Sunday, January 4, 2015

[OLD] Skylanders: Trap Team


As part of this blog’s semi-tradition of reviewing the next Skylanders game in early January after receiving it at Christmas, I present to you a review of the latest installment in the series, Skylanders: Trap Team. Because of the series’ annual release schedule, it’s gotten somewhat difficult to keep up with, especially in regards to the toys and gimmicks (at the time of this writing, I still haven’t gotten every character introduced in Swap Force, let alone Giants, due to budgetary reasons). Regardless, when I heard about the new game, I found out it had a rather interesting new gimmick wherein you could trap villains from within the game and play as them with the push of a button, as well as introducing Trap Masters and Toys for Bob returning as the developer, which caught my attention. This, of course, required the purchase of yet another Portal of Power, but I decided to give it a whirl since I had become a fan of the series and I wanted to see how well the gimmick was pulled off. The price of admission is admittedly expensive (I received the Dark Edition Starter Pack), but I still found the new installment to be well worth it.

In the past, the Doom Raiders brought evil to Skylands until they were sealed in Traptanium by a special group of Skylanders called the Trap Masters, who utilize weapons made from the material. Years later, presumably after the events of Swap Force, Kaos infiltrates Cloudcracker Prison and frees them, hoping to use them to reign over all of Skylands. However, things quickly get out of hand as they, under the Golden Queen (one of the Doom Raiders), quickly overtake Kaos and form their own plan, leading Kaos to become desperate in wresting control back from the Doom Raiders.

The Trap Masters in action (from left: Lob-Star, Gearshift, Jawbreaker (back),
Wallop (front), Wildfire (back), Snap Shot (front)).

Having played the PlayStation 4 version of this game, I think the graphics look really amazing, keeping with the art style and color palette of previous entries while having great amounts of detail. The game also has some impressive physics, especially in the animation of water, as well as some really great lighting to boot. There is also some good music, some of which is actually fairly memorable. What I like is that each villain you capture (more on that later) has their own unique theme, each one orchestrated to suit them and made such that they don’t really become tiring. The voice acting is also as good as ever, with great performances from Patrick Warburton, Kare Wahlgren, and Richard Horvitz returning as Flynn, Tessa, and Kaos respectively. Some characters make surprising returns from previous games as well, with Sumalee Montano returning to voice Cali and Steve Blum as Auric (the equivalent to Moneybags from previous Spyro games), both from the first two games. The Doom Raiders also have good performances from their respective voice actors that give each one a unique identity. However, some dialogue can get really repetitive at times, so be prepared for that.

A high point of praise I give to the gameplay is how streamlined it is. The only special mechanic to remain from previous games is the Portal Master Rank and the occasional support for a Giant, but you otherwise only have to worry about having a Trap Master of the right Element to open an Elemental Gate or one of any Element to destroy Traptanium deposits to either advance or unlock secret areas/treasure; you no longer have to worry about Accolades or Swap Zones and Legendary Treasures you collect and the day of the week no longer offer you an in-game boost. Also, the Level cap for a Skylander remains at 20 like in Swap Force, so you don’t have to worry so much about maxing out your Skylanders.

I'm required to explore the game!
(Trap Master Snap Shot pictured, included in most Starter Packs.)

Increasing your Portal Master Rank doesn’t require you to buy as many toys (more on that later), but it does necessitate completing certain gameplay modes. For example, you can gain up to four stars for each chapter of the Story Mode and you automatically get twelve for completing it (totaling 100 if you include two Adventure Packs; again, more in a bit). An additional gameplay mode is the Kaos Doom Challenge, in which you have to go through a 100-Round gauntlet (divided into chunks) in which you must protect a Mystery Box of Doom, for which you gain lots of money and experience for your Skylander(s), making this a perfect way to upgrade your toys faster (I recommend doing this with another player for faster rewards and easier play; it can get pretty difficult later on even on the Easy difficulty). There’re also different Arenas, unlocked during Story Mode, for which you gain one star and some money for each one you beat. No matter which Mode you pick, you cannot regain stars, but you can regain the other rewards that come with them. Though you don’t gain stars for this, there’s also an extra rhythm-based mini-game that you can play in the hub world to gain extra cash, though the enjoyment factor depends entirely on the player.

As mentioned earlier, a new gameplay feature introduced for this game is the ability to capture specific enemies (of which there are 46, 10 Doom Raiders among them) within Traps and use them in battle. This is where the new Portal of Power comes in, which I must say is constructed pretty well; I’m especially amazed at how it can read the figures despite having a clear surface. This new Portal has a special slot to place the Traps in, which is connected to a small speaker where the villain can talk to you in response to certain on-screen events. When playing as a villain, any experience or money you gain goes directly to the Skylander you switched it out for, although the Skylander cannot gain extra health unless you switch them back out. The villain has sort of a health bar, represented by a timer, and returning the villain to the Trap slowly increases the time back to its maximum (there’s also a varying window of time where you can’t switch back to the villain if it’s replenishing an empty timer). Said time limit can also be increased by completing side missions within Story levels that make the villain generally stronger as well as permanently switching their moral alignment; it seems this process can be repeated by capturing and reforming villains multiple times, but fortunately you don’t have to capture the villain or put them in the Trap, plus the villains automatically get sent to the prison in the hub world if you decide not to contain them inside the trap (you also get their Bounty).

Wolfgang (the pictured Doom Raider) is awesome.

One thing I like about the speaker function is that the sound travels seamlessly between the Portal and the TV, since audio comes from the Portal when the villain is in the Trap and from the TV when out (tolerance level for each captured villain’s voice also depends on the player); this also provides a rather interesting experience for the final level against Kaos, since I was genuinely freaked out when the un-captured Kaos spoke directly to me through the Portal and the experience prompted me to make comparisons to Psycho Mantis. Traps also come in a variety of shapes, though (to me at least) their appearance causes them to look almost like hard candy, so I would exercise some caution with children.

One interesting development is that your Sidekicks (now Mini Skylanders) now act as full-on Skylanders rather than as some sort of pet for a Skylander. This means that, for example, Trigger Snappy now has the same upgrades as the normal Trigger Happy and has a higher-pitched voice (Trigger Snappy is, at the time of this review, the only one I have). This adds a lot more versatility to gameplay while also making these toys more useful than they originally were. Fortunately, if you don’t have one lying around, these are available in 2-packs that also introduce eight new ones, though there is the caveat that these seem to only work with Trap Team (based on one look at the packaging).

We have a use now!

At this point, I would like to address how compatibility works between games. Of course, Trap Team toys are incompatible with previous games (presumably unless they are Series 2-4, like previous installments), but all figures from previous games are forwards-compatible with Trap Team. Location Pieces also work here, but instead work similarly to the Anvil Rain Magic Item in that they rain down stuff onto the area to deal damage to enemies (this can also apply to figures that unlocked Battle Arenas, such as the Volcanic Vault, though items like the Dragonfire Cannon work as actual weapons). Magic Items from previous games also work here, but their timers and abilities may have changed depending on the item in question. The Portal also works between not only previous games but also systems, since both the PS3 and PS4 are USB-compatible, though Traps likely won’t work since their data would not be present on the game disc.

This is probably pointless considering the franchise’s success being built upon it, but a point of criticism I still have is how, in spite of how easy it is to increase the Portal Master Rank and how streamlined the experience is, you still have to pay exorbitant amounts of cash on toys to be able to explore the entire game. Taking into account current, non-Sale prices from most retailers: The regular Starter Pack for home consoles (1 Trap Master, 1 Skylander, 2 Traps) costs $75, which will get you so far in terms of exploration. Trap Masters cost $16 each; there are 16, but the bare minimum is 8. Traps cost $6 each, though since you can get by on only 1 for each Element, there is a 9-Trap minimum (there is 1 specifically made for Kaos). There are 2 Adventure Packs that cost $25 each, of which you need both to be able to capture and redeem additional villains not found in the main Story Mode. On top of this, the game also introduces 2 new Elements into the mix, Light and Dark, for which there are 2 Expansion Packs (1 Trap Master, 1 Trap, 1 Location Piece) that cost $30 each, and both are required to be able to 100% the game. Adding this up (minus a toy container and the Kaos Trap since I have not seen the latter in retail outside the Dark Starter at the time of this writing), being able to fully explore the main game costs ~$333 USD. If you start with the $100 Dark Edition Starter Pack (2 Trap Masters, 1 Skylander, 2 Traps, 1 Ultimate Kaos Trap), then the total becomes ~$342 USD. Keep in mind this is only the bare minimum to explore the game in full and your collection can expand however you wish, although I would not recommend spending all of that at once depending on your budget.

You will need this.
(Kaos Trap pictured.)

If not for continuity present between games (though the IDW comics attempt to address this), I would consider Skylanders: Trap Team to be an excellent jumping-on point for newer fans, but it’s still an excellent installment nonetheless due to making some vast improvements from previous versions. This is also my favorite game in the series so far, since it’s much easier to gauge progress to getting 100% completion and I’ve actually been more determined to reach that goal. The graphics are amazing, the new gimmick works surprisingly well, and the gameplay has been heavily streamlined for a better experience. Though what I typed in the preceding paragraph sounds expensive, I would highly encourage taking advantage of Sales (Toys ‘R’ Us in particular seems to have one constantly) in order to lessen the strain on your wallet. I would also suggest playing Co-Op with someone else (even on lower difficulties), since this allows for faster Skylander upgrading and can make some stages much easier (fortunately, Skylanders share gained money and experience, the former of which is somewhat easier to come by in this game). Even though I’m still behind on my collecting, if there is a new game this year (hopefully there’s more time until then but I doubt it), I look forward to seeing what happens next.

Hotel Transylvania


Hotel Transylvania is an interesting film in terms of its history. Over the course of its production, taking place across several years before its final 2012 release, the project went through a few directors until finally Genndy Tartakovsky, the sixth and final director, would be brought in to finish it. Since I knew of Tartakovsky through Samurai Jack, Dexter’s Laboratory and the Star Wars: Clone Wars cartoon from 2003, I became somewhat curious about Hotel Transylvania, although Adam Sandler receiving top billing also had me a little worried (I think he can be really funny, but relies too much on appealing to the lowest common denominator). Still, I wouldn’t really have a chance to see it until after Christmas in 2014 (which I must now refer to as “last year”) to find out if it was actually any good. In some ways the movie was better than I thought it would be, but there are still some setbacks.

Over 100 years ago, Count Dracula (Adam Sandler) created Hotel Transylvania, a hotel deep within the dark forest of Transylvania where monsters can find refuge from hostile humans. In the present day, it is the 118th birthday of Dracula’s daughter, Mavis (Selena Gomez), and he wishes to make it her best birthday ever while at the same time discouraging her from interacting with the outside world. His plan is going smoothly until a 21-year-old human drifter named Jonathan (Andy Samberg) manages to wander inside. Dracula manages to keep the other monsters from noticing, but the situation worsens when Mavis and Jonathan, in disguise, begin to have feelings for each other. Now Dracula must try to prevent the two from falling in love while doing whatever he can to prevent the hotel’s residents from finding out that Jonathan is a human, which could jeopardize the future of the hotel.

Jonathan's arrival puts a wrench in Dracula's plans.

The story is paced pretty well and doesn’t waste much time developing itself. Dracula’s conflicts as a father and keeping Jonathan’s identity a secret are intertwined and drive the story forward in a way that feels meaningful, but the rest of the movie doesn’t feel as well done. The monster’s fear of the humans is ever-present, but only comes up from the hotel residents every once in a while until the third act, when it really feels important. Additionally, there’s really only one character, Quasimodo, who can be considered a villain, but his scenes don’t really amount to anything and he might as well have been cut from the movie. I feel like this may have been an artifact from earlier versions of the movie, one which Tartakovsky probably couldn’t iron out. On another note, it’s rather interesting how this movie features what is essentially a gathering of all the Universal movie monsters, even weaving in a lot of the mythology from their classic films, yet this occurs in a movie made by Sony.

Another artifact, or rather what can be seen as the stamp of Adam Sandler, is the unnecessary amount of crude humor, especially in the first act. I feel they could easily have cut out these instances, most of which involve bodily functions, and not really affect the flow of the movie at all. Apart from this type of humor, there are some genuine moments of hilarity to be found, though I didn’t really laugh out loud the whole time. These moments are also balanced with more dramatic or touching moments, though I didn’t really feel completely invested on an emotional level. I understood what Mavis and Jonathan were going through when trying to develop a relationship, but I personally wasn’t engaged.

Jonathan (left) and Mavis (right) have good chemistry, but it wasn't too engaging.

What’s really good about this movie is the highly expressive animation. Though created in CG, it has the feeling of traditional animation, specifically of the more cartoonish variety, with classic squash and stretch animation. The art style doesn’t feel like the more recognizable Disney/Pixar or Dreamworks styles, but rather that of Genndy Tartakovsky translated to three dimensions while still appearing to have weight. This art style also allows for plenty of detail to appear in the characters and backgrounds, so if one were to look for something new, they might find it.

It can be difficult to discuss the minutia of voice acting, but for this film I think everyone did a good job. Adam Sandler gives a rather good performance as Dracula, especially since he doesn’t really sound like himself when speaking and demonstrates a good emotional range. Similarly, Andy Samberg is able to show range in his voice, particularly since the character of Jonathan matches his style of humor more closely. I also thought Selena Gomez did well as Mavis, enough to show some promise as a future voice actor by conveying a teenager’s behavior rather well. The supporting cast, which includes Kevin James, Steve Buschemi and CeeLo Green among others, also give decent performances that help to round off the rest of the characters. One may also find the score of Mark Mothersbaugh to be fitting for each scene it appears in, though the appearance of other original and popular songs can be enough to drown it out.

Hotel Transylvania is surprisingly well done considering that it went through six directors to be completed, but the long production is also evident in the finished product. The story is well-paced and solidly written, but I couldn’t find myself invested too heavily in what went on and there are some artifacts in the form of half-baked plot elements and unnecessary crude humor. However, the animation is very good and the voice acting is rather decent. I’d say this is a movie that’s great for families to watch, as well as fans of Genndy Tartakovski. Since the inevitable sequel is on the way, I may check it out, but I’m not really sure I’d check back in immediately.

Saturday, January 3, 2015

Stubs – His Girl Friday


His Girl Friday (1940) Starring: Cary Grant, Rosalind Russell, Ralph Bellamy Directed by Howard Hawks. Produced by Howard Hawks. Screenplay by Charles Lederer. Based on the play The Front Page by Ben Hecht and Charles MacArthur as produced by Jed Harris (14 Aug 1928, New York). Run Time: 92 minutes. U.S. Black and White. Screwball Comedy, Comedy.

As we’ve discussed many times on this blog, rarely does Hollywood make a story better the second or third time (or fourth or fifth for that matter). That doesn’t mean there are not exceptions to the rule. As oft cited, The Maltese Falcon (1941) was the third time the book had been adapted to the screen.

The play The Front Page (1928), written by former Chicago reporters Ben Hecht and Charles MacArthur, was made into a movie in 1931, starring Adolphe Menjou and Pat O’Brien and was quite successful on all fronts. Nominated at the 4th Academy Awards for Best Picture, Best Director (Lewis Milestone) and Best Actor (Menjou), this first film adaptation must have been considered pretty good in its day. (I have not seen this version.)

And the film would be remade subsequently, again as The Front Page (1974), directed by Billy Wilder and starring Jack Lemmon and Walter Matthau. Again nothing to sneeze at, considering the talent involved. I remember seeing this and liking the film at the time.

But in between those two versions, The Front Page would get a twist and became a classic. Sometime in pre-production, director Howard Hawks was trying to prove that the Front Page contained the finest modern dialogue ever written, and he began to read the part of Walter and asked his secretary, a woman, to read Hildy's part. Liking what he was hearing, Hawks called Hecht and suggested changing Hildy's character to a woman; His Girl Friday was born.

Charles Lederer, who had written additional dialogue for the first adaptation, was given credit as the screenwriter for His Girl Friday. Most of the original dialogue and all of the characters' names were left the same, with the exception of Hildy's fiancé which was changed from Peggy Grant to Bruce Baldwin.

Casting the part of Hildy proved to be quite difficult as a number of actresses were considered. Hawks wanted Carole Lombard, whom he had directed in Twentieth Century (1934), but the cost of hiring Lombard as a freelancer proved to be far too expensive for Columbia to afford.

According to reports published in the Hollywood Reporter at the time, Irene Dunne was slated to play the role and production was postponed because she felt the role of Hildy was too small and insisted that the writers rewrite her part. Katharine Hepburn, Claudette Colbert, Margaret Sullivan, and Ginger Rogers were all offered the role, but turned it down. Jean Arthur was offered the part, and was reportedly suspended by the studio when she refused to take it. Joan Crawford was reportedly also considered, before Hawks turned to Rosalind Russell.

Russell didn’t find out about the search until after she had accepted the part. Supposedly she found out about all the actresses who'd turned the part down while reading an article in the New York Times on the train ride to New York. Nothing like knowing you’re someone’s nth choice.

But Russell wasn’t happy with her part either. According to her autobiography, Life Is A Banquet, Russell thought her role did not have as many good lines as Grant's, so she hired her own writer to "punch up" her dialogue. With Hawks encouraging ad-libbing on the set, Russell was able to slip her writer's work into the movie.

The film opens with a written prologue: "It all happened in the "Dark Ages" of the newspaper game--when a reporter "getting the story" justified anything short of murder. Incidentally, you will see in this picture no resemblance to the men and women of the press today. Ready? Well, once upon a time…”

Former reporter Hildegard “Hildy” Johnson (Rosalind Russell) returns to the newsroom at The Morning Post following her divorce from Walter Burns (Cary Grant), who happens to also be the paper’s editor. They haven’t seen each other for several months and Walter has been trying to win her back as his wife and as a reporter on the paper.

Hildy Johnson (Rosalind Russell) makes what she thinks will be her last visit to The Morning Post newsroom.

Walter is engrossed by the impending execution of Earl Williams, a timid bookkeeper, sentenced to death for killing an African-American policeman. He wants to lure Hildy back and lies to her that his star reporter is preoccupied with his wife being pregnant. He tells Hildy that the paper needs her to cover the story.

But Hildy insists she’s through being a reporter; she’s engaged to an insurance man from Albany, Bruce Baldwin (Ralph Bellamy), and will be leaving Chicago for good to be a wife and mother. Walter insists on meeting Bruce and invites them to lunch. At the restaurant, Walter learns that the couple are leaving, with Bruce’s mother, on the four o’clock train, so he has to act fast.

Walter Burns (Cary Grant) starts right in driving a wedge between Bruce
Baldwin (Ralph Bellamy) and Hildy.

The always scheming Walter convinces Bruce that only Hildy can write the story that will save an innocent man’s life. Hildy agrees to write the story on the condition that Walter buys a $100,000 life insurance policy from Bruce. Walter, of course, agrees and he goes back to the newspaper with Bruce for the medical exam. Meanwhile, Hildy goes to the press room at the county criminal building, where she meets with her cynical brethren of the press. They warn her that she’ll never be able to walk away from being a reporter.

Hildy makes herself at home in the Press room at the county criminal building.

After interviewing the befuddled Williams (John Qualen), Hildy meets Mollie Malloy (Helen Mack), the only person who has shown any compassion towards Williams. Her act of kindness has won her the contempt of the reporters in the room. Hildy takes pity on Mollie.

Hildy interviews Earl Williams (John Qualen).

But soon, Bruce telephones and tells Hildy he’s been arrested for stealing a watch. Hildy knows Walter has master-minded Bruce's arrest and leaves to bail Bruce out of jail. When she returns to the press room, she is more determined than ever to leave, but sounds of gunshots and the news that Williams has escaped force her reporter instincts to supplant her common sense. She calls Walter and tells him about Williams' escape and talks to Warden Cooley (Pat West) to get the rest of the story.

While Bruce waits in the cab for Hildy to write her story, Walter sends Evangeline (Marion Martin), a prostitute, to frame Bruce. Walter describes Bruce to Evangeline as "looking like that fellow in the movies, Ralph Bellamy."

Walter sends Evangeline (Marion Martin) to frame Bruce.

After bribing Cooley for his story with $450 of Bruce's money, Hildy calls Walter and demands repayment. In response, Walter sends his stooge Louis (Abner Biberman) to Hildy with $450 in counterfeit money. Soon after, Hildy receives another call from Bruce, who has been jailed for "mashing."

Meanwhile, Sheriff Peter B. Hartwell (Gene Lockhart) and the Mayor (Clarence Kolb) confer about their political fortunes. The Mayor heads a graft-ridden administration and needs the execution of Williams to deliver the black vote on election day. At that point, Joe Pettibone (Billy Gilbert) arrives from the Governor’s office with a reprieve for Williams. The two men try to bribe Pettibone into forgetting the reprieve.

Back at the press room, while Hildy is waiting for Louis to arrive with her money, Earl Williams climbs in through the window. Bruce calls at that moment; he is still waiting for Hildy to bail him out of jail. Hildy tells him to wait and then calls Walter to tell him that she has found Earl Williams.

As soon as Hildy gets off the phone, Mollie Malloy pounds on the press room door. When she sees Williams, she bursts into the room and when the reporters begin to file in, Hildy and Mollie hide Earl in a roll top desk belonging to one of the reporters, Roy V. Bensinger (Ernest Truex), who happens to fancy himself a poet.

Bruce’s mother, Mrs. Baldwin (Alma Kruger) enters the press room and begins to chide Hildy about foresaking Bruce for a murderer. The other reporters think something is up and start to ask questions. In order to divert them, Mollie jumps out the window. The reporters run out of the room to examine the extent of Mollie's injuries just as Walter and Louis arrive.

Mollie Malloy (Helen Mack) throws herself out the window to divert the reporters' attention.

Walter works out his scheme, but Mrs. Baldwin sees everything. In order to keep her quiet, Walter tells Louis to kidnap Mrs. Baldwin, which he does. Walter calls the newspaper and makes plans with his assistant editor, Duffy (Frank Orth), to transport the roll top desk back to the Post. While Hildy is typing up her account of capturing Williams, Bruce walks in demanding his money. He tells Hildy that he is leaving on the nine o'clock train. Hildy then hands Bruce the counterfeit bills Louis had delivered, of course, not knowing they’re fake. Bruce leaves before Hildy realizes he’s gone.

Bruce tries and fails to get Hildy to leave with him on the nine o'clock train.

She is still writing her story when a disheveled Louis enters and tells her and Walter that the cab he was in with Mrs. Baldwin was in an accident with a police car. He admits that he left Mrs. Baldwin at the scene of the wreck and ran for it.

Next, the sheriff and the other reporters return, and the sheriff begins to question Hildy about what she knows about Williams. Mrs. Baldwin returns and accuses Walter of having her kidnapped. The sheriff is anxious to find an excuse to arrest Walter, but he emphatically pleads his innocence, going so far as to pound on the desk, the sign they’d worked out with Williams that the coast is clear.

The arrest of Earl Williams.

Williams responds in code and with guns drawn, the sheriff opens the desk and finds the fugitive. The sheriff then handcuffs Walter and Hildy and threatens Walter, who responds that the "last man who did that to me was Archie Leech." (A reference, of course, to himself.)

The Sheriff (Gene Lockhart), on the phone, and The Mayor (Clarence Kolb)
 think they finally have the goods on Hildy and Walter,
who's paper has been at odds with their administration.

Just then, Pettibone, intent on doing his job, returns with Williams' reprieve much to the delight of Walter. The mayor knows he’s been caught and tries to whitewash over things and demands the sheriff release his good friends Walter and Hildy. As Walter advises Hildy to go after Bruce, Bruce calls and tells Hildy that he has been arrested for spending counterfeit money. Realizing that Walter has tricked her once again, Hildy breaks down and cries. She doesn’t want to go away with Bruce and would rather be with Walter. They plan to marry again and have a real honeymoon this time.

Joe Pettibone (Billy Gilbert) returns a second time with a reprieve for
Earl Williams, saving Walter and Hildy, as the Mayor looks on.

Walter calls his city editor, Duffy, to announce that he and Hildy are getting married and will spend their honeymoon at Niagara Falls. Duffy informs him that there is a strike in Albany, which is on the way, and Walter plans on covering the story. He wonders out loud if Bruce might be able to put them up as he and Hildy leave the court house. She is, of course, carrying her own luggage.

Cary Grant is a very versatile actor, there is so little that he can’t do on screen. He plays the scheming and manipulative editor, Walter Burns with his usual finesse. While this is not the greatest role he would ever play, it is certainly one of the funniest. Grant and Rosalind Russell make a good team, but he makes a good team with just about every woman he shares the screen with.

Russell more than holds her own with Grant, no doubt somewhat aided by lines from her ghostwriter. Despite the exhaustive search for a Hildy, it’s hard to imagine any other actress playing the part but Russell. While not manly by any means, Russell was never considered to be a sex symbol either. She is pretty enough to understand why men would be attracted to her, but she seems to have more going for her than looks alone.

Rosalind Russell started as a fashion model and a Broadway actress, before coming west as a contract player at Universal Pictures. But she didn’t feel like she got any respect and was able to get out of her contract. She found better success at MGM. Her breakthrough role was in the drama West Point of the Air (1935) opposite Robert Young. She began to be cast in roles originally intended for Myrna Loy. Her career would get a big boost in The Women (1939), which also established her reputation as a comedienne.

Throughout the rest of the forties and fifties, Russell would act in both comedies and dramas, receiving Academy Award nominations for Best Actress for My Sister Eileen (1942), Sister Kenny (1946), Mourning Becomes Elektra (1947) and for the role she is most associated with, Auntie Mame (1958).

Her suitor in His Girl Friday, Ralph Bellamy, was used to playing second fiddle to Grant, having previously played opposite him in The Awful Truth (1937). In that film he lost Irene Dunne to Grant, just as he loses Russell to him here. His portrayal of Bruce is spot on. Bruce gets turned inside out and every which way by the faster thinking Walter Burns. Bellamy plays an affable man being taken advantage of as well as anyone could. You end up feeling sorry for him by the end, as he really does nothing wrong.

Bellamy made his film debut in The Secret Six (1931) and worked in film and television until 1990, when he appeared in Pretty Woman. Bellamy acted in a variety of genres, from comedies to dramas, horror and musicals. Other films he appeared in include: Boy Meets Girl (1938), Carefree (1938), Dance, Girl Dance (1940), The Wolf Man (1941), Rosemary’s Baby (1968), Oh, God (1977) and Trading Places (1983). He also is known for playing President Franklin Roosevelt, first on stage in Sunrise at Campobello and then in the film version in 1960. He would later appear as FDR in two television mini-series, The Winds of War (1984) and War and Remembrance (1988).

Another actor who had shared screen time with Grant prior to His Girl Friday was Abner Biberman. While Abner seems to have been born to play Louis, he had been Grant’s nemesis Chota in Gunga Din (1939). A character actor, Biberman would appear in such films as Each Dawn I Die (1939), The Roaring Twenties (1939), Another Thin Man (1939), Captain Kidd (1945), Winchester ’73 (1950) and Viva Zapata! (1952). But there was more to Biberman as well. He wrote, directed and acted in The Golden Mistress (1954), an adventure film set in Haiti starring John Agar. He would later work in television directing on such series as Maverick (1957), 77 Sunset Strip (1958) and Gunsmoke (1965).

Abner Biberman, at far right, as Louis, Walter's enforcer, in His Girl Friday.

Biberman plays Louis with a comedic toughness. He doesn’t attempt to get into the frenzied wordplay, but he still gives a solid performance.

The cast is full of character actors like Billy Gilbert as Pettibone, Clarence Kolb as the Mayor and Gene Lockhart as Sheriff Peter B. Hartwell, who play their parts with a great sense of comedic timing. Gilbert and Kolb both got their separate starts in Vaudeville, while Lockhart got his break on Broadway.

His Girl Friday is considered to be a Screwball Comedy. As discussed in our review of 
Bringing Up Baby (1938), the genre is characterized by a female that dominates the relationship with the male central character, whose masculinity is challenged. His Girl Friday does one better, by taking what had originally been a male role and casting it with a woman. While Russell’s Hildy is not masculine, per se, she is working in what had been, at the time, a male dominated profession, news reporter. The hilarious word play ends with marriage, but not necessarily the promise of happiness as by the end Walter is already falling back into his old patterns.

One of the things I like best about the film is that despite the fast talking, the story is still quite easy to follow. The film takes you along for a fast trip, but it doesn’t throw you from the train on the curves. While the film was released in 1940, it is an honorable 1939 film, having been shot between September 27th and November 21st of that fabled year. Definitely some of the creative magic from that year rubbed off on this production. If you have never seen this movie, you should and if you’re like me you’ll find yourself watching it anytime it’s on.

Wednesday, December 31, 2014

2014 - The Highlights (EHeroFlareNeos)

2015 is just around the corner, which makes for a good opportunity to reflect back on what came out during the year. Unfortunately I didn’t get to see as many new movies or play as many new games as I’d have liked, partly due to going through my first semester of college, but I was still able to create a list for the end of 2014. Below are my selections for the top movies and games which came out this year, as well as the top disappointments. As always, they are in no particular order.

Top Movies of 2014

From initial previews, I wasn’t really sure what to make of The Lego Movie, but once I finally saw it I found myself pleasantly surprised. In fact, as soon as the movie was over, I wanted to play the tie-in game and spent months anticipating the next time I’d get to view it. Unfortunately, I can’t really say anything about The Lego Movie since saying anything about the story is a potential spoiler. In this case, you’ll just have to take my word that it’s good and see it yourself. You won’t regret it, especially if you’ve ever played with Legos.

Marvel Studios movies are generally good, but Guardians of the Galaxy easily became one of their best. It’s certainly one of their most fun movies and I haven’t gotten tired of watching it yet. Guardians of the Galaxy is humorous and witty, but its lighthearted atmosphere allows for the writers to sneak in very touching moments of pathos now and then which don’t feel out of place at all. The villain is admittedly a little flat, but the main characters are fleshed out very well (which could be the reason for said flatness in Ronan the Accuser) and I’m now a fan of both Rocket Raccoon and Groot. It’s simply amazing that Marvel was able to take such an obscure comic and turn it into a fun ride that simply shouldn’t be missed.

As I said, Marvel Studios movies are generally good, which can be said as well for Captain America: The Winter Soldier, a movie that came out only four months prior to Guardians of the Galaxy. Where Guardians of the Galaxy was a very fun experience, Captain America: The Winter Soldier is much more serious in tone and centers mainly on Captain America and his life in the 21st-century. The result is a movie that’s very well-written and action-packed as it explores both the identity of the titular Winter Soldier as well as the growing tensions between S.H.I.E.L.D. and Hydra. As a bonus, this movie also doubles as what is perhaps the best Metal Gear Solid movie we may ever get, with parallels between the two franchises that Metal Gear fans will very much appreciate.

I’m not the biggest Tom Cruise fan, but I wanted to see this movie mainly because I read the manga adaptation of the source material, All You Need Is Kill, as it was serialized in the US edition of Weekly Shonen Jump and became curious as to how the movie would handle the story. When I finally saw the film, I was pleasantly surprised as to how good it was. The plot moves along at a very good pace and Tom Cruise shows that he can actually act pretty well when he’s not a total action hero from the start. The Groundhog Day-style plot is also put to use to show great character development and any deviations from the original story still fit in well with the atmosphere. Fans of Tom Cruise and/or All You Need Is Kill are more likely to enjoy it, but I would definitely recommend people to check this one out anyway.

Top Video Games of 2014

Since my post about game demos at Wondercon 2014, I really wanted to play JoJo’s Bizarre Adventure: All-Star Battle, though I’m glad I waited to see the David Production anime through Crunchyroll before getting a copy at SDCC 2014. Though not perfect, and certainly not something entirely tournament worthy, this game is definitely fun due in part to its accuracy to the source material and variety of extraordinary abilities not seen in any other fighting game I’ve played. The accuracy to the source material is perhaps the most incredible feat, as every single animation and line of dialogue is a reference to the manga, plus the art style manages to reflect Hirohiko Araki’s evolving art style very closely without being unusual in three dimensions. This is a game by JoJo fans for JoJo fans, though I’d encourage fighting game fans looking for something original to give it a shot as well. It’s an experience that’s very hard to put down.

Though I didn’t get to play Infamous Second Son until a few months after launch, it was an experience I had been anticipating since my time with Infamous and Infamous 2. The story is a little short, but still written well and the gameplay is very much improved. With room for multiple powers and pretty creative uses for abilities one wouldn’t consider having, Delsin Rowe is a fun protagonist to play as and there is never really a dull moment within the beautifully rendered Seattle. This game is worth owning a PS4 to play, though the free Paper Trail DLC should only be attempted at one’s own risk and only if they have a lot of time on their hands.

Top Disappointments of 2014

Since I wasn’t really a fan of The Amazing Spider-Man, Sony’s attempt at rebooting the Spider-Man property in order to keep the rights, I had lowered expectations for Mark Webb’s second outing and unfortunately found those expectations to be accurate. The origin of Electro was far-fetched even for a comic book movie, Rhino hardly does anything and Harry Osborn shows up out of nowhere while the movie expects us to believe his supposedly pre-existing friendship with Peter Parker. Add in the hero’s really cocky attitude, though not in the fun way, and you get a movie that made me wish I had been watching Sam Raimi’s Spider-Man 2 instead. I wouldn’t be surprised either way if Sony goes through with its plans for this incarnation of the webslinger or ends up rebooting the whole thing with a new actor.

After the huge disappointment that was My Little Pony: Equestria Girls, I had little hope for the sequel, Rainbow Rocks, though I watched anyway in order to have a more informed opinion. As I watched, I actually found myself more engaged with the movie in general, as though Hasbro actually tried this time. However, there was still some wasted potential, including a plot twist that would’ve actually made sense, and I still feel that Twilight Sparkle had no reason to get involved and that the plot should’ve focused more on Sunset Shimmer proving herself as a reformed character. Though the sequel is marginally better and the original music was generally improved, Hasbro will really need to pull out the big guns in the inevitable third installment if they want something worthy of praise.

Watch Dogs is a great example of a game that sounds good on paper, but is lackluster in its execution. The idea of hacking in an open world is a very fascinating idea and I looked forward to playing something with great potential, but in the end it feels more like a poor man’s Grand Theft Auto. Hacking comes off as pretty unrealistic and its potential is limited to screwing with traffic lights and blowing stuff up, plus the driving controls are sort of loose and riches are insanely easy to come by. The only real saving grace is the fun Digital Trips and the fact that Chicago is rendered rather nicely. If you must play this game, do so at a bargain price and be prepared to weed out the few good songs in the soundtrack for your listening pleasure.

2014 - The Highlights (Tetris_King)

As the New Year approaches, this is the perfect opportunity to look back on the ups and downs of the year. Below I have listed my favorites and disappointments of 2014 that was covered by this blog, with links provided where appropriate, with no specific order intended.

Top Movies of 2014


I don’t actually feel an obligation to include Transformers movies on my lists, but I really did enjoy this installment in the Live-Action Movie continuity. Yes, I’ll agree that it does seem to run a bit long, but what I liked were the improvements it made over previous films, mainly in regards to the human cast and how well it draws from the Transformers mythos (including the G1 cartoon continuity, Transformers Animated, and the IDW G1 continuity among others) to add to the experience. After having seen it multiple times, I find this installment to be the best so far in the live-action movies, as well as a worthy representative of 30 years of Transformers, and I can’t wait to see what happens in the next one.


It is extremely hard for me to say anything about the plot of this movie without completely ruining it, but if you are/were in any way a fan of LEGO products, this is definitely a must-see.


During the gap between Captain America: The Winter Soldier and The Avengers: Age of Ultron, Marvel Studios decided to base a movie on Guardians of the Galaxy, one of Marvel’s more obscure comic lines to the point where even a die-hard fan might have to fact-check some things. Though I was skeptical at first, I was interested partially because James Gunn (writer of Lollipop Chainsaw) was the director and the end result turned out much better than I anticipated. Even though this movie introduces an entire team, I thought it managed to do that pretty well (I actually ended up a fan of both Groot and Rocket Raccoon) and the music choice was surprisingly good and created a unique atmosphere, to the point where I will probably forever associate those songs with this movie. To me, this was a surprising hit from Marvel Studios and I highly anticipate what they decide to do next with the characters.

Top Games of 2014


Even though I have only recently gotten into JoJo’s Bizarre Adventure (I’m currently waiting for the anime of Part III: Stardust Crusaders to continue), this is a fighting game that I found myself having a hard time putting down. Not only is the fanservice amazing (the developers really did their research and it shows), it’s also a game I found to be fairly well-balanced, with each character offering a unique move set that matches their canon abilities and actions, some of which can actually be influenced by which character the opponent is using and, sometimes, even the chosen arena, just to name a couple of factors. If the anime grabbed my interest in the series, this game really helped to cement it.


Just as Age of Extinction ties into the 30th anniversary of Transformers, Tetris Ultimate is a new game made to correlate with the 30th anniversary of Tetris, and I couldn’t have asked for anything better. While retaining what makes Tetris what it is, this game provides a huge swath of gameplay options to keep you interested for what may be a very long time. Top that off with great music and visuals and you have yourself a worthy Tetris game for the modern age.

Top Disappointments of 2014


While I wasn’t really enthralled by the first The Amazing Spider-Man, I went to see this movie anyway solely so I could stay somewhat in the loop regarding comic book superhero movies. Unfortunately, despite the fact that I wasn’t expecting much anyway, I ended up getting less than that, since the plot manages to be somewhat incoherent and the characters unlikeable, resulting in a complete mess of a movie (not even a costume change was enough to convince me that it was for the better). In the end, I found this installment to be a very lackluster example of a Spider-Man flick and I hope something about it improves in the next release, if there even is one.


I may be a fan of My Little Pony G4 (though not necessarily very high on the “brony” scale), but I’m not really much of a fan of the Equestria Girls spin-off. However, when this movie was announced, I decided to watch it anyway to see what direction the series would be taken in, plus the previews made it seem like there was some promise to it. This turned out to be more of an empty promise, since the re-introduction of Twilight Sparkle from the pony world into the human world ruined any potential this movie may have had with fleshing out Sunset Shimmer as a character, though the music is somewhat better and the villains were better written than Sunset Shimmer. To me though, this movie only presents a rather marginal improvement over the last feature and I really hope that Twilight Sparkle isn’t shoehorned into the plot again so that the spin-off can have its own identity, despite whatever potential for this hope not coming to pass the post-credits scene might present.

Transformers: Rise of the Dark Spark

When I heard about the concept behind this game, that it was a crossover between the Movie and Aligned Transformers continuities, I was curious to see how well it would be pulled off, though I expected that it would not be able to top Fall of Cybertron. Not only did it meet this expectation, it also turned out to be worse than I thought it would be. The game does manage to somewhat fit itself into the Aligned continuity portions, which is more than I can say for the Age of Extinction half, but on top of this it isn’t that much fun, rather it feels like the game is just going through the motions. This also seems to carry over into the voice acting, since while it uses the same cast from Fall of Cybertron, save for a select few (Peter Cullen as Optimus Prime not withstanding), it sounded like the actors weren’t putting in their best effort. In short, this game felt like it had some really wasted potential with its premise and I hope more of an effort is put into any future Transformers games.

2014 - The Highlights (lionsroar)

Films watched for the first time and reviewed in 2014

Note: Since Trophy Unlocked has to pay for most of the movies we see in the theaters and for most of the films we watch at home, we don’t have the scope of a newspaper reviewer. We don’t see everything that’s out, so our ratings of films are based on what we decide to spend our money on.

Best Films of the year

In no particular order:


While this is not a film that will win Academy Awards, I really thought Michael Keaton showed a lot of range and bravery with his performance. The filmmaking was experimental with the attempt to make it appear to be one long continuing shot, something Hitchcock attempted with Rope (1948), but technology has improved so that director Alejandro González Iñárritu has more success. The soundtrack, which won’t be eligible for the Oscars, is interesting, but a little tiresome. Not a great film, but it has enough interesting pieces to make it a must see from the year.


Perhaps the most fun I had at the movies this year. While I had never read the comics it was based on and was somewhat doubtful of the project, I really liked the movie. So much in fact, that I actually bought the soundtrack as a audio-keepsake, even though it is filled with songs that when they were first played on the radio I would turn the dial so as to not listen to them.


There were a lot of very fine animated films this past year, but perhaps the best all around was Frozen. Released in 2013, this was reviewed on the blog at the beginning of 2014. The film features the voice acting and singing talents of Broadway standouts Idina Menzel and Josh Gad as well as Kristen Bell and songs such as Let It Go, In Summer and For the First Time in Forever.

Disappointments of the year

In no particular order:


Not sure why this film was made. While it does tell a story that is similar to what’s in the Bible, that story is augmented with supernatural elements. I don’t know much about Noah, but if he was anything like he was portrayed in this film, he was not a very likeable guy. As with most biblical films, this one is slow paced and uninvolving.


Not really a bad movie, but one that definitely could have been better. A similar set up as Guardians of the Galaxy, a movie based on a little known Marvel comic with a cast of heroes. But while Guardians managed to flesh out their cast into three-dimensional characters, most of the big six remain one-dimensional. I also had some problems with the timing of events. While I’m sure there’ll be a sequel, I hope they get it right the next time.


Since 2014 was the 75th Anniversary of Hollywood’s Golden Year, 1939, Trophy Unlocked made an effort to highlight several films from that year. Not all films from 1939 are great however and some have aged poorly. I’m sorry to say Gunga Din falls into that category. As a Cary Grant fan, I have rarely seen a bad performance from him and for the most part the acting is okay from all the leads. The problem is the pacing, the story and the laughable special effects. I had wanted to watch this film with my family for about a decade, so imagine how disappointed I was when the only thing we talked about afterwards was the poorly done snake pit scene.


Anniversaries all around, this one goes back 100 years to the first feature length comedy shot in Hollywood. Like Grant, I am usually a fan of Charlie Chaplin’s work, but most of my exposure to him had been in films he wrote, directed and starred in. Here he is given third-billing behind Marie Dressler and Mabel Normand and is directed by Mack Sennett. This film, unfortunately, has not aged well.

Tuesday, December 30, 2014

Big Hero 6


Now that Disney has had ownership of Marvel since 2009, it’s no surprise that they would at some point create a film based on one of their properties that has yet to hit the big screen. Also not surprising is that they’d create one that has no ties to the popular Marvel Cinematic Universe. Case in point, Big Hero 6, released this November. I’m not really too familiar with the original comic series, but the previews made the movie look promising and I gained an interest in seeing it. I wasn’t sure what to expect and ended up enjoying it, but I saw a couple flaws as well.

In the city of San Fransokyo, Hiro Hamada (Ryan Potter) enters an illegal Bot Fighting bout and wins a large sum of cash. After his victory, he is nearly attacked by thugs led by the man he defeats before his brother, Tadashi (Daniel Henney), saves him, only for Hiro to be spotted by the cops and briefly sent to jail. Hiro and Tadashi are bailed out by their Aunt Cass (Maya Rudolph), who runs a coffee and bakery shop out of their home. At home, Hiro finds another Bot Fighting bout and is ready to leave, but Tadashi takes him to San Fransokyo Tech first to show him what his school is like. After witnessing technical marvels, including Tadashi’s personal healthcare robot, Baymax (Scott Adsit), Hiro wishes to enroll by coming up with an impressive invention: telepathically controlled microbots that are capable of taking on any shape and performing any task. As Hiro is about to leave, an accident occurs at the university, causing the destruction of the microbots and his brother Tadashi to die. For a few weeks afterwards, Hiro is depressed and physical pain awakens Baymax in his room. As Baymax tries to help him, Hiro notices the one remaining microbot in his jacket begin to move. He follows Baymax to where the microbot is trying to go, only to run into a villain named Yokai who is creating more of the microbots for his own use. Hiro and Baymax manage to escape, though the encounter motivates Hiro to confront the villain and stop him from using the microbots. To accomplish this, he decides to give Baymax a few upgrades and forms a team with four of Tadashi’s friends from San Fransokyo Tech: Fred (T.J. Miller), GoGo Tomago (Jamie Chung), Wasabi (Damon Wayans Jr.) and Honey Lemon (Genesis Rodriguez).

Though the story is enjoyable, there are a couple of flaws with it. Out of all the members of Big Hero 6, only Hiro and Baymax get the amount of character development they do in the movie. The other four members are either written with fewer dimensions or feel pushed to the side for a lot of the runtime. Additionally, some of the smaller details are a little confusing, including the lack of a real reason for the fire that occurs at San Fransokyo Tech during the first act. That said, it’s interesting that grieving serves as the prime motivator for Hiro during the movie and I thought that his relationships with Tadashi and Baymax were handled really well. You can easily feel the emotion come off the screen during the bonding moments between the characters, which helps create more of a connection to them. Big Hero 6 deserves credit then for being able to balance action and drama, though it’s not on the same level as, say, Guardians of the Galaxy.

The members of Big Hero 6 (from left): Wasabi, Honey Lemon,
Hiro Hamada, Baymax, GoGo Tomago, Fred

In fact, the story at times seemed to recall other Marvel movies. One scene which features Baymax and Hiro flying around San Fransokyo recalls the original Iron Man film with Tony Stark flying around in his iconic suit for the first time and the final battle has some similarities to the one in Sam Raimi’s Spider-Man 2 against Doctor Octopus. I’d chalk this up more to coincidence since there are a lot of stories out there, but seasoned Marvel viewers may still be able to notice a connection or two.

The action scenes in Big Hero 6 are quite a spectacle, helped by the superb animation and bright color palette. Characters move realistically, yet at times also feel inspired by anime (in a good way). The fight scenes flow smoothly and feel tense at the right moments, helped by the feeling of weight in each of the motions. Some things feel a little unrealistic, like Fred being able to move perfectly within a glorified mascot costume, but they can easily be overlooked in favor of enjoying the action. The animation of the microbots is especially impressive due to all of the small moving parts and how they collectively flow like water. Additionally, the character models feel close to standard Disney designs, yet retain some of the Japanese influence and feel more original as a result. The art style of the rest of the world is also very interesting to look at and there’s plenty of detail to get lost in.

Yokai using Hiro's microbots during their initial encounter.

As for the voice acting, I thought the cast did a pretty good job. Their emotions came across effectively and each character’s personality was evident by the way they spoke and interacted with each other. Baymax especially, despite having a lower range of emotion, is able to use his actions and choice of words to express a higher range. In this sense, his relationship with Hiro takes on a vibe similar to the one present between the main characters in The Iron Giant, though once again not quite the same. Henry Jackman’s score is also pretty good, since it never feels inappropriate to the moment and can subtly increase the emotional weight or tenseness where applicable.

Before I end this review, I feel I should also talk about the short presented before the movie. This short, Feast, is mainly about a Boston Terrier named Winston eating a lot of food, but also features a plot regarding a relationship his owner has. The short is nice and touching, but I didn’t feel any real conflict within it, since the owner’s relationship plays out in the background. In short, the plot is uneven and didn’t really seem to go in any determinate direction. Regardless, the short is beautifully animated, particularly the dog and the food he eats, so it’s worth watching for the visual elements. Keep in mind though that the dog’s diet is unrealistic, as it involves large portions and food items such as pizza and cupcakes, and shouldn’t be used as a guide.

Feast has fantastic animation.

Big Hero 6 isn’t a perfect movie, but it’s pretty entertaining. The story is engaging, but falls apart when you think about it later and though the main characters are fleshed out very well, the other members of the team, and even the main villain, don’t get as much development. By contrast, the animation is very good and certain scenes leave an emotional impact on the viewer. This is a great film for families to watch, but more hardcore Marvel fans shouldn’t expect anything like Guardians of the Galaxy. That’s said, I wouldn’t be surprised if there was a sequel, in which case I hope Disney tries harder to deliver a more satisfying experience.