packbat: One-quarter view of the back of my head. (quarter-rear)
If I may venture a prediction: [livejournal.com profile] feech, you would not like this movie. Like in Duel, very little plot transpires in a given minute of Sorcerer - the chief part of the story can be summarized in a couple sentences, but it all takes two hours to play out.

What I found compelling, though, was this sense of characterization and atmosphere. The characters are all trapped, desperate and struggling, but trapped - by financial problems, legal problems, extralegal problems, and, for the four protagonists, in the end by the job that they have taken itself. What drives the film is this almost certainly fatal struggle to escape the terrible circumstances they have found themselves in.

Don't be fooled by the title: it is a remake of the 1953 French film Le salaire de la peur (English: The Wages Of Fear), and the "Sorcerer" is merely a truck. There is a sense of sorcery about it, perhaps, as one poorly-punctuated review on IMDB suggested, but it is the inimical spirit of bad luck, no agent who may be blamed.

I found the characters compelling, and the story tense. It is not a happy film, but a good one, I think.
packbat: Leaning on a chain-link fence, looking to my left (your right) with a neutral expression. (spectator)
What? I asked.

It's a Japanese word that means a story that plays with the same characters, but different, my brother told me. Ninja Gaiden was a retelling of the story of Ninja, but different.

Ladies and gentlemen, this is the difference between Whiteout (1998 comic) and Whiteout (2009 film). What killed the interest in this movie for the people who hated it was either (Theory 34) that Kate Beckinsdale's shower scene wasn't hot enough, or (Theory Changed) that it wasn't anything like the book. Both objections are correct ...

... but if the comic had never existed and the film had been simply written directly, it wouldn't have received anything like the opprobrium it is subject to. It's a thriller movie, set in Antartica, with a hot lead, lots of plot twists, good action scenes, kinda low-budget special effects but give them some credit, they work, and a satisfying ending. It's not a classic, it's not a tightly-written Chandleresque suspense novel with brilliantly stylized presentation, it's not forward thinking in any way - it's a popcorn movie, and a good one.

Whiteout Gaiden. Rating: 3 stars, buy cheap or rent.
packbat: One-quarter view of the back of my head. (Default)

What was your favorite movie when you were a kid? Is it still your favorite now that you're older?

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The first favorite movie I can recall is actually Twelve Angry Men. For a brief time, Pieces of April displaced it as my favorite, but it has resumed the throne.
packbat: One-quarter view of the back of my head. (Default)
Watched it today in IMAX. [livejournal.com profile] baxil has the goods - I, not having read the comic, have nothing to add.
packbat: One-quarter view of the back of my head. (Default)

You're packing your bag for that magical desert island that happens to have electricity, a TV, and a DVD player—what five DVDs do you take with you?

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In order by increasing cheerfulness:

  • The Third Man (1949)
  • 12 Angry Men (1957)
  • Crank (2006)
  • The Rocketeer (1991)
  • Enchanted (2007)


Crash would have made the list, but I wanted two cheerful movies on the list, so...
packbat: One-quarter view of the back of my head. (Default)

Have you ever ruined the ending or given away plot developments in a book, movie, or tv show by telling someone who hasn't seen or read it what happens? Has anyone ever done this to you?

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Indeed I have, and have been! Most memorable of the former regards "Just Cause" (1995), starring Sean Connery and Lawrence Fishburne, where I in my effusive state blurted out a major plot twist (fortunately to an individual who didn't care, or at least so professed), and most recent to my recollection of the latter regards "Wall-E" (2008), which I still haven't seen.

As a rule, I avoid spoilers assiduously from both ends, regardless of the age of the work. I firmly believe I benefited greatly from seeing "The Sixth Sense" (1999) without knowing even the tagline, for example, and I would have been quite peeved if someone had blurted out the solution to the mystery in "The Woman in White" (1860) before I reached it. For other people, though, I generally do not voice any objections if the work is at least thirty years old.

(I'm still mad about the widespread disregard for this rule with respect to "The Sixth Sense", actually. I didn't suffer from it, but only because my mom sat me down and made me watch it before I had the chance.)

(By the way, if you get the DVD, after you've seen the movie, check out the alternate ending in the deleted scenes - it's worth seeing.)
packbat: One-quarter view of the back of my head. (darwin has a posse)
I have just watched my first bad movie. I've seen good movies before, I've seen great movies before, I've seen decent movies before, and I've seen one truly terrible movie before, but I've never actually seen a merely bad movie until today.

Man, I want my two bucks back.
packbat: One-quarter view of the back of my head. (Default)

'Tis the season for scary movies. Some rank The Evil Dead as the best horror film of all time. What is your favorite scary movie?

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Darkness Falls is my favorite. Definitely Better Than It Sounds fuel, and well, well done.
packbat: One-quarter view of the back of my head. (Default)
Sorry for not getting around to taking about stuff. Enjoyed The Dark Knight when I saw it Saturday, but consider it overrated - worth walking/running 2.5 miles for, but not nearly the religious experience people treat it as. Also, Two-Face was so much cooler than the Joker. (Yes, I said it. So there!)

In contrast, Test Drive Unlimited on XBox 360 rocks like a hurricane. This is a game where you really can drive at 140 mph (225 km/h) for forty miles without loading, through traffic, and it's a fantastic feeling. Only underwhelming parts are (a) the character customization, which is terrifically complex for not much effect, and (b) the motorcycles, which are a little too carlike to be truly thrilling. Oh, and they clearly didn't optimize for the in-car view. In spite of those, it's awesome - A+.
packbat: One-quarter view of the back of my head. (butterfly)
Question for the day: what's your favorite deleted scene from a movie?

For me, it's a tie between the bit that was edited out of the ending sequence in Dead Again and the alternate ending of The Sixth Sense.

Edit: Comments may contain spoilers. (Duh.)
packbat: One-quarter view of the back of my head. (Default)

What are some gripping opening lines from films or books, and why do you think they work so well?

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I have never seen a book, film, song, or anything with an opening line to match one old entry by [livejournal.com profile] daysgoby (formerly anjimito), here:

On the way home today, while crossing the Fuller-Warren bridge, someone threw a kitten out of their window.


God themself could not write a more gripping first sentence.

(Edit: This entry was reposted to [livejournal.com profile] readers_list here, in the event that [livejournal.com profile] daysgoby is lost.)

(Also: The kitten came out all right, and went to live in a new, loving home. Sorry to spoil the ending for you. ^_^ )
packbat: One-quarter view of the back of my head. (twisty little passages)
I was lazing about in bed in this morning when my mom yelled up the stairs that the new Indiana Jones was showing at 9:30 and 10:00, and who wanted to go?

Well, I'm back. And I'll say this: it was no disappointment. Blogger Mark Kennedy's concerns were warranted, true, but it rose above them to deliver a satisfying moviegoing experience.

Overall, I preferred Iron Man - although Mom pointed out that Indiana Jones and the Kingdom of the Crystal Skull had more actual female characters. But neither is a waste of your $8.25 U.S., nor of your afternoon.

(And, as with Iron Man, we went to the bookstore after. Newest acquisition: The Album Leaf, Into The Blue Again.)

Iron Man

May. 15th, 2008 05:36 pm
packbat: One-quarter view of the back of my head. (Green RZ)
This is not a review. My impressions of a movie right after seeing it in the theaters is quite unreliable - I have to forcibly restrain myself just to keep the superlatives out.

Loved it. Terrific superhero movie - up there with the best I've seen (that doesn't count, does it?). Characterization and acting were spot-on. Cinematography - I dare not even attempt to describe it. Special effects? Well, those are always hard. They didn't accomplish the impossible, but they did help push the limits a little closer to it.

In plot - it made sense when I watched it. Not the least because the writing was superb. Whoever did the dialogue did magnificently - genuinely clever, and touching, and well, well done.

It was convincing. It was exciting. It was inspiring - a classic uplifting heroic story, in spite of being indubitably set in the ever-popular day after tomorrow. The good guys are good, and the good guys win.

Today was a great day.

(P.S. Got Patty Griffin's 1000 Kisses at Borders after!)
packbat: One-quarter view of the back of my head. (Default)
In the comments on my artist-QOTD post, [livejournal.com profile] jfs gave a good definition of art: art occurs whenever a person creates something whilst trying to evoke an emotional reaction. I was just thinking about the specifics of that - why "emotional" reaction, what kinds of reactions can/does art make, what kind of moral value should we ascribe to the methods and contexts of these reactions ... I don't know if this will be coherent, but it might be interesting interest.

I guess I'll start with Dan Brown and Myst. No - I'll start with Agatha Christie and Myst; it's wrong to snipe at works you haven't perused.

Wait - no, the point doesn't really work with Agatha Christie. I'd better just start somewhere, and let the chips fall as they may.

One purported property of Dan Brown's writing is that it makes the reader feel clever. Specifically, The Da Vinci Code is accused of making its readers feel clever by showing them stupid puzzles. Assuming "feeling clever" is an emotional reaction (not much of a stretch, I think), I point out the following:

  • Assuming it was on purpose, The Da Vinci Code is art.

  • In addition, The Da Vinci Code is successful art in the evocative1 sense, not merely in the financial sense.

  • It is being criticized for the way it evokes these feelings - its critics say it should not make the reader feel clever in this way, presumably because the reader does not earn feeling clever.


"Hey," my brain said. "What about Myst? It does take a little cleverness to solve those puzzles - isn't feeling clever justified there?"

I'm not going to divert to the obvious moral, here. (I was tempted, mind - any excuse to plug Indigo Prophecy/Fahrenheit is welcome.) Instead, I think we should consider where this idea of justification of art, in this earned-emotion sense, leads. Is the emotional climax of Terminator 2 justified? What about the excitement and satisfaction of a good game of Grand Theft Auto: Vice City? Or of a good performance of Beethoven's Symphony No. 5 in C minor? Or, on a more abstract note: are we justified in evaluating these works and the reactions they evoke? Or, higher still: are we justified in rejecting such evaluations as unworthy, or unnecessary, or inappropriate?

Comments are open.

1. "Evocative of emotional reactions". Hey, I wanted something short and snappy. ^
packbat: One-quarter view of the back of my head. (Default)

What does it take to make a good movie? What's the best movie you've seen recently?

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I was thinking about this a while back, and I came up with something like this:
  • A good movie (good anything, really) does everything competently well. A movie might be fun that does some things badly, but unless all the fundamentals - plot, character, acting, cinematography - are there, it's not going to be a good movie.
  • A great movie does something superbly.

Of course, neither of these encompass everything required for me, personally, to like a movie. For example, a certain sort of moral center has to be present, and certain kinds of stupidity absent. (I disliked Johnny English for both of these reasons, though it is a good movie; similarly, though to a lesser extent on the former grounds, Surviving Christmas.) However, as a rule of thumb, I believe the above suffice.

Now, as for the best recent movie I've seen? (Yes, I'm altering the phrasing a little.) My nominee is Crank.

First off: if you check the site, you'll see that it's "Rated R for strong violence, pervasive language, sexuality, nudity and drug use." You see that "pervasive"? That practically applies to the entire rest of the sentence - no, the entire sentence, full stop. Do not bring your kids to this movie.

Why do I say Crank is an excellent movie? Well, to start with, it's a good movie. The plot is not entirely original - as my mom said, it's clear that the people who made it had heard of the 1950 movie D.O.A. (Dead On Arrival) - but it's definitely okay, and it's the weakest part. But the real reason I mention it is the camerawork.

Read, if you will, the directing, writing, and camera department credits. Yes, those are the same two people. This is a movie by and for camera operators, and it contains the most incredible camerawork I have ever seen, including the most incredible in-camera special effects I've ever heard of. (When you hit the end of the movie: yes, they shot that in-camera. I'm not kidding.)

(Have I abused the <em> tags enough? Hmm, may as well make it an even dozen.)

Now, I can't guarantee you'll like it. My brother didn't even think I'd (twelve!) like it. But if action is your game (and there's plenty of it; it even stars Jason Statham doing his own stunts), Crank won't disappoint.
packbat: One-quarter view of the back of my head. (Silhouette)
Okay, so there are four Die Hard movies, yah? One, Two, Three, and Four, also known as the original, Die Harder, Die Hard With a Vengeance, and (depending on where you live) either Die Hard 4.0 or Live Free Die Hard. They're all Die Hard movies, of course, but how do they stand up next to each other?

Well, here's the metaphor that I just came up with.

The first one? That's Bruce Lee. The quintessential defines-the-genre Real Thing.

Second one? They couldn't get Bruce Lee, so they found some other Asian dude and told him to fake Bruce Lee. It's not horrible, admittedly, but it's not actually good, either.

Third? Jet Li. Inevitably (yet justly) compared to the first, but cranked up to 11 with heavy distortion on the electric guitar.

Fourth? Wesley Snipes. Looks completely out of left field, but is actually (a) very good and (b) preserving many of the essential parts of the tradition (in world of the metaphor, the martial arts prowess).
packbat: One-quarter view of the back of my head. (Silhouette)
This is a truly incredible movie. Pure suspense.

I could provide more detail, but just ... wow.

Anyway - on to the TV!

The penultimate 'Who Wants to Be a Superhero?' episode, and it's the final three! )

Edit: A poll!
packbat: One-quarter view of the back of my head. (butterfly)
A couple points:

  • As [livejournal.com profile] feech/[livejournal.com profile] channing pointed out, the movie does the whole "Ride, Postman, ride!" thing, which one might find annoying.
    • Oh, and clothes left sitting on a decaying corpse for decades aren't usually crisp and clean. Details like that might annoy.

  • The acting is good. Extremely good.
  • 178 minutes.

Sorry for the lame entry. I'll try better tomorrow.
packbat: One-quarter view of the back of my head. (pale blue dot)
I have to admit it. It's not something I'm proud of, but, well, one must learn to admit these things in oneself, that one may learn to let them go.

Remixes - cover versions of songs - they give me fits.

No, it's worse than that. Different versions of a song give me fits. If I hear the Crosby, Stills, Nash, and Young version first, then I get imprinted on it, and Joni Mitchell's take drives me nuts. Will for years. Maybe if I work determinedly, I can learn to stop hearing not-my-version and start hearing what she's actually playing, but that's if I work like the devil at it, and it's only because I love Joni Mitchell I'd give her the chance.

Knowing this, it's no surprise to me that so many people hated The Postman. They read David Brin's book, and the movie's just plain not it. But I would nevertheless urge every person who ever rejected it for not being their version, and every person who spurned it for the bad press it received, to reconsider.

I'll do my best not to spoil it, but I necessarily must say a few things to explain myself. )

The Postman is a quiet sort of science fiction movie. Oh, there's fighting, and it's certainly set in a future, but no hyperintelligent computers or genetically-engineered beasts are to be found here, and what battles there are are muddy, dusty, confusing things, and far from glorious. It is science fiction like Watership Down is fantasy - the category is correct, but both are ultimately about people. And the important moments are those ones where these people act for each other.
packbat: One-quarter view of the back of my head. (pale blue dot)
Belated reply to [livejournal.com profile] alchemi's prompt: revisiting my Nuclear War Reading List.

Really, 'Nuclear War Reading List' is the wrong name. Especially as I expand it out to not-books.

Anyway, the list, expanded:

Books
  • Alas, Babylon by Pat Frank (Harry Hart) - a remarkably clever story of events in a small Florida town after a nuclear war.
  • Failsafe by Eugene Burdick and Harvey Wheeler - a good story, exploring the possibility of an accidental nuclear attack.
  • Warday by James Kunetka and Whitley Strieber - another story about the aftermath of a nuclear war. Not so realistic as "Alas, Babylon", as it suffers from an excess of sci-fi zeal, but a worthy book on its own merits.
  • The Curve of Binding Energy by John McPhee – a good nonfiction book about nuclear issues, including judgments of how difficult it would be to build weapons.

  • From the comments:
  • [livejournal.com profile] kirabug: A Canticle for Leibowitz by Walter M. Miller, Jr. - a classic postapocalyptic science fiction story.
    Not included: Farnham's Freehold - these are stories about, not stories including, nuclear weapons; Earthwreck! by Thomas N. Scortia - I haven't read it yet.

    Movies
    (Excluding adaptations of the above books.)


    Songs
    • "99 Luftballoons", Nena - in the lyrics, a nuclear war is launched when the 99 red balloons are released and mistaken for an attack.

    • From the comments:
    • [livejournal.com profile] baldanders: "8 1/2 Minutes", The Dismemberment Plan - 8 1/2 minutes is implied as being the length of the 'war'.


    I'm obviously missing tons of these - any opinions?
packbat: One-quarter view of the back of my head. (Default)


From Twenty Sided.
packbat: Wearing a open-frame backpack, a pair of sunglasses, and a wide, triangular grin. (hiking)
Of course, this is counting school plays recorded on videocassette as 'films', and I can't actually verify the existence of two of the links, but:

  1. I was in a performance of the musical "Green Eggs and Ham" beside my voice teacher, Cate Frazier-Neely.
  2. Cathryn Frazier-Neely was at Maryland with soprano Alessandra Marc, and hopefully was caught on video with her at some point (Weak Link #1).
  3. Alessandra Marc "appeared in a gala concert at the Brooklyn Museum of Art co-chaired by legendary R&B/rap pioneers, Russell Simmons and Danny Simmons" (Weak Link #2).
  4. Russell Simmons was in the 2002 film "Brown Sugar" with Kimora Lee (this link and the next forged by the Oracle of Bacon at Virginia).
  5. Kimora Lee was in the 2005 film "Beauty Shop" with Kevin Bacon.


Therefore, I've a Bacon number of 5. Anyone else want to play?
packbat: Wearing a open-frame backpack, a pair of sunglasses, and a wide, triangular grin. (hiking)
It's been a week, I see. No groundbreaking new events, but I have watched "The Lake House" and "Redeye" – the former is a truly superb little SFnal romance, and the latter is an exciting (and startlingly short) thriller. I also finished "Beauty" (which is interesting, but not my favorite Tepper), and both a takehome and an in-class midterm.

More importantly, though, a pleasant little intermeme from [livejournal.com profile] the_zaniak:
I'm feeling particularly great at the moment, and it has alway been my philosophy to share the self-esteem. So, comment in this entry, and I'll give you x words about how awesome you are!

The condition: x = how many words you give me about how awesome I am! Cheat, and I'll cheat right back atcha.

So come on people, comment, and lets get the self-esteem flying!

Spoons!

Oct. 16th, 2006 10:40 pm
packbat: One-quarter view of the back of my head. (Default)
Don't be like Spoonless Joe – buy a spoon today!

P.S. I got my laptop back!
packbat: One-quarter view of the back of my head. (RZ Ambigram)
Okay, how many of you have heard of Edwin Abbot Abbot's story Flatland? Because as [livejournal.com profile] baxil just pointed out, they're making a movie.

Clearly the animators won over the mathematicians when they made it, unfortunately.
packbat: One-quarter view of the back of my head. (Default)
Courtesy of [livejournal.com profile] paulsoth, a short video on Male Restroom Etiquette.

LJ-Embedded Version )
packbat: One-quarter view of the back of my head. (Silhouette)
Quick link, from [livejournal.com profile] drabheathen: Noah takes a photo of himself everyday for 6 years.

And I second her recommendation: watch it with headphones.
packbat: One-quarter view of the back of my head. (Half-Face)
I'm feeling silly. My roommate has a copy of Poolhall Junkies, which just watched for our movie night, and I'm going to grade it, category by category. Everything's on a scale from one to ten, with references for each category. (Obscure references, admittedly, but I have eclectic tastes.)

The Scorecard )

Overall, though? I give this one a 8.5. Not a classic, but definitely choice.
packbat: One-quarter view of the back of my head. (Silhouette)
What's up: not much. Still getting started at work, am rereading my favorite book (Watership Down), just rewatched "The Eternal Sunshine of the Spotless Mind" (which is not a comedy), and the latest TSAT just came out.

Okay, now the question. What is the best movie you've never seen? I know you can't answer for sure – especially since your "best movie" will be judged differently than anyone else's – but what's your best guess?

(My rules for 'never seen': may have seen trailers, overheard dialogue, but never sat down (or stood nearby) and watched for any period of time. So, I can't do "Pi", because I watched bits of it over my brother's shoulder.)

I think, in my case, the answer is... )

Oh, and please – no spoilers.

Z followup

Jul. 13th, 2006 09:33 pm
packbat: One-quarter view of the back of my head. (tired)
Remember I said I wasn't sure if the movie "Z" made sense without the book? Well, I talked to my mom today, and she tells me Yes, it did, and it was excellent.

(Does the capitalize-no-quotes thing work as an indicator of paraphrase, here? Just wondering.)

In other news... err, I don't have any. Cranial remote controllers (link from Skepchick), anyone?

Quickie: Z

Jul. 11th, 2006 09:49 pm
packbat: One-quarter view of the back of my head. (Green RZ)
Toute ressemblance avec des évènements réels, des personnes mortes ou vivantes n'est pas le fait du hasard.

English subtitle: Any similarity to actual persons or events is deliberate.


I mentioned buying the book "Z" a couple months ago – I finished reading it before Goshen, and watched the movie today. The above is the exact quote from the screen, at the end of the opening credits.

"Z" is a peculiarly interesting example of book-to-movie transition. I have both seen and read (though rarely in that order) "The Shipping News", "Hart's War", "The Great Escape", "The Postman", and doubtless a few others whose names escape me now. "The Shipping News" was a singularly ineffective translation – a mediocre movie out of a spectacular novel – and every other one on my list had their plots significantly altered for the silver screen. Some (e.g. Mom) would disagree with me about how significantly in some cases, but they all underwent major revision.

"Z" was different. I don't know if it's like the Dune movie – incomplete – and I'm just filling in gaps in the movie from knowing the book, but somehow the scriptwriter(s) of "Z" found ways to imply enough, and drop enough repetition of ideas, and enough unneeded ideas, to bring most of what I got from Vassilis Vassilikos's book into itself.

A remarkable film.
packbat: One-quarter view of the back of my head. (Default)
Yesterday, I saw "Elizabethtown".

Some movies do not restrict themselves to an emotion. That's true of all art, of course; Shakespeare opens "Romeo and Juliet" with a scene of witty banter that thrilled me to read it. Perhaps that is a characteristic which people have forgotten to appreciate – like some, maybe most, of the best movies I've seen, "Elizabethtown" was a terrific failure in theaters. But it takes something to make people laugh one minute and cry the next, and to do it as honestly as this.

Spoilers, possibly minor. )


But really, what's most impressive about the movie is the characterization. People talk a lot, they interact, they get angry and sad, and from the greatest to the least they seem like real people. To talk about the movie again with my mother is to see even more in it than before.


Also, on the side, I shouldn't talk about this movie without talking about the music. The music in this movie is superb. I rarely notice music in movies and I could hear how terrific this soundtrack is.


Yeah, other stuff happened today – installation of a folding futon and so on – but some things aren't worth talking about, and others are.
packbat: One-quarter view of the back of my head. (Half-Face)
Today, again, wasn't too busy – I decided not to go to school to sneak into that drawing class, and ended up staying at home, mostly reading. Specifically, mostly reading "Seven Days in May", which I started this noon, and finished this same day.

Seven Days in May is an excellent book, in my amateur judgment. My parents compared it to Fail-Safe, and while the plot is very different the styles do have some resemblance. It's a classic thriller – that is to say, a story combining the tempo of an action or adventure story with aspects of the mystery – and insofar as I can determine well thought-out. Certainly I can see no flaws in the production, and many points (the description at one point of a character tailing someone, for example) the details add a strong sense of verisimilitude that benefits the reading immensely. I recommend it highly.

16 Blocks is also excellent, though in a partly different fashion. For starters, it's a movie. Anyway, all the acting is top-notch, which is not surprising – the most important parts go to Bruce Willis, Mos Def, and David Morse, all of whom are expert. (From what my mom tells me, Eminem is a good actor too. Are most rappers that way?) Also importantly, the plot is extremely well crafted – there are a lot of surprises in it, but like good plot twists, they serve to explain unusual things earlier in the movie, rather than merely to astonish. Again, high recommendations.

Anyway, I didn't do much else today. [livejournal.com profile] nanakikun called in to report that he is fine and well at Anthrocon, and who was that artist I wanted him to get prints from? (Ans: Ursula Vernon, i.e. [livejournal.com profile] ursulav) Anyway, it's late, as Mom has just reminded me – goodnight!


P.S. Still curious about truth vs. happiness, if anyone's interested.
packbat: One-quarter view of the back of my head. (Half-Face)
Got back late last night, so here's yesterday's update. As implied in the Subj., the notable events were my watching "Ice Station Zebra" and my sister's orchestra in concert.

"Ice Station Zebra" is a good movie set during the Cold War. I suppose it's more like a John le Carré spy novel than anything else I can think of – it's got several dramatic scenes, to be sure, but there's also an intellectual complexity that's clear in it if you look at the subtleties. It more than stands up to a second watching; there's a lot there that you simply wouldn't know to look at if you hadn't watched it before. (I watched the first half again this morning.) We finished the movie just in time to head out to school to watch my sister's concert.

The concert was very good. She'd gotten us three comp tickets; my dad and I were sitting in the fifth row from the front, and it was amazing. Something that you don't get when you're in the balcony or towards the rear of the theater, and that you usually don't get if you're listening to an album, is how the different 'voices' come from different places. I remember near the beginning of, hmm, I think it was Mahler's Symphony no.5 in C-sharp minor, how the melody came in with one instrument on the right hand of the stage, and then gets picked up by another on the left side. More than just that sort of thing, the pieces in the concert – Siegfried's Funeral March from Richard Wagner's Götterdämmerung, Benjamin Britten's Sinfonia da Requiem, and the Mahler – all have a certain amount of contrapuntal melodies in them, and the fact that each melody comes from a different place makes them stand out in a nice way.

After the concert, my mom (who had been in row Q) and I went to the reception for a few minutes to congratulate my sister, then we went home. It was after 11 then, so we pretty much went to bed.


I'm cranky and strange today – don't know why. I don't think it's lack of sleep, but I'm getting annoyed over the stupidest things, like taking an hour and a half to write this entry because [livejournal.com profile] nanakikun is watching "Numb3rs" and playing Space Invaders simultaneously while interrupting me to point out various pieces of videogame news. Actually, I probably ought to warn him in case I do something stupid.

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