Showing posts with label film. Show all posts
Showing posts with label film. Show all posts

Saturday, April 24, 2010

Plot Holes and Pizza Rolls

I've been meaning to post about RedLetterMedia's "Plinkett Reviews" for a while now. While the site has apparently been doing reviews of Star Trek films for a while now, it gained the most recognition for its review of Star Wars: Episode I, which clocks in at nearly half the length of the film itself. The latest review, of Episode II, takes things even further.

While the reviewer-as-serial-killer "subplot" (hard to explain until you see it for yourself) is hit or miss, the critiques of the storytelling and filmmaking are mostly spot on, and I found myself nodding in agreement with many of the insightful criticisms. As a taste, here is the site's (relatively short) review of Avatar, a film most of our faithful readers have probably seen:


Wednesday, March 3, 2010

Postverbindungen: March 3, 2010

Some random links from recent internet travels:
  • I can only hope that the Zoolander sequel lives up to the original, which still makes me laugh just thinking about it. No word yet on whether Owen Wilson will reprise his role as Hansel, but Jonah Hill is reportedly in talks to play the villain. Justin Theroux (who played the break-dance-fighting "Evil DJ" in the first film) will write the screenplay (his other writing credits include Tropic Thunder and the upcoming Iron Man 2).
  • From what my friends tell me about the after-work life of the South Korean salaryman, it's no wonder that scientists in that country are at the forefront of hangover reduction research. Stay thirsty, my scientist friends, or you might find yourself trailing the Japanese, when they begin studying the vodka-snorting phenomenon mentioned by the first commenter on the linked article.
  • Meant to post this a while back, but here's a crazy video from the security cameras of a bus whose driver fell asleep and wreaked havoc on a Taiwanese freeway.
  • John Gruber pretty much sums up what I have to say about the Apple-HTC Patent Thing. In short, I don't believe that software patents are a bad idea in principle, but the current system is broken, and so it is unfortunate but understandable that companies would stockpile patents for defensive purposes. It's when companies use them offensively (pun intended) that a bad taste is left in everyone's mouths. A friend of the site, Joz, was lamenting recently that Steve Jobs — and, by extension, Apple — would be looked upon much more fondly if he rested on his laurels of good design and constant innovation, rather than always picking fights with or making snide remarks about people/companies/technologies. Unfortunately, life is rarely so simple, and we have to take the bad with the good.
Finally, I'm a sucker for a good Rube Goldberg machine, so I'm happy that OK Go and Synn Labs put in the effort to make this one (available in HD):

Update: Forgot about this video, which may be of some interest to the Japanophiles and yo-yo-o-philes among the Hydrans:

Sunday, April 12, 2009

Couple o' Trailers

First up, Duncan Jones' Moon — starring Sam Rockwell and the voice of Kevin Spacey — an indie sci-fi picture that has echoes of 2001, Silent Running, Alien, Solaris, and more:



The score is by Clint Mansell, and the poster is worth a look as well.

Secondly, Idiocracy's Mike Judge returns to the office space (har har) for his next film, Extract, starring Michael BluthJason Bateman, Ben Affleck, Mila Kunis, and J.K. Simmons:



"She's a tramp!?"

Sunday, January 18, 2009

Sunday Night Videos

I would never, ever attempt to be like these guys ...



... for fear of ending up like this guy:



Steve Nash is more consistent at free throw shooting than I am at ... breathing ...



... though I am better than this girl at explaining the plot of Star Wars:

Monday, December 29, 2008

Aronofsky and Boyle Interviews

Fox Searchlight, which has two films on all the shortlists this award season — Slumdog Millionaire, which I've seen twice now and highly recommend, and The Wrestler, which I'm looking forward to seeing after New Year's — had the brilliant idea to have the films' directors (Danny Boyle and Darren Aronofsky, respectively) interview each other in a series of web videos.

To save you all the trouble of searching around for the film blogs with "exclusive" embeds of each video, here are the links to all the available parts, which can be viewed directly on Fox Searchlight's site:Update 2009/01/11: Still waiting for Fox Searchlight to post the two remaining clips. In the meantime, here are some interesting videos on YouTube (1, 2, 3, 4, 5) taken by spectators at a CZW event in Philadelphia where the fight between "The Ram" and Necro Butcher was filmed. (The rematch with The Ayatollah was filmed across two Ring of Honor events.)

The clips really show why Aronofsky chose a cinematographer with a documentary background, as well as the pressures of shooting in such a chaotic environment, without having the safety net of doing many takes.

Update 2009/03/01: I can't find Part 2 on Fox Searchlight's website, but they now have a version where everything is in a single video, so I've added the link to that along with the link to Part 1.

Thursday, December 11, 2008

Inspirational Montage



(Credit: Matthew Belinkie; via Cinematical)

Monday, November 17, 2008

Midnight Movie News

That's "movie news at midnight", not "news about midnight movies"!

The Good: Jeffrey Tambor hints that the Arrested Development movie might finally be happening!

The Bad: Sir Ridley Scott — director of Alien, Blade Runner, and Gladiatorwill indeed direct the feature-film adaptation of Monopoly. Yes, that Monopoly.

The Ugly: Much to alliesglove's chagrin, Jaden Smith (son of Will) is officially the new (wannabe) Ralph Macchio, in a remake of The Karate Kid ... set in China!?

Sunday, August 10, 2008

R.I.P.

Bernie Mac and Isaac Hayes.

Get Well Soon, Morgan Freeman. (Sorry about the marriage.)

Stay strong, Samuel L. Jackson.

From, Your Friends at The Hydra

Saturday, July 26, 2008

Theme Park Thoughts

Due to a steady stream of visiting relatives, I make an annual or biannual pilgrimage to various Southern California theme parks. Here are some of my thoughts from the latest round of trips:

Universal Studios Hollywood — The Simpsons Ride

The Simpsons Ride takes over the area previously occupied by Back to the Future: The Ride, and continues the earlier attraction's tradition of entertaining motion simulation.

The ride's concept is that the Simpsons (including Grandpa Abe!) are visiting Krustyland, a cross between Disneyland and the shadiest carnival you've ever been to. Their outing turns into an adventure after escaped convict Sideshow Bob takes over the park and attempts to kill Bart and his family — and you — for always foiling his plots to take revenge on his former employer, Krusty.

The best part of the ride is the line. Nothing makes an hour go by faster than watching the numerous flat-panel displays placed throughout the queueing area, which show a mix of The Simpsons' funniest moments (with a heavy dose of amusement park parodies) and clips created exclusively for the ride. As you get closer to the end, the fun continues, particularly in one room where it looks like Apu, Groundskeeper Willie, Patty & Selma, and Hans Moleman are life-size, within booths, talking to the guests. Also, don't miss the park map, and the circus-style posters for Krustyland's various amusements, including everyone's favorite, the Yard Work Simulator.

Homages to Back to the Future don't stop at the rib-tickling Doc Brown cameo in one of the clips shown in the line. The ride itself is essentially the same as its predecessor, down to the number of people in the vehicles and the domed IMAX screens. Of course, the technology has been updated and there's more spraying of water and baby powder aroma, but that goes with the times.

People who remember the old ride (which you can watch in its entirety over on "the You Tube"; intro clips: 1, 2) will note the many similarities, including parts where you're flying over a city, entering into a giant creature's mouth, and nearly falling into the burning lava pits of hell. Truthfully, the newer ride is a bit harder to follow, as it has much more dialogue and random scene changes, compared to the simpler chase structure of the old ride. That may just encourage repeat visits, though, as there are many in-jokes and visual puns to take in. I'm also not a fan of the third dimension that's added to the animation once you're actually on the ride — if it's going to end up being like watching a giant PlayStation 2 game anyway, why not pay Rough Draft Studios the extra bucks to get the clean-looking cel-shaded 2-D/3-D blend of The Simpsons Movie and Futurama?

Personal preferences aside, The Simpsons Ride is a worthy successor to Back to the Future: The Ride, and is probably more enjoyable for anyone who doesn't remember or isn't nostalgic for Marty McFly, Doc Brown, and the DeLorean. Even if motion simulation isn't your thing, you'll laugh all the way to the ride. If not, well, don't expect Krusty to give you your money back.

Disneyland — Innoventions

By far the coolest thing at Disneyland's Innoventions — the building in Tomorrowland that you've probably never been into unless desperate for A/C — is Honda's ASIMO robot. I'd watched many video clips and photos of ASIMO, but seeing it in person left me even more impressed, if not fearful (of the inevitable bot uprising).

After viewing a brief video about the history of automatons and robots, which includes humorous montages of lame 1950s B-movie monsters and early experiments in robot walking (picture a metallic ostrich, drunk), the curtains open to reveal the living room of a house. In walks a Kirsten Dunst stand-in, who explains that she just received her new ASIMO and wants to show us what it can do. After a few more moments of suspense, ASIMO enters and the auditorium's collective jaw drops.

What follows over the next 20 minutes is a demonstration of the mechanical man's various capabilities: walking forward, backwards, and sideways; kicking a soccer ball, stretching, and running; dancing; and the highlight of the show, ascending and descending stairs. The movements are deliberate, but smooth. I could do without the cheesy dialogue that connects each demo, but I suppose Disney is going for a 1950s World's Fair vibe.

While I'm sure ASIMO needed some custom programming for a show like this, many of the actions seemed to make use of its voice recognition, as the hostess would often make sure to look straight into its camera eyes and use specific phrases like, "ASIMO, why don't we show these people that you can also walk sideways?" Once in a while, the TV screens would show live footage from the cameras, superimposed with graphics that ostensibly show the object recognition at work. ASIMO also speaks, with the voice of a young boy. Fear not, though, child voice actors, it will be a while before you're out of a job.

As an engineer, it's hard not to be dazzled by ASIMO, knowing how difficult it must have been to create. Everyone else in the auditorium couldn't take their eyes (and cameras) off it either. It may ultimately just be an expensive toy, a fancy version of the Robosapien or Pleo that kids are playing with these days, but it's also an inspiring achievement of science and technology. We're not yet living in the future that was promised 50 years ago, but ASIMO is one step forward (pun intended) in that direction.

As for Innoventions in general, I would say that the only other thing worth checking out are the Segways, which you can learn to ride, for a minute or two. The "aging mirror" might be good for a few laughs as well. The rest of Innoventions is no more impressive than your local Best Buy, in my opinion. I'll grant Disney that visitors from some places might be impressed by the "house of tomorrow", with its HP Vista Media Center PCs (some stuck on the hourglass cursor), Xbox 360s, and Microsoft Zunes (yes, really). Most people, however, will find the conceit that they're being shown "not wild ideas that may fail, but futuristic technology that you can buy today" to be a thin veil over the truth that it's just a place to showcase sponsors' products, many of which aren't very futuristic at all. I can't tell you how many people I saw walking up to the touch screens attempting to pinch-and-zoom or multi-touch, leaving disappointed. Kids might like playing some of the games, but did you really spend hundreds of dollars on Disneyland admission so that they could play the same Guitar Hero they do at their friends' houses?

I won't go as far as saying that Tomorrowland has become Todayland. I will say, though, that Innoventions needs more things like ASIMO and Segway, or even the Siemens "Project Tomorrow" exhibit (scroll down), if it wants to be something more than a place to sit down for a while and escape from the heat.

Anything Can Be Funny

Roger Ebert, in his Step Brothers review:
Is this funny? Anything can be funny. Let me provide an example. I am thinking of a particular anatomical act. It is described in explicit detail in two 2008 movies, "Step Brothers" and the forthcoming "Tropic Thunder." In "Step Brothers," it sounds dirty and disgusting. In "Tropic Thunder," described by Jack Black while he is tied to a tree and undergoing heroin withdrawal, it's funny.

Same act, similar descriptions. What's the difference? It involves the mechanism of comedy, I think. The Jack Black character is desperately motivated. He will offer to do anything to be released. In "Step Brothers," the language is simply showing off by talking dirty. It serves no comic function, and just sort of sits there in the air, making me cringe.

[...]

I'm sure I've seen movies with more extreme language than "Step Brothers," but here it seems to serve no purpose other than simply to exist.
This is exactly the way I feel about a few of the Apatow productions I've seen. It's like when you go hang out with a group of people you don't know very well, and they're all joking around and laughing, but you can only manage a smile because you're just not one of them. Maybe the idea is to make so many movies with Seth Rogen, Jonah Hill, and the rest of the gang, that they do start to feel like friends and you can start laughing at their everyday conversations.

(BTW, I need to lower my expectations for Tropic Thunder if I still want to enjoy it. Even Roger Ebert is getting me pumped up for that movie!)

Saturday, May 10, 2008

So Long, Sweet Mazdas

Mazda is destroying thousands of unused cars worth about $100 million:
It all started about two years ago, when a ship carrying 4,703 shiny new Mazdas nearly sank in the Pacific. The freighter, the Cougar Ace, spent weeks bobbing on the high seas, listing at a severe 60-degree angle, before finally being righted.
Nobody knows exactly what parts the salty ocean air corroded, or what other issues arose from having the vehicles tilted for so long. Despite having many willing takers for the cars anyway, the company is afraid of the implications of the cars getting into the hands of scammers and their unsuspecting victims.

Wrecking that many cars presents particular challenges. Hazardous fluids must be disposed of properly, potentially salvageable parts must be irreparably broken, and then there's the matter of the airbags:
For instance, most of the cars have six airbags, and discharging them individually (forcing them to inflate so they can't be resold) takes about five minutes apiece -- or a total of a half-hour per car. So engineers back at Mazda's headquarters, in Hiroshima, fashioned a device that can discharge all six at once. Multiplied by 4,703 cars, that trick alone saved months of work.
Don't worry, environmentalists, the scrap will be recycled.

The Journal article simply mentions that the Cougar Ace was "righted"; detail on that operation is in a dramatic Wired feature, which illuminates the lucrative, but high-stakes, profession of salvage work:
"Shut up!" Habib shouts. He explains that the Cougar Ace has become a labyrinth. Since it's heeled onto one side, they'll have to learn how to walk on walls and scale the sloping, perilous decks. Unfortunately, they'll have to learn to do it in the middle of the ocean. This will be their only chance to practice before they board the ship. Hopefully, no one else will die.
Don't worry, entertainmentalists, the story will be adapted into a movie.

Sunday, March 30, 2008

Sweded Tron

Here's a CG (cardboard graphics) swede of Tron:


(via EPIC-FU via Neatorama)

Sunday, February 24, 2008

There Will Be Speeches

A couple of my fellow bloggers and I saw over 10 hours of movies yesterday, as part of AMC's Best Picture Showcase. There was a diverse audience, composed of people who want to see good films even if they may not like them, who get into the films enough to respond outwardly, and are ready to chat about them while waiting in line at the concession stand or when milling about between films — the best kind of audience, in my opinion. It was a fun experience, and I hope they continue to do it every year.

As for the Oscars themselves, here are George Clooney's picks:
Picture: No Country For Old Men
Director: Joel and Ethan Coen (No Country For Old Men)
Actor: Daniel Day Lewis (There Will Be Blood)
Actress: Julie Christie (Away From Her)
Supporting Actor: Javier Bardem (No Country For Old Men)
Supporting Actress: Amy Ryan (Gone Baby Gone)
Original Screenplay: Diablo Cody (Juno)
Adapted Screenplay: Joel and Ethan Coen (No Country For Old Men)
Cinematography: Robert Elswit (There Will Be Blood)
I'm inclined to agree with Clooney's picks, although the Actress categories are up in the air for me. The winners could easily be Marion Cotillard and Cate Blanchett, or Laura Linney and Saiorse Ronan (OK, maybe not that far). Also, I wouldn't count out cinematographer Roger Deakins, who's shooting for his first Oscar (he's up for two films). I'll go out on a limb and say that Ratatouille will win for Animated Feature, although I wouldn't be too surprised to see Persepolis take it. I've seen both, and they're great in their own ways.

SNL was back last weekend, and here's its spoof of the Oscar nominated films:

You can also consider the latest Digital Short a movie spoof as well. (Not a movie spoof: Tina Fey and Steve Martin brought the funny in the monologue.)

Sunday, February 17, 2008

King of Wrong

Juno-bashing is so mainstream at the moment; if you want to be out of the box, start hating on the documentary King of Kong: A Fistful of Quarters. Jason Scott wrote about why he hated the film, and later added a follow-up (short version, long version), after a lively discussion sprouted up in the comment section of his original post.

In summary, he dislikes the film because the plot and character conflict that make it so compelling are a deliberate fiction, presented as fact (beyond the normal editorializing that all documentaries have). I haven't seen King of Kong yet, but I wonder how Scott's criticisms (which seem apt to me) change people's opinions of what they saw.

Monday, February 11, 2008

I. Drink. Your. Milkshake! I Drink It Up!

alliesglove asked me for more There Will Be Blood links.

Link the first: Alex Ross on Jonny Greenwood's musical score in The New Yorker.
Most soundtracks lean so heavily on a few preprocessed musical devices—those synthetic swells of strings and cymbals, urging us to swoon in tandem with the cheerleader in love—that when a composer adopts a more personal language the effect is revelatory: an entire dimension of the film experience is liberated from cliché.
Link the second: American Cinematographer's coverage of TWBB's cinematography in its January 2008 issue. As usual, it's a bit technical and jargony, but it also has some great insight into how the film captured the era it depicts.
Shaking his head at the memory, Elswit adds, "The next night, we had to shoot the reverses of the actors reacting to the big fire, and Paul didn’t want to use any artificial light." In fact, these reverses were lit with real fire generated by either the powerful flame jet operated by Cremin and his crew or, for certain shots, flamethrower-like devices. Crewmembers were protected from the heat by flame-resistant suits, but the grimaces on the actors' faces are genuine. "The flames got very, very hot, but that’s how we did it," says Elswit.
Link the last: USA Today's story on the growing popularity of "I drink your milkshake!" as a catchphrase. The article digs up its origin (via director P.T. Anderson):
Anderson concedes that he's puzzled by the phenomenon — particularly because the lines came straight from a transcript he found of the 1924 congressional hearings over the Teapot Dome scandal, in which Sen. Albert Fall was convicted of accepting bribes for oil-drilling rights to public lands in Wyoming and California.

In explaining oil drainage, Fall's "way of describing it was to say 'Sir, if you have a milkshake and I have a milkshake and my straw reaches across the room, I'll end up drinking your milkshake,' " Anderson says. "I just took this insane concept and used it."
The film's studio, Paramount Vantage, is even using it as a marketing slogan.

Sunday, January 6, 2008

Hot Rod

I've seen some amazing and critically-acclaimed films recently, like No Country For Old Men and There Will Be Blood, as well as some not-as-amazing but still critically-acclaimed films like Juno and American Gangster. But the film I'm going to bless with a review on this blog is ... Hot Rod. Why Hot Rod? Because it's the film you are least likely to have seen. My review might not change that.

I had put Hot Rod on my Netflix queue, and it hit the top spot recently, so I gave it a chance to make me find it funny (a chance all comedies deserve). What I got was like a series of high-production-value Lonely Island videos played back-to-back, but not all ones that I like. It has the same quirky, 1980s-meets-internet-age vibe as Napoleon Dynamite, and many other similarities too, but I can see why Napoleon found more of an audience, before people became tired of quirk in general.

Of course, there are parts that I found funny — when Rod introduces his "crew" to the girl-next-door (literally), and they don't quite understand how to say a few words about themselves; the first jump, on the non-reinforced ramp; Will Arnett. Other things just didn't do it for me — Rod's enthusiastic fan, who loves to dance (it's funny because he's Asian!); Rod's "2 Legit 2 Quit" speech and subsequent crosswalk accident; the behind-the-scenes DVD extra that kind of made me want to punch people in the face. Many gags were so unrelated to the plot or tried to wring humor out of being so drawn out — Rod falling down a hill; an impromptu "cool beans" musical number; Ebenezer Scrooge. Family Guy has really played that out already.

As an example of where this film went wrong, for me, consider a scene in which Rod is telling someone about his biological father's death. Rod describes a series of gruesome injuries that his dad incurs during his last attempted stunt and ends with: "he died instantly". That's already funny, because it's comically redundant after what we hear the bike did to its rider, right? No. Too highbrow, apparently; Rod has to add: "... the next day". I un-laughed. The line that I found so disappointing is now listed as a "favorite quote" on many a MySpace page, though, so what do I really know about comedy?

I'm not surprised that they had to test-screen the movie to death, or that the same scene would be listed as both an audience's favorite and least favorite. Every joke is hit-or-miss. I watched all of the deleted scenes and outtakes, and I think I could edit together a version of the film that I would find at least 10x funnier (especially using some of Danny R. McBride's ad-libs or some of Will Arnett's alternate dialogue). The problem is that your funnier version might need different discarded clips, or clips from another movie.

Saturday, January 5, 2008

2007 Screenplays

It's awards season in Hollywood, and that means "For Your Consideration" websites from the studios, with downloadable PDFs of screenplays. Here's what I could find; get 'em while they're up:
  • Fox SearchlightThe Darjeeling Limited, Juno, The Namesake, Once, The Savages, Waitress
  • UniversalAmerican Gangster, The Bourne Ultimatum, Breach, Elizabeth: The Golden Age, The Kingdom, Knocked Up
  • Paramount Vantage (Flash link) — A Mighty Heart, Into The Wild, The Kite Runner, Margot At The Wedding, There Will Be Blood
  • MiramaxNo Country For Old Men, The Diving Bell And The Butterfly, Gone Baby Gone, Hoax
You might have to click posters and "screenplay" or "script" links at each website.

It's interesting to see how the final film differs from what's on the page. The PDFs are all "shooting scripts" — basically final drafts — so they don't show how the screenplay may have evolved from what the studio or filmmakers originally saw. What you can see, though, is what was changed on-set, ad-libbed, or edited out after filming.

I skimmed through Juno's screenplay, since it was still fresh in my mind from having seen it a couple of weeks ago. What you see on the screen is mostly there on the page. Contrast that with a comedy like Knocked Up where certain scenes are edited together from the actors' ad-libbed riffs. Diablo Cody's script supposedly improved compared to early drafts, and there were a number of lines cut from the shooting script too. It was clear that leaving those lines in would have pointlessly extended some scenes and disrupted the overall flow of the film, just to squeeze in a few more bits of quirky dialogue. The pair of shots from Juno's POV as she walks through the masses of students at her school, which visually depict her transition from unnoticed to "cautionary whale", are also notably present on the page — I thought those might be a contribution of director Jason Reitman, who Cody credited in an AP article with the "tone" of the picture.

Next up for me is probably There Will Be Blood, which alliesglove and I saw last night, and which I will need to delve into to help me process everything that happened in that epic film. I've already noticed some differences in the ending. Apparently there are also some lines in the script that spell out some of Daniel Plainview's motivating issues (Spoilers!). Most likely, I will be happy that those lines were left unsaid in the final picture.

Sunday, December 9, 2007

Things I Didn't Know, December '07 Edition

Here are some of the things I've learned over the last couple of months:

— Phil Knight, founder of Nike, has been taking writing classes at Stanford, and is a good classmate.

— Nintendo has some excuses for its (mind-boggling, IMO) inability to meet the demand for Wii systems, as elaborated in Wired and in the WSJ.

Bill Bellamy is Shaq's cousin (link to FHM, so maybe NSFW).

— There's a documentary about CalTech basketball called Quantum Hoops.

— PCs with some Award/Unicore BIOSes will, seemingly at random, play classical music to signal problems with CPU fans and power supply voltages!

— Rudolph, the Red-Nosed Reindeer, was created as an advertising gimmick for Montgomery Ward. His creator's brother-in-law wrote the now iconic song about Rudolph, sung by Gene Auntry, for a Max Fleischer cartoon.

— Speaking of Christmas music, there are tons of cover versions of "Last Christmas", Wham's gift to the world.

— The Ten Mafia Commandments.

— An expert Scrabble player would not have set the highest Scrabble score ever, given the same circumstances in which it was achieved.

— The first three-way tie in Jeopardy history (where everyone came back) was a true act of generosity, and the guy who made it happen planned it that way.

Friday, December 7, 2007

Here He Comes

USA Today provides first look photos of the Speed Racer movie, and AOL Moviefone has the trailer.

The filmmakers are clearly trying to preserve the colorful, campy, and over-the-top tone of the cartoon, but I'm not quite sure it translates to live-action film. As one blog commenter put it, it looks "like a rainbow barfed". They've translated some things faithfully — Speed's neckerchief — while making typical Hollywood changes to other things — turning Racer X's costume all-black, for example. Fans of the show in the blogosphere seem to be excited by the pictures and the trailer, though, so maybe the siblings Wachowski have hit their mark. As usual, for those unfamiliar with the 1960s cartoon, Wikipedia has a good summary.

To me, it's funny that the Wachowskis made this film. The "bullet time" effect, made famous by their film, The Matrix, always reminded me of the end of the Speed Racer title sequence (though their direct influences, I think, were two other manga/anime, Akira and Ghost in the Shell).

Speed Racer itself reminds me of middle school, since there was a time back then that my friend and I would play the computer game a lot. (I still have the installation floppies somewhere in my closet!) Maybe, then, it's fitting that the film turned out to look like a big-screen video game.

Tuesday, December 4, 2007

Brawndo — The Thirst Mutilator

It's got what plants crave! Now on sale!



Update: There's also a commercial, and a name for this trend of bringing products from movies into real life &mdash defictionalization. To steal a joke from the preceding link: I hope this trend doesn't extend to Soylent Green!