It'd be great to know if anyone recorded the rest, but who knows.
Reviews
12 Reviews
IO
(2019)
Comtemplative; well acted.
26 August 2020
Surprise - this movie is not action-packed, but I'm surprised how many folks were expecting that. I'm also surprised a few folks found "How it Ends" a tad better - and that film you can keep, even if it does have action. This film is a solid 6.5, but needed at least a measure better cinematography to get a 7.
Marching Orders
(2017– )
A great concept - imperfectly executed.
1 November 2018
Enjoyed this series to a good degree, but it did leave several things to be desired. First, I need to acknowledge all the things the show does well: it shows an important cross-section of the field performance community, and why elements of HBCU community stand apart from other field performance ensembles. The passion that Black colleges and bands bring is stellar, and lifts to the crowd over other college marching bands, especially with concern to the dance by the overall band, and dance squadron (14K dancers). I most enjoyed some of the side narratives concerning relationships and weight/fitness... as these are real elements that present among the band community.
Now for the trade-offs: As others have mentioned, the series primarily focuses on the 14K dance team and their struggles - I would say 40% of the show focuses here. To a lesser extend it then focuses the flag team (20%) and then approaches the overall band, with peppered human interest stories, for the remaining 40%. While I understand that making programming can be difficult, the 12 minute segments were not merely silly, they were lazy. By limiting to 12 minutes, the producer/director was able to reuse footage and rehash previous moments at the beginning of each segment.
While others may be unaware, there is a robust competitive field performance industry known as "Drum and Bugle Corps" (D&BC). That community is less defined by pageantry and entertainment, per se, but is arguably more precision-performance oriented. Accordingly, hearing the BCU members bemoan a 'long bus drive' to North Carolina (from Florida) juxtapose the reality of D&BC members who routinely criss-cross the country on 48-hour drives. This being the comparative reality - I much would have rather learned more about the real-life struggles of these kids leading up to university, why being in the Bethune-Cookman band meant so much to them, and when the first saw them, previous family members involved, etc.
As mentioned, there truly could have been better attention giving to (any) musician sections, from battery (drums) to other brass and woodwind instrument sections. While the program did show a brief interlude with the mellophone section - the growth of the band was not made clear through the course of this show. By comparison, the Dwayne Johnson produced "Clash of the Corps", available on Amazon, is more engaging, appreciative of performer backstories, and better produced. I greatly hope that if they make a second season of Marching Orders, their gaps might be better bridged.
Now for the trade-offs: As others have mentioned, the series primarily focuses on the 14K dance team and their struggles - I would say 40% of the show focuses here. To a lesser extend it then focuses the flag team (20%) and then approaches the overall band, with peppered human interest stories, for the remaining 40%. While I understand that making programming can be difficult, the 12 minute segments were not merely silly, they were lazy. By limiting to 12 minutes, the producer/director was able to reuse footage and rehash previous moments at the beginning of each segment.
While others may be unaware, there is a robust competitive field performance industry known as "Drum and Bugle Corps" (D&BC). That community is less defined by pageantry and entertainment, per se, but is arguably more precision-performance oriented. Accordingly, hearing the BCU members bemoan a 'long bus drive' to North Carolina (from Florida) juxtapose the reality of D&BC members who routinely criss-cross the country on 48-hour drives. This being the comparative reality - I much would have rather learned more about the real-life struggles of these kids leading up to university, why being in the Bethune-Cookman band meant so much to them, and when the first saw them, previous family members involved, etc.
As mentioned, there truly could have been better attention giving to (any) musician sections, from battery (drums) to other brass and woodwind instrument sections. While the program did show a brief interlude with the mellophone section - the growth of the band was not made clear through the course of this show. By comparison, the Dwayne Johnson produced "Clash of the Corps", available on Amazon, is more engaging, appreciative of performer backstories, and better produced. I greatly hope that if they make a second season of Marching Orders, their gaps might be better bridged.
Godless
(2017)
It's at least a nine, despite a little problematic storytelling (only one small spoiler at bottom)...
8 January 2018
Warning: Spoilers
While some have argued that Hollywood is merely giving us mindless gruel, Michelle Dockery and cast are certainly just as good as any other westerns of recent memory. Additionally, we should thank the producers for a well-crafted 7-episodes over the typically abysmal 13. This stated, the majority of the action all occurs in the final episode.
My three issues were (first 2 non-spoilery):
1) The town had, ultimately run by women, was named La Belle. That's a little too on-the-nose for my liking, despite similarities with more-modern New Mexico towns of the same name.
2) The character portrayal of Whiteys is consistent. He is able to enact a great, hero's plan at one stage of the narrative - and then at another stage is unceremoniously dismissed as a fool. A fool his loved ones regard, but a fool. This was weak writing.
and spoilery...
3) The newspaper man A.T. Grigg more or less creates the final problem at the show's conclusion. Essentially, he is ever-willing to throw anyone under the bus to get his story. This being known, and while he is shot, he is somehow patched up by show's end and allowed to live, shown walking with a funeral procession. As hero character Roy Goode's disappearance is planned through his alleged death at the La Belle gunfight (allowing his freedom from criminal prosecution)... at which Grigg was present, no explanation is given on how this is expected to be effective. The writers allowed Grigg to live in order to pain the audience on the unfortunate imperfections of life... but failed to pay the audience, or the characters the basic respect of outlining somewhat-naturally-ordered universe.
My three issues were (first 2 non-spoilery):
1) The town had, ultimately run by women, was named La Belle. That's a little too on-the-nose for my liking, despite similarities with more-modern New Mexico towns of the same name.
2) The character portrayal of Whiteys is consistent. He is able to enact a great, hero's plan at one stage of the narrative - and then at another stage is unceremoniously dismissed as a fool. A fool his loved ones regard, but a fool. This was weak writing.
and spoilery...
3) The newspaper man A.T. Grigg more or less creates the final problem at the show's conclusion. Essentially, he is ever-willing to throw anyone under the bus to get his story. This being known, and while he is shot, he is somehow patched up by show's end and allowed to live, shown walking with a funeral procession. As hero character Roy Goode's disappearance is planned through his alleged death at the La Belle gunfight (allowing his freedom from criminal prosecution)... at which Grigg was present, no explanation is given on how this is expected to be effective. The writers allowed Grigg to live in order to pain the audience on the unfortunate imperfections of life... but failed to pay the audience, or the characters the basic respect of outlining somewhat-naturally-ordered universe.
Best episode to date (only minor spoilers).
17 April 2017
Warning: Spoilers
If you're like me, you might not have had much time to follow this series, or its character arcs. While now it has nearly been 2 years since this episode's first broadcast, I find myself catching up on my missing Marvel arcs, and most importantly, coming to truly enjoy this series. I hope it keeps up the pace.
Television production can be a different animal – and the use/ re- use of established characters may be a necessarily, if clichéd, evil. This episode makes much use of the estranged agent Ward and Kara (Agent 33) who I hope to see more of.
Much of the series' season 1 and early season 2 was too pedestrian for my tastes, although I acknowledge the MCU has done a much better job marrying its plot lines between film and television than Warner Brothers. To this end, Chloe Bennet's Daisy/Skye has largely played a pretty (if sophomoric) girl-next-door. We finally now see Daisy begin to throw down; while her inhuman powers are showcased, the episode truly show-cases her "Agent 13ish" qualities as a fighter – leaving me to wonder how much of the fight scenes were actually Bennet versus a stunt double. I thought this was the episodes highlight.
As always, Ruth Negga is a great actress, although underutilized in this series. Once the searcher for "the clairvoyant", Negga's "Raina" herself has now become one (hopefully this irony is not lost on fans). This stated, her ability to foretell is not (yet?) realized – although hopefully we'll see some more articulated, and manipulative prognostications in the future. In a nod to the cinematic MCU, Raina foretells "Consequences men made of metal will tear cities apart and the world will be changed forever." This tie- in was a bit ham- fisted for me. While the prognostication follows a powerful vision held by Raina – the augury reads as a general summary for Age of Ultron.
Comparatively, Coulson is admirably restored in authority and confidence. We as viewers likely had presumed, throughout the second season, that Coulson had his reasons for secrecy. We're treated to a nice cameo from a minor cinematic character – although I was truly left for wanting a Samuel L. Jackson moment. A brief interaction between Fury and Gonzalez would have been priceless.
All told, this was the best episode of AOS I have viewed, although I have quite a few more to still get through. This was a nice treat.
Television production can be a different animal – and the use/ re- use of established characters may be a necessarily, if clichéd, evil. This episode makes much use of the estranged agent Ward and Kara (Agent 33) who I hope to see more of.
Much of the series' season 1 and early season 2 was too pedestrian for my tastes, although I acknowledge the MCU has done a much better job marrying its plot lines between film and television than Warner Brothers. To this end, Chloe Bennet's Daisy/Skye has largely played a pretty (if sophomoric) girl-next-door. We finally now see Daisy begin to throw down; while her inhuman powers are showcased, the episode truly show-cases her "Agent 13ish" qualities as a fighter – leaving me to wonder how much of the fight scenes were actually Bennet versus a stunt double. I thought this was the episodes highlight.
As always, Ruth Negga is a great actress, although underutilized in this series. Once the searcher for "the clairvoyant", Negga's "Raina" herself has now become one (hopefully this irony is not lost on fans). This stated, her ability to foretell is not (yet?) realized – although hopefully we'll see some more articulated, and manipulative prognostications in the future. In a nod to the cinematic MCU, Raina foretells "Consequences men made of metal will tear cities apart and the world will be changed forever." This tie- in was a bit ham- fisted for me. While the prognostication follows a powerful vision held by Raina – the augury reads as a general summary for Age of Ultron.
Comparatively, Coulson is admirably restored in authority and confidence. We as viewers likely had presumed, throughout the second season, that Coulson had his reasons for secrecy. We're treated to a nice cameo from a minor cinematic character – although I was truly left for wanting a Samuel L. Jackson moment. A brief interaction between Fury and Gonzalez would have been priceless.
All told, this was the best episode of AOS I have viewed, although I have quite a few more to still get through. This was a nice treat.
Elektra
(2005)
Finally Viewed After 10 Years
15 October 2015
This is a greatly under-valued Marvel movie. As movies go, for me... the comic book genre is rarely going to get a 8, and not yet ever a nine. So, if I give Elektra a 6, this really isn't that bad. There are a number of critics here who speak ill of this movie on a number of levels, but I can assure you... superhero movies get far worse.
The acting is good, with exception to Kirsten Prout's "Abby". The true fault in the film comes with the lack of backstory and plot development/explanation(s). Abby is the macguffin in this film, and a rather uninspiring one. The Elektra story apparently has a fantastical magical element to its backstory, but this is not explained. As a result, you've powerful villains using incredible magic (unexplained), who bother to use beautifully choreographed martial arts. Is the magic a trick of illusion? Magic is not explained, but does not appear to be wholly illusory. In all, a weak, and easily fixable plot hole.
I believe many find fault with the film in that of the plot development that does occur, it is a slower paced development of Elektra dealing with her own demons. It does take a little to get going, but I thing this element of development is worth it. It is worth one view, but probably not one for your shelf.
The acting is good, with exception to Kirsten Prout's "Abby". The true fault in the film comes with the lack of backstory and plot development/explanation(s). Abby is the macguffin in this film, and a rather uninspiring one. The Elektra story apparently has a fantastical magical element to its backstory, but this is not explained. As a result, you've powerful villains using incredible magic (unexplained), who bother to use beautifully choreographed martial arts. Is the magic a trick of illusion? Magic is not explained, but does not appear to be wholly illusory. In all, a weak, and easily fixable plot hole.
I believe many find fault with the film in that of the plot development that does occur, it is a slower paced development of Elektra dealing with her own demons. It does take a little to get going, but I thing this element of development is worth it. It is worth one view, but probably not one for your shelf.
The Hunger Games
(2012)
Minor Spoilers: Budgeting Cheats
13 May 2012
I saw the 1st adapted movie after reading the first Hunger Games book - they could have done better with this film. Many would interpret such this to mean I wanted more gore and death - but this is not the case. What was lacking from this the most was nudity (not sexuality per se) and a more sophisticated if not blasé attitude regarding life and life's value(including sexuality); the film needed a rawer, more somber tone. 3/10 is an extra-critical vote based on reducing a a pretty-good book to cinematic fluff.
The vexing teen angst that does bubble up from time to time in the Hunger Games book is thankfully overshadowed by a raw, pragmatic need for survival and all which that requires. The raw elements of illness and injury, and the sadness which accompanies the loss of loved ones through traumatic experience is refreshing. Ultimately the book is worth the read.
Unfortunately, the need for box-office profits sets a stage for adaptations to be razed of their quintessential value until most of what remains is a flimsy, teenage adventure epic. PG-13 might bring in more viewers, but it reduces any adaptation to trite and forgettable.
As others have pointed out, the character building is weak. One central character is 'The Arena' itself (the place where the contestants are corralled to kill each other). Like in the book, the Arena contains a wooded forest environment, unlike in the book - the movie Arena is devoid of a grassland, devoid of rocky slopes (where our protagonists' cave should have been), devoid of sloping ravines where creeks should flow and supply fish (and are later completed drained and dried by the Arena's controllers) and devoid of an ever-changing climate (hot and freezing) which lends to our protagonists suffering/starving more easily in the book. Because the film producers chose to make the forest ubiquitous in the Arena and the forest temperate (not even a drop of rain - let alone torrential) our heroine doesn't need a sleeping bag for warmth, and they leave out that book element. The directors also leave out night-vision glasses (?).
The severity of injuries and all that intones is also marginalized. In the book, Peeta is dying of an infection and blood poisoning for which ointment and an antibiotic is needed: ergo, the director reduces the severity of the injury, no shot is needed (which Katniss stabs into her partner in the book), instead launching the viewer into the final trial without any delay.
Although many movies are far too long, the brevity of this film leads to two-dimensional heroes we feel little connection to. The film feels rushed. Incidentally, while "The Games" are supposedly drawn out over a two-week period, I felt as though maybe only 4-5 days had elapsed in the film. If this was a non-adapted screenplay I might have given it a four, but for the disappointment this 'adaptation' brings - I give it a three.
The vexing teen angst that does bubble up from time to time in the Hunger Games book is thankfully overshadowed by a raw, pragmatic need for survival and all which that requires. The raw elements of illness and injury, and the sadness which accompanies the loss of loved ones through traumatic experience is refreshing. Ultimately the book is worth the read.
Unfortunately, the need for box-office profits sets a stage for adaptations to be razed of their quintessential value until most of what remains is a flimsy, teenage adventure epic. PG-13 might bring in more viewers, but it reduces any adaptation to trite and forgettable.
As others have pointed out, the character building is weak. One central character is 'The Arena' itself (the place where the contestants are corralled to kill each other). Like in the book, the Arena contains a wooded forest environment, unlike in the book - the movie Arena is devoid of a grassland, devoid of rocky slopes (where our protagonists' cave should have been), devoid of sloping ravines where creeks should flow and supply fish (and are later completed drained and dried by the Arena's controllers) and devoid of an ever-changing climate (hot and freezing) which lends to our protagonists suffering/starving more easily in the book. Because the film producers chose to make the forest ubiquitous in the Arena and the forest temperate (not even a drop of rain - let alone torrential) our heroine doesn't need a sleeping bag for warmth, and they leave out that book element. The directors also leave out night-vision glasses (?).
The severity of injuries and all that intones is also marginalized. In the book, Peeta is dying of an infection and blood poisoning for which ointment and an antibiotic is needed: ergo, the director reduces the severity of the injury, no shot is needed (which Katniss stabs into her partner in the book), instead launching the viewer into the final trial without any delay.
Although many movies are far too long, the brevity of this film leads to two-dimensional heroes we feel little connection to. The film feels rushed. Incidentally, while "The Games" are supposedly drawn out over a two-week period, I felt as though maybe only 4-5 days had elapsed in the film. If this was a non-adapted screenplay I might have given it a four, but for the disappointment this 'adaptation' brings - I give it a three.
Jarhead
(2005)
Fair-to-Good Adaptation of Book (Spoiler)
12 June 2011
Warning: Spoilers
I give this movie a solid "8", meaning 80%. I would have loved to give it more but I feel that a lot more might have been done to add a sense of loneliness and emptiness for this film's Gulf War soldier. The acting was superb all-around, but the misanthropic disillusion that A. Swofford communicates in his memoir is shared between the other actors in the film adaptation. I've read several dip-sh*t reviews alluding that this is a movie about liberals from Hollywood. Well, Swofford might have hoped to cash out... but he just wrote a book, not a movie.
In total, the Gulf War was a unique situation, where ground troops saw minimal resistance. Swofford's book is told in a fragmented pattern, skipping non-chronologically. The movie tells the tale chronologically, and collapses details. Swofford's partner Johnny Rotten is combined with Fowler in the movie. An oil-covered horse beneath the glow of burning oil derricks is added for "Apocalypse Now" artistic flair.
It's a good movie, but it was not Full Metal Jacket, few are.
In total, the Gulf War was a unique situation, where ground troops saw minimal resistance. Swofford's book is told in a fragmented pattern, skipping non-chronologically. The movie tells the tale chronologically, and collapses details. Swofford's partner Johnny Rotten is combined with Fowler in the movie. An oil-covered horse beneath the glow of burning oil derricks is added for "Apocalypse Now" artistic flair.
It's a good movie, but it was not Full Metal Jacket, few are.
Chase
(2010–2011)
A Good Show, if Simple
15 May 2011
I often am surprised when certain shows garner low votes on IMDb, as I definitely feel there are worse than Chase on television.
One commentator added that she felt uncomfortable with many shows on TV due to the level of their sexual content. Sweet lord Americans, is this all you're worried about? After all, Marshall Annie Frost goes through Chase following the crimes of heinous individuals who sometimes shoot entire families (this is not necessarily shown, but is implied in cutaways). Meanwhile Annie tracks down the bad guys, and often, when possible... shoots them dead. So let us sum of the moral compass of this "family show" as another reviewer termed it. Bad guys sometimes do really bad things, so it's a good thing when they die, and even better if you can shoot them.
I do feel the aims and intentionality of the show's protagonists are just, but to worry over the sexual content? Really? By the way, two members of the team are sleeping with each other, and the two main leads, Annie and Jimmy, are growing ever-closer to the detriment of Jimmy's already-strained marriage. So- yeah, no sex, just home-wreckers and morning-after scenes with fornicators. Point being, these are not detractors, per se, but they neither elevate, nor sink the real content; violence should be the truer issue of concern to persons with concern for moral issues. Troglodytes.
One commentator added that she felt uncomfortable with many shows on TV due to the level of their sexual content. Sweet lord Americans, is this all you're worried about? After all, Marshall Annie Frost goes through Chase following the crimes of heinous individuals who sometimes shoot entire families (this is not necessarily shown, but is implied in cutaways). Meanwhile Annie tracks down the bad guys, and often, when possible... shoots them dead. So let us sum of the moral compass of this "family show" as another reviewer termed it. Bad guys sometimes do really bad things, so it's a good thing when they die, and even better if you can shoot them.
I do feel the aims and intentionality of the show's protagonists are just, but to worry over the sexual content? Really? By the way, two members of the team are sleeping with each other, and the two main leads, Annie and Jimmy, are growing ever-closer to the detriment of Jimmy's already-strained marriage. So- yeah, no sex, just home-wreckers and morning-after scenes with fornicators. Point being, these are not detractors, per se, but they neither elevate, nor sink the real content; violence should be the truer issue of concern to persons with concern for moral issues. Troglodytes.
Defying Gravity
(2009)
Confused why there is such dislike of this show.
1 September 2009
Okay, so I also agree that it is hard to conceive of how the producers will keep this alive given the trajectory of this program, but is the program really that bad? The sexuality between characters: were men to take horribly long space engagements it is believable that a level of sexuality might be tolerated; it is human nature after all. Suppress it for 6 years, I think not.
I like this show, and am enjoying it. I can't think of anything better to watch on television, really. My greatest fear is that like the X-Files, it will come to a speeding cataclysm of a wreck, with poor writing and insufficient funds. The problem is not in the drama, or the relationships. The problem is in maintaining Nielsen ratings, where more and more outrageous plot twists are added to attract viewers, which can be fun, but never realistically brought to a coherent conclusion.
I think folks should give this one a chance, but given their short attention, I'm fairly certain they will not. Just keepin' it real, monkeys.
I like this show, and am enjoying it. I can't think of anything better to watch on television, really. My greatest fear is that like the X-Files, it will come to a speeding cataclysm of a wreck, with poor writing and insufficient funds. The problem is not in the drama, or the relationships. The problem is in maintaining Nielsen ratings, where more and more outrageous plot twists are added to attract viewers, which can be fun, but never realistically brought to a coherent conclusion.
I think folks should give this one a chance, but given their short attention, I'm fairly certain they will not. Just keepin' it real, monkeys.
Heroes
(II) (2006–2010)
A little disappointed.
22 May 2007
Warning: Spoilers Okay, this really is the best place to review, and I need a study break. I believe that the drafted writers for this show had some interest in the subject matter to start with, but ultimately either sold out, or really did not harbor the skill or imagination to flesh it out to it's full potential.
Let us review the season finale. Throughout the season we saw different abilities and powers. When it started to become more about the next action sequence, however, I started less impressed. Peter Petrelli (our protagonist) has finally accumulated enough powers (he gets to absorb them merely by being near others), that he can pretty much do anything (including warp in and out of dimensions, fly, etc.), yet he starts powerless in the face of his new ability to throw off nuclear radiation, frozen. Not so powerless as to whine like a baby mind you, and state he can't do anything, but powerless so as to need the "groups' assistance" to save him and the city of New York. Early on we empathized with Peter for his learning of new skills, and accepted his fledgling journey of special powers. However, he had a scene mid-season where he fairly deftly handled these powers. I would have bought a scene where he had gone catatonic or something, but this was not that.
Let us further look at Sylar (aka Gabriel Gray). Arguably of the better cast actors, even this character has disjointed development. Sylar eats the brains of other mutants to 'understand' and gain their powers. He reasons that they are "undeserving" of their abilities towards this end. Yet, even though he presents as sociopathic towards their needs as persons, he harbors little grander "vision" toward some global power domination scheme one would think and 'all-powerful entity' would possess. Further, Sylar becomes disturbed at the idea that he might blow up all of New York, and is morally bothered. Huh? This series was totally dominated by commercial intrusion and each episode in totality was actually quite short. Each scene typically moved from one major event to another, and our protagonists (aside from wanting to "save the world") were commonly chasing their tails.
Essentially the series follows a scheme of faedom, where their destinies are predetermined toward the resolution of a key moment, so they are incredible powerless the whole time (as we stand powerless to identify), until the end when they throw the whole bag out, stating that they can determine their own future, and nothing is determined on fate alone! Now that the series has been continued for another season, I am in a quandary as to continue abusing myself. Certain characters (according to this episode) may have died, but as they were key, we don't really know for sure. The writers might bring them totally back, which would further diminish the storyline's credibility. NBC is soon to air the bionic woman, so it looks like the Superhero formula is in full-form.
Let us review the season finale. Throughout the season we saw different abilities and powers. When it started to become more about the next action sequence, however, I started less impressed. Peter Petrelli (our protagonist) has finally accumulated enough powers (he gets to absorb them merely by being near others), that he can pretty much do anything (including warp in and out of dimensions, fly, etc.), yet he starts powerless in the face of his new ability to throw off nuclear radiation, frozen. Not so powerless as to whine like a baby mind you, and state he can't do anything, but powerless so as to need the "groups' assistance" to save him and the city of New York. Early on we empathized with Peter for his learning of new skills, and accepted his fledgling journey of special powers. However, he had a scene mid-season where he fairly deftly handled these powers. I would have bought a scene where he had gone catatonic or something, but this was not that.
Let us further look at Sylar (aka Gabriel Gray). Arguably of the better cast actors, even this character has disjointed development. Sylar eats the brains of other mutants to 'understand' and gain their powers. He reasons that they are "undeserving" of their abilities towards this end. Yet, even though he presents as sociopathic towards their needs as persons, he harbors little grander "vision" toward some global power domination scheme one would think and 'all-powerful entity' would possess. Further, Sylar becomes disturbed at the idea that he might blow up all of New York, and is morally bothered. Huh? This series was totally dominated by commercial intrusion and each episode in totality was actually quite short. Each scene typically moved from one major event to another, and our protagonists (aside from wanting to "save the world") were commonly chasing their tails.
Essentially the series follows a scheme of faedom, where their destinies are predetermined toward the resolution of a key moment, so they are incredible powerless the whole time (as we stand powerless to identify), until the end when they throw the whole bag out, stating that they can determine their own future, and nothing is determined on fate alone! Now that the series has been continued for another season, I am in a quandary as to continue abusing myself. Certain characters (according to this episode) may have died, but as they were key, we don't really know for sure. The writers might bring them totally back, which would further diminish the storyline's credibility. NBC is soon to air the bionic woman, so it looks like the Superhero formula is in full-form.
Yosemite: Ascending Rhythm
(2000 Video)
This was a bit slow but beautiful. Look to Masters of Stone first... but unfortunately no DVD for those..
10 September 2003
Not enough high raising climbing. Natural and flowing just like true climbing. It is also perfect to fall asleep by, which is probably not the central idea. Kauk presents a subtle film, beautifully photographed. However, I think what many climbers would like is a rippin' movie, so as to inspire their friends toward the amazing feasts which a person can aim. This movie is not awe-inspiring, but rather, (to use Kauk's words), Granola guy-ish. Still however it is the best climbing movie ever assembled as per quality.
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