full smart-ass mode, and when Spider-Man goes to the sewer to pursue the Lizard. Webb understands the power of a delicate touch, and when he applies that touch, the film reaches the greatness of Spider-Man 2. However, there are enough flaws that keep it from reaching those levels consistently. First, the construct of the villain doesn't work as well as it should. The design of the Lizard is too artificial, and when the Lizard starts talking about how he wants to create perfect beings, it's jarring because of how Dr. Connors was never wanting that to begin with. The Lizard is an interesting villain in the comics, but he doesn't fit with the grittiness of the film. The post-credit scene is also disconcerting because it introduces an unnamed figure and randomly expands the Parker's parents storyline and Oscorp into the sequel. It takes away from the film holding up as its own entity, but at least it allows for future films to give this one some additional meaning. The music by James Horner is faceless. While Danny Elfman's work in the previous series didn't have a strong theme, it fit the film better than this score does this film. Horner knows how to up the drama, but nothing from the music is memorable. The Amazing Spider-Man is not the greatest Spider-Man film ever made, but it matches the first film in the previous series in quality, and the trajectory of the story along with the acting and directing makes me excited to see where this series goes next, and that is most important. Movie Rating: 8/10 The action is good, the drama even better. The villain isn't a good fit, but this film doesn't skimp on excitement. Film Rating: 8/10 The sense of loss, doubt, responsibility, and love carries the film effortlessly, and the scenes with Gwen and Peter together are perfectly done. Comic-Book Superhero Film Rating: 8/10 It tries to balance Nolan's grittiness with Raimi's sense of fun, and while it doesn't work completely, it's a great example of how good the genre can be. Spider-Man Film Rating: 8.5/10 It may not be as fun as Raimi's series, but it has more heart and as much depth, and it's as good as the first film in that series.
Star Wars: Episode II - Attack of the Clones Review
The hype and anticipation of Star Wars: Episode I - The Phantom Menace gave way soon after May 19, 1999 to frustration and disappointment. What could have been the revitalization of a dormant series instead was a cumbersome movie mired in boring politics, forced performances, ruined mythology, and distant action - a far cry from what Star Wars is. The main question from the fanbase now was "Is the worst over? Does it get better from here?" On May 16, 2002, George Lucas provided a response for the fans with the release of Star Wars: Episode II - Attack of the Clones: "Yes. No. Maybe?" Set ten years after the the events of Episode I, Episode II begins with an attack on Padme Amidala, now a Senator representing Naboo in the Galactic Republic Senate. This attack results in the Jedi Council calling on Obi-Wan Kenobi, now a Jedi Knight, and his padawan Anakin Skywalker to act as her temporary bodyguards while they find out who was behind the attack. A pursuit of the assassin eventually leads Obi-Wan to the planet Kamino, a planet that has been contracted to create a clone army for the Republic to fight the Trade Federation, now in alliance with fallen Jedi Master Count Dooku. The pursuit also forces Padme to flee to Naboo with Anakin as her bodyguard. Their time together brings about feelings between the two and leads Anakin to reunite with is mother on Tatooine. Everything comes to a head on the planet Geonosis, with Padme, Anakin, and Obi-Wan captured and the new clone army and the Trade Federation clashing in the first major battle of the Clone Wars. Like Episode I paralleling the original Star Wars, Episode II parallels The Empire Strikes Back - The heroes are split apart, two of the heroes develop feelings, one of the heroes goes on a discovery quest, the central character gets tempted by the Dark Side of the Force and loses an arm, and the ending, one with significant complications, sets up the pieces for the next film. However, like Episode I, the results are by-the-numbers instead of inspired. All of the actors struggle to make the material work again, but unlike the last film, there are improvements. The highlight of the actors is Ewan McGregor as Obi-Wan Kenobi. His emulation of Sir Alec Guinness is impressive, making the only earned connection of this film to the original trilogy. Samuel L. Jackson plays Samuel L. Jackson, but he adds some fun to the film's second half that the first film lacked. Newcomer Christopher Lee has more menace and stature as Count Dooku than Darth Maul had all of Episode I, making him at least a more thrilling villain. However, Natalie Portman and newcomer Hayden Christensen have no chemistry together as Padme and Anakin, making every scene they have together an endurance test. Portman can do fragile and tender, but her line reading lacks passion. Christensen comes off whiny and helpless, never inhabiting Anakin the way the audience would have imagined. He is outclassed by everyone else in the film. The music by John Williams is more uninspired this time around. It may well represent his worst work in a Star Wars film - the love theme is a partial rip-off of his work on Hook, and other than random revivals of previous pieces, there are no memorable themes or motifs like in the other films. The cinematography by David Tattersall is just as faceless as before. The visual effects are an improvement over Episode I, but the universe looks too clean and crisp to feel real, especially the overly sterile and artificial representation of the clone planet of Kamino. Again, though, these aren't the main problems. George Lucas makes the same mistakes he made in the previous film as screenwriter and director. The introduction to the film tries to provide excitement with the assassination attempt, but all of it plays too obvious and poorly sets up the instability in the galaxy. Worse, it yields to more of the political discourse that sunk Episode I before it got started. Once the heroes arrive, it becomes obvious how the trajectory of the film will go. Instead of anticipating where the film will go next, the audience only anticipates when the film will end. The love story is forced and inert, becoming unintentionally funny in its moments of awfulness. The audience knows Anakin and Padme will fall in love because there is no other significant female character with whom Anakin is emotionally close. The worst scene of the film, and arguably the worst scene in the film series, features the two of them fighting with their "developing" feelings for each other near a fireplace. It's as if Lucas wanted to emphasize how they had a fiery passion for each other that they couldn't control but couldn't get the actors to do it themselves. This scene and this plot thread is just a representation of an ongoing problem with the prequels - the characters are there to serve the plot, not the other way around. The protracted third act on Geonosis is awkwardly structured. It begins with a somewhat inspired survival fight within a coliseum - a way to one-up the podrace sequence from Episode I, though unsuccessfully. It becomes a visual spectacular once the Jedi arrive and become warriors. Once Yoda and the clones arrive, though, the fun vanishes and the boredome commences. The majority of this portion are clones fighting robots - beings with which the audience has no emotional connection. This is the closest Lucas comes to being Michael Bay as he indulges in the visuals without once pondering what it all means. However, the saving grace of the third act is the lightsaber duel toward the end of this sequence. Although it is as stylized, choreographed, and overdone as the duel from Episode I - the red and blue lighting and Anakin losing his arm especially - the focus is solely on the duelists and nothing else. We care about the duelists. We want to see what happens next. The reward for this anticipation - the introduction of Yoda the master fighter. It's the most thrilling sequence of the film, full of visual splendor. However, in the grand scheme of the series, it's a double-edged sword - it may be exciting, but instead of the simple pleasure of an old Muppet walking around with a cane waxing poetic about the Force, it takes every ounce of visual effects and acrobatics to create the excitement. This is indicative of the prequels in general. Instead of taking, in the words of Han Solo, "simple tricks and nonsense," George Lucas thinks it will take the the most complex sequences to make the film thrilling. Star Wars: Episode II - Attack of the Clones is two steps forward, two steps back for the series - it's more genuinely exciting, but more emotionally distant. Blu-Ray Observations Compared to Episode I, the Blu-Ray presentation is a significant improvement. The visuals are sharp, but there is a softness to the image that can't be avoided. Part of the problem is that this was the first major film shot and released completely digitally. The technology was still in the early stages, and the Blu-Ray shows it clearly. The contrast is a bit off as well, especially in the scenes in Kamino. The audio is as excellent as all of the other discs, especially the reference quality of the seismic charges. Overall, the presentation of Episode II is good but not great. Movie Rating: 5/10 Exposition dominates the proceedings, and the effects are still too sterile. However, the surprising focus during the duel yields to the most exciting scene in the film. Film Rating: 2/10 All of the previous issues are still prevalent, and the love story is additionally terrible due to the lack of chemistry between two leads involved in that story. Star Wars Film Rating: 4/10 It tries and fails gloriously to parallel The Empire Strikes Back, but Ewan McGregor's emulation of Sir Alec Guiness and the lightsaber duel in the third act are highlights of what otherwise is another frustrating installment in the series. Blu-Ray Rating: 7/10 Much better than Episode I but the flaws of 2002 digital film transferring are apparent. The audio is fantastic, especially the seismic charges.
My Workout For Saturday February 01
I earned 332 points for my workout on Fitocracy!
Dumbbell Bench Press +101 pts
30 lb x 12 reps (+49 pts)
35 lb x 12 reps (+52 pts)
Running +10 pts
0:01:10 || 0.1 mi || track (+5 pts)
0:01:10 || 0.1 mi || track (+5 pts)
Incline Dumbbell Bench Press +189 pts
30 lb x 12 reps (+49 pts)
30 lb x 10 reps (+48 pts)
30 lb x 8 reps (+46 pts)
30 lb x 8 reps (+46 pts)
Dips - Triceps Version +6 pts
2 reps (+6 pts)
And almost one chin-up unassisted! I do love progress!
Stretching +2 pts
0:10:00 (+2 pts)
Body Weight Squat +9 pts
15 reps (+9 pts)
Push-Up +15 pts
10 reps (+15 pts)
Think you can beat me, or want to comment?
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My Workout For Tuesday January 28
I earned 680 points for my workout on Fitocracy!
Bent Over Barbell Row +118 pts
55 lb x 12 reps (+26 pts)
75 lb x 12 reps (+30 pts)
85 lb x 10 reps (+31 pts)
85 lb x 10 reps (+31 pts)
Pull-Up +6 pts
12 reps || assisted || 145 lb (+2 pts)
6 reps || assisted || 130 lb (+2 pts)
2 reps || assisted || 115 lb (+2 pts)
Dumbbell Bicep Curl +100 pts
15 lb x 12 reps (+26 pts)
25 lb x 8 reps (+26 pts)
25 lb x 5 reps (+23 pts)
25 lb x 6 reps (+25 pts)
Stretching +2 pts
0:10:00 (+2 pts)
Dumbbell Shrug +79 pts
25 lb x 12 reps (+19 pts)
35 lb x 12 reps (+20 pts)
40 lb x 10 reps (+20 pts)
40 lb x 10 reps (+20 pts)
Stiff-Legged Barbell Deadlift +202 pts
55 lb x 12 reps (+46 pts)
75 lb x 10 reps (+52 pts)
75 lb x 10 reps (+52 pts)
75 lb x 10 reps (+52 pts)
Upright Barbell Row +91 pts
45 lb x 12 reps (+21 pts)
65 lb x 10 reps (+24 pts)
65 lb x 9 reps (+23 pts)
65 lb x 8 reps (+23 pts)
Reverse Crunch +82 pts
17 reps (+22 pts)
17 reps (+22 pts)
15 reps (+19 pts)
15 reps (+19 pts)
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My Workout For Tuesday January 21
I earned 728 points for my workout on Fitocracy!
Stretching +2 pts
0:10:00 (+2 pts)
Pull-Up +8 pts
12 reps || assisted || 145 lb (+2 pts)
6 reps || assisted || 130 lb (+2 pts)
4 reps || assisted || 130 lb (+2 pts)
4 reps || assisted || 130 lb (+2 pts)
Bent Over Barbell Row +112 pts
55 lb x 12 reps (+26 pts)
65 lb x 12 reps (+28 pts)
75 lb x 10 reps (+29 pts)
75 lb x 10 reps (+29 pts)
Upright Barbell Row +93 pts
55 lb x 12 reps (+23 pts)
65 lb x 10 reps (+24 pts)
65 lb x 9 reps (+23 pts)
65 lb x 9 reps (+23 pts)
Plank +20 pts
30 sec (+10 pts)
30 sec (+10 pts)
Stiff-Legged Barbell Deadlift +199 pts
55 lb x 12 reps (+46 pts)
65 lb x 12 reps (+49 pts)
75 lb x 10 reps (+52 pts)
75 lb x 10 reps (+52 pts)
Side Plank +42 pts
30 sec (+21 pts)
30 sec (+21 pts)
Dumbbell Shrug +75 pts
20 lb x 12 reps (+18 pts)
25 lb x 12 reps (+19 pts)
30 lb x 10 reps (+19 pts)
30 lb x 10 reps (+19 pts)
Reverse Crunch +76 pts
15 reps (+19 pts)
15 reps (+19 pts)
15 reps (+19 pts)
15 reps (+19 pts)
Dumbbell Bicep Curl +101 pts
15 lb x 12 reps (+26 pts)
20 lb x 12 reps (+27 pts)
25 lb x 6 reps (+25 pts)
25 lb x 5 reps (+23 pts)
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My Workout For Thursday January 23
I earned 842 points for my workout on Fitocracy!
Stretching +2 pts
0:10:00 (+2 pts)
Dips - Triceps Version +10 pts
1 reps (+2 pts)
12 reps || assisted || 130 lb (+2 pts)
8 reps || assisted || 115 lb (+2 pts)
6 reps || assisted || 115 lb (+2 pts)
5 reps || assisted || 115 lb (+2 pts)
My first unassisted dip! Now to see if I can get more...
Dumbbell Bench Press +213 pts
30 lb x 12 reps (+49 pts)
40 lb x 12 reps (+56 pts)
45 lb x 7 reps (+55 pts)
45 lb x 6 reps (+53 pts)
Barbell Squat +214 pts
65 lb x 12 reps (+49 pts)
85 lb x 10 reps (+55 pts)
85 lb x 10 reps (+55 pts)
85 lb x 10 reps (+55 pts)
Barbell Deadlift +206 pts
55 lb x 12 reps (+46 pts)
75 lb x 12 reps (+53 pts)
85 lb x 8 reps (+53 pts)
85 lb x 9 reps (+54 pts)
Standing Dumbbell Shoulder Press +180 pts
15 lb x 12 reps (+44 pts)
25 lb x 10 reps (+49 pts)
25 lb x 7 reps (+46 pts)
25 lb x 5 reps (+41 pts)
Standing Calf Raises +17 pts
12 reps || weighted || 65 lb (+4 pts)
12 reps || weighted || 85 lb (+5 pts)
10 reps || weighted || 95 lb (+4 pts)
10 reps || weighted || 95 lb (+4 pts)
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My Workout For Sunday February 09
I earned 1190 points for my workout on Fitocracy!
Standing Calf Raises +18 pts
12 reps || weighted || 85 lb (+5 pts)
12 reps || weighted || 105 lb (+5 pts)
10 reps || weighted || 115 lb (+4 pts)
10 reps || weighted || 115 lb (+4 pts)
Barbell Deadlift +214 pts
65 lb x 12 reps (+49 pts)
85 lb x 10 reps (+55 pts)
85 lb x 10 reps (+55 pts)
85 lb x 10 reps (+55 pts)
Stretching +2 pts
0:10:00 (+2 pts)
Barbell Squat +230 pts
75 lb x 12 reps (+53 pts)
95 lb x 10 reps (+59 pts)
95 lb x 10 reps (+59 pts)
95 lb x 10 reps (+59 pts)
Standing Barbell Shoulder Press (OHP) +249 pts
45 lb x 12 reps (+59 pts)
65 lb x 10 reps (+66 pts)
65 lb x 8 reps (+64 pts)
65 lb x 6 reps (+60 pts)
Dumbbell Bench Press +199 pts
30 lb x 12 reps (+49 pts)
35 lb x 12 reps (+52 pts)
40 lb x 6 reps (+49 pts)
40 lb x 6 reps (+49 pts)
Dips - Triceps Version +50 pts
4 reps (+14 pts)
3 reps (+10 pts)
3 reps (+10 pts)
3 reps (+10 pts)
2 reps (+6 pts)
Pull-Up +26 pts
1 reps (+13 pts)
1 reps (+13 pts)
Just to see if I could do it today...the answer is YES!!!
Barbell Incline Bench Press +202 pts
55 lb x 12 reps (+47 pts)
75 lb x 10 reps (+53 pts)
75 lb x 8 reps (+51 pts)
75 lb x 8 reps (+51 pts)
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The Hunger Games: Catching Fire Film Review
An act. A simple, defiant act from one person. The intent was to call one man's bluff. The result is the beginning of something far larger than one could have imagined, something that could change the world but leave a path of devastation in the process. Can that person live with himself/herself knowing what the consequences of his/her decision will be? Can he/she become the hero the larger picture desperately wants him/her to be? This idea is explored in the film The Hunger Games: Catching Fire, Francis Lawrence's adaptation of the second book in Suzanne Collins' massively popular The Hunger Games trilogy, and while it does suffer from "middle film syndrome," the stronger story, excellent acting, and thematic focus make it an improvement over the very good first film. In the 74th Hunger Games, Panem's District 12 tributes Katniss Everdeen and Peeta Mellark challenged the gamemakers and the Capitol by threatening to kill themselves and yield no winner. The authorities acquiesced and let both live. However, this act of defiance, coupled with Katniss' compassion toward a tribute from District 11, planted the seeds of insurrection that has been met with equally violent suppression. President Snow, ruler of Panem, makes a deal with Katniss - sell the idea that her defiance was an act of love for Peeta and aid in quelling the burgeoning rebellious atmosphere or see her and Peeta's loved ones die. Katniss, loyal to her family above all, decides to continue the charade of love, but as the victory lap across the other Districts commences, she witnesses the oppressive state in action, and the charade collapses. Snow decides that for the 75th Hunger Games, the third Quarter Quell, tributes that survived the previous Games are the only eligible tributes. putting Katniss and Peeta back into the Games. However, this time isn't just about survival --- revolution is in the air, and Katniss has to decide if she can bring things back to the status quo or if she can become symbol of the revolution that is desired of her. The first film only hinted at the thematic elements that come into play throughout the entire story. In Catching Fire, the exploration of violence and revolution and the personal cost of each comes to the forefront. Katniss, Peeta, and their mentor, Haymitch Abernathy, all are dealing with Post Traumatic Stress Disorder. Katniss is explicitly suffering from nightmares and emotional triggers, Peeta is struggling to move forward with his life, and Haymitch is severely self-medicating with alcohol. Haymitch reiterates to Katniss several times that there are no winners of The Hunger Games, just survivors, and there is no end to the involvement in the Games as now they must be mentors to other tributes from District 12, reliving the horrors the Games gave them. Compound that with having to keep up the show that Katniss put on involving falling for Peeta, and Katniss sees how the Games have eternally forced her to live a lie, crushing whatever spirit she has left. The first half of the film compares and contrasts this with the unrest and oppression of the Districts and the mindless disconnect of the Capitol. The second half becomes more plot-driven as the 75th Hunger Games gets underway, causing the film to have a split personality, but the thematic focus is constant, and the brutality of the story's universe is felt with major impact. The screenplay drafted by Simon Beaufoy and rewritten by Michael Arndt (credited as Michael deBruyn) does a great job highlighting the thematic points without making them obvious, and the editing work by Alan Edward Bell as well as the cinematography by Jo Willems fix the incoherence of the action sequences in the first film, making a solid story worth watching. James Newton Howard's film score accentuates the tonal shifts of the film without becoming overbearing. The strong acting that was the main reason to watch the first film is also much improved. Jennifer Lawrence has been nothing but a high-quality actress since her breakthrough in Winter's Bone, and her winning a well-deserved Oscar for Silver Linings Playbook has not caused her to settle. The weariness and loss of innocence in Katniss' eyes and her struggles with PTSD draw the audience into the story more than before. Her chemistry with everyone is natural, and her physicality balances her emotional frailty. Jennifer Lawrence is still the number one reason why this film series has been successful. Her talent seems limitless, and with how incredible she is at playing a wide range of roles, she may be this generation's Meryl Streep. Josh Hutcherson improves significantly in this film, not only holding his own against Jennifer Lawrence but also giving the film a counterbalance to Katniss. While Katniss is struggling with nightmares, Peeta is simply stuck in neutral. He knows he shouldn't have won the Hunger Games, and he's aware that Katniss' affections were a ruse, but his existence is a lonely one, and his only wish is to form some connection to the one person who is the reason he is still alive. Josh Hutcherson stil exudes the same charm as before, but he now gives Peeta more gravitas, more baggage, more of what we wanted him to be in the first film - someone about whom the audience truly cares. Woody Harrelson evolves the darkly comic relief of Haymitch Abernathy in the first film to something more tragic --- a man who is eternally haunted by "winning" a Hunger Game. He is who Katniss could become. His alcoholism and sardonic demeanor is still played for laughs from time to time, but Haymitch now imbues that humor with melancholy and provide a reason for Haymitch to be the smart-ass that he is. Woody Harrelson is just fantastic. Elizabeth Banks takes Effie Trinket, the symbol of Capitol disconnect, and gives her humanity, showing that her fashion and eloquence has become a facade for her compassion. Lenny Kravitz continues to emanate charm, charisma, and style as Cinna. Stanley Tucci and Doug Jones provide the necessary jovial counterpoint to the seriousness of the film as the co-hosts of the Hunger Games proceedings. Donald Sutherland takes President Snow from the imposing father figure in the first film to the great manipulator in this film, and his calm demeanor accentuates the danger of his threats. The newcomers all hold their own against the series' veterans. Jena Malone is exciting as tribute Johanna Mason, portraying pure id with her deliberate undressing in the presence of Katniss, Peeta, and Haymitch, her unfiltered voice, and her unhinged actions and reactions throughout the Quarter Quell Jeffrey Wright and Amanda Plummer get to play superego as eccentric, intelligent tributes Beetee and Wiress, respectively, who carefully plan out how to utilize the environment to their advantage, and both shine in their roles. Sam Claflin is wonderful as tribute Finnick Odair, the ego who helps Katniss and Peeta stay alive while understanding the long-term goal and reminding Katniss of "who the real enemy is." Philip Seymour Hoffman is in reliably top form as new head Gamemaker Plutarch Heavensbee, and although his appearance is brief, his presence is felt, and it will be a pleasure to he him more in the next installment. The film does suffer a case of "middle film syndrome," mostly due to the nature of the story and how the first book was adapted. The first film barely hinted at the burgeoning revolution, only showing one riot --- in District 11, and through its focus on the people of the Capitol as the primary viewership, a group that is isolated from the oppression. The oppression was present, but the unrest was more of an afterthought --- the people of each District had found ways to live within the confines of Panem. It makes transitioning to the second film jarring as now the oppression and unrest are felt in every frame. This film succeeds in reintroducing everything and everyone without excessive exposition. If one was to start watching the series with this entry, he/she would be able to follow the story pretty well with few questions. The ending leaves a bit to be desired emotionally and hangs the story at an ellipses than a defined period. Many second films, or at least a film prior to the end, hang at an ellipses without completing its own arc --- the implied sole purpose is to set up the next film. Even great and successful films such as The Lord of the Rings: The Two Towers couldn't circumvent this. The Empire Strikes Back had a plot-related ellipses, but that film had a complete emotional arc that was independent yet integral to the entire series. With Catching Fire, by being more literal in its adaptation, the ending introduces new ideas and plot points just to set up the next film, and it makes the film feel incomplete. However, it could be recommended to start with this entry due to it being a different director. Gary Ross did a successful job with the first film, but Francis Lawrence fleshes out the universe with impressive details and allows the actors to drive the story forward. Aside from the exposition heavy ending, Francis Lawrence succeeds greatly at the "show, don't tell" approach. The best moment in the film, and the scene that is the one to beat in the entire series, is a brief but powerful sequence involving the announcement that the Quarter Quell will draw its tributes from only the surviving victors of every Game. It starts with the emotional devastation of Katniss' family, followed by an angry and distressed Haymitch screaming and throwing an empty bottle at the screen, then a stunned and frightened Peeta having the gravity of the announcement push him into his chair, ending with Katniss, emotionally destroyed, running into the woods, gasping for air while screaming in dismay. This reads like it's melodrama, but the way the director lets the actors play this moment, it's the most human, most emotionally devastating moment in the entire film. The hope that Katniss accidentally instilled in the Districts after winning the last Game has left these three people in that moment, and it ultimately sets everything in motion for the rest of the story. This moment gives hope that Francis Lawrence will make the next films in the series better and better. His touch has upped the ante of the series, and while it may be nothing more than the middle film of the series, The Hunger Games: Catching Fire is a great adaptation, a very good film with powerful moments, and a sign that the series is in good hands.
Movie Rating: 8.5/10 A tense and thought-provoking first half gives way to a thrilling second half that don't gel together ideally but are wonderfully executed halves.
Film Rating: 8.5/10 The themes of violence from the first film evolve into revolution and reluctant heroism; even an open-ended conclusion doesn't diminish from overall
Hunger Games Film Rating: 9/10 The efficiency of the first film is traded for a fuller experience, one that is emotionally rewarding and viscerally entertaining.
My Workout For Saturday January 18
I earned 525 points for my workout on Fitocracy!
Moving boxes +480 pts
4:00:00 || Easy (+480 pts)
Shoveling snow +45 pts
0:15:00 (+45 pts)
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zoostationjustdowntheline reblogged this · 13 years ago
My life in film reviews, music reviews, life analysis, and what's going on just down the line in my mind.
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