Art I Consumed in July 2020

Books

Room to Dream
by: David Lynch & Kristine Mckenna
N/A
I didn't finish this because it was leaning too hard on biography/autobiography and Id expected it to be more like a memoir for some reason. It's funny how much the distinction matters to me. I have basically no interest in the hard facts of someones life- I don't care about what highschool they went to or when they moved out with their first girlfriend unless it adds something to the narrative. I'm learning now that biographies don't typically have a narrative like memoirs do. The goal isn't to tell a story or present a narrative/ ideas. The goal behind a biography is to tell the full story of someone's life, not lending any more importance on one bit of their life over any other. I'm sure this appeals to many people who want to know everything they can about someone, but I find them pretty dull.
Though David's chapters reflecting on his life were more interesting to me, they still maintain the same focus as the more biography-heavy chapters written by Kristine. There didn't appear to be any overarching theme or statement and I ultimately grow bored and quit it.
However, I did learn some valuable things. First off, I learned David Lynch is an absolute Chad-level ladies man. Secondly, I learned that his first wife and second wife were both from the same childhood friend group, and one of them had been dating his best friend until she left him for David. Incredible. Can you imagine your childhood friend, whom you've remained close to for decades, just deadass marrying your ex-husband?! Wild.

The Sun Does Shine: How I Found Life and Freedom on Death's Row
Written by: Anthony Ray Hinton
9/10
I saw a review online for this book that was just one line. The review was: "The saddest thing about this story is that I've heard hundreds of them".
An innocent and unarmed black man being sent to jail is not uncommon, especially in Alabama and especially if he is poor. Hinton's story is not unique in this sense but he does not ignore this fact. Throughout his story, whether it is with empathy or with anger, he deliberately weaves the systemic issues surrounding his treatment in to his narrative and frequently reminds us that these stories are shared by all of those around him. You cannot justify the death penalty and it isn't just because Hinton was wronged. Hinton makes it pretty clear at several points that he is acting as a voice for the hundreds and thousands of people just like him caught in the systemic racism and cruelty of the American justice system (and Canadian. Lets not forget this). Whether someone is unjustly imprisoned on death row because the judge is rewarded based on how many convictions are made and is praised for sending criminals to death row, whether the conviction is racially motivated or discriminatory against mental health issues and addictions, the point Hinton makes in telling his story is that there is no justification for the obscene levels of cruelty on death row and the fact that this cruelty is imposed upon people who are given no chance of redemption or may even be innocent is unforgivable.
Hinton chooses to forgive many people over his 30 years on death row, including judges who continued to dismiss clear evidence of his innocence over decades, but he makes it very clear that this forgiveness was for his own good. The system and what continues to happen to people like him is not forgivable.
Not only were the social and political aspects of this story riveting, anger-inducing, and important to me, but the personal journey Hinton documents in affecting prose is astounding as well. Hinton's perspective and ability to translate the foreign horrors of prison, what it does to a man, and the unforgettable emotional connections Hinton makes with former inmates reflects an incredible skill and empathetic heart. Though I read and watch a lot of prison stories and documentaries, none have captured the despair of losing friends on death row to the electric chair and injection. His chapters about the way death smells and the hours of echoing screaming and sobbing during and following an execution were haunting and terrifying. Though I want to say that his messages of hope and love were just as affecting, even these things made me feel deeply angry. Hinton made it his daily goal to inspire kindness and empathy on death row and he found ways to meditate and escape his awful reality. These passages may have felt inspiring in a different story, but to know that Hinton's suffering was imposed upon him the way it was and for decades...and not just Hinton, but an unbelievable amount of men like him...these are the thoughts that came to me in the "happier" moments of this book.
I cant tell if it was Hinton's intention to have me feel this way. He certainly wants people to understand the full scope of what went on and anger is part of that. However, he is also deeply religious and part of his message in telling this story is one that all of this awfulness exists outside of God and that God will save us all. I can't say I agree with this or that it is particularly affecting to me, but everyone deserves these comforts, especially those damned on death row.

Before We Were Yours
by Lisa Wingate
6.5/10
This was a very moving story and damn near perfect summer reading. The prose was un-challenging, light, and vivid when it was comforting, lingering on the painful parts of the novel only for as long as necessary. This is not usually my cup of tea as I like to be forced to stay with my uncomfortable feelings a little longer, but Wingate makes an effort to shift focus and protagonists whenever a situation may be too intense for the easy reading atmosphere she seems to prefer.
I don't mean this in a derogatory way, but this is definitely "women's literature". Despite fairly disturbing subject matter, the general mood of the novel is one of romantic emotion and swells of sentimentality. It's odd, the child abuse and horror of the Children's Society, which at one point appeared to be the thesis of this novel based on true stories, takes a back seat to the family drama aspects more often than not. This isn't necessarily a criticism from me at all. The family drama was well done at least in the Rill chapters. However, this does seem like a story that could've packed a much bigger punch and been more psychologically engaging if it had tried to. I realise this probably wasn't the point, but I'd be lying if I said I couldn't have used more emphasis on Rill's story than Avery's.
Avery herself is fine, but the politics of her family and how Wingate directs us to feel toward them is wierd. On one hand, it does seem like Avery understands the toxicity of her rich and privileged family in the senate. On the other hand, while she may eventually find a way to step away from it (which does end up being sweet, endearing, and rewarding, for the record), she never really acknowledges what this privilege and worldview means on a broader scale. This is wierd, because the oppression Avery is subject to in her semi-arranged marriage and the oppression the Foss's and all of the children in the novel are subject to appear to be really significant and it wouldn't be hard to weave in a narrative which criticises rich people for buying pretty young children and working diligently to cover up the horrors of the Children's Society. I don't give a damn if 5% of the children there actually were orphans.
I guess it just feels like Wingate wanted to speak out about this history but not acknowledge any of the systemic power behind it. She really appears to believe that the interesting and affecting part of this whole thing involves people discovering long lost relatives, and not children being taken from their families because they can be used for profit.
I might be too hard on Wingate here.  Maybe her editors urged her not to get "too political" and thats why her "Notes from the author" at the end seem to tiptoe around the whole issue and why Avery's family is clearly said to be political and in the senate, and they may pressure Avery and be part of a family complicit in all this, but they aren't criticised at all.
There's something fishy going on there. I just know it.
But set all that aside, it was a good novel. The environment the story takes place in is rich, beautiful, and really engaging with the flashbacks and the way the mystery slowly folds all together without demanding much questioning from the reader was nice. It was a nice summer read and I see why it is well loved. I left this novel feeling warm and fuzzy and happy for everyone involved for their reunions and romances. I guess I just feel cheated out of a story and ending which at all acknowledges the long-withstanding trauma involved with watching your siblings be torn from you and die after being raped, or never seeing them again. I guess I'm just a little confused about how one character learns about this whole past and isn't at all critical of her parents for being complicit in a secret kidnapping simply because they have the money and power to make the crime dissapear.
That sounds crazy right?
I'm not being silly for thinking there's a big hole in the narrative right?
Yeah. Whatever. It was a good read if you turn a blind eye to all that exactly as the author or editor wanted. I've seen the other books Wingate writes and I'm inclined to believe its a bit of both. "Women's literature" as a genre does tend to do this thing. "The Help" is pretty infamous for it as well.

Movies/ TV

Eraserhead
Directed by: David Lynch
10/10
First off, I just want to know how men watched this (in the 70's, no less!) and then proceeded to be ok with jerking off, having sex with women, having babies, and hugging their mothers. This film may be the world's best contraception and there is, I'm gonna say, a *smidgen* of oedipal shit going on there too. A smidgen.
This is Lynch's first film and it is incredibly bold and ambitious. Can you imagine pitching this in the 70's? Ah, yes, for my first film I would like to have several scenes involving giant mutated sperm cells being thrown against walls, stepped on, and pulled from the worlds sweatiest and most upsetting bed. yes, there should be a pool of milk in the sex scene. No, I will not compromise on the alien baby vomit scene. But see...all of this typed out makes it seem like this must be a kind of shocking b-film or something, but it isn't. It is brilliant, deliberate, and evokes a hypnotic state I've yet to encounter in another film.
Many films that I would describe as "hypnotic" are also embracing a kind of logic-defying chaos and aren't trying to make sense or even to form cohesive ideas. I don't think this is a critique, as I have been known to love these kinds of film all the same. "House" is a good example of this. But Eraserhead is different. Eraserhead is very clearly exposing anxieties, fears, and the absurd horror of sexuality, conception of an infant, and parenthood. It pretty directly addresses the inconceivable madness of creating consciousness, a thing nobody understands and all of us are burdened with, and then being responsible for it for the rest of your life. This thing that you've created just by carelessly being intimate with a woman now represents you, carries with it your insecurities, and doesn't allow you the sleep and rest of solitude any more. Even sex, something this man clearly longs for but is also deeply anxious about and vulnerable in, has this foreboding and predatory quality that sends shivers down my spine. This whole experience watching Eraserhead reminded me of how it feels to be around day 3 of sleep deprivation. That surreal, vaguely confusing, deafeningly loud atmosphere is inescapable and I can only imagine this rings true for the sleep deprivation experienced by new parents as well. I have never envied new moms, and after seeing this I probably never will.
I also really liked the usage of black and white film here. I cannot imagine this done in colour and it would absolutely take away from the aesthetic and claustrophobia of the set in my opinion. All of the viscerally unnerving imagery is complimented by the shadowy and intense cinematography and also holy shit, Jack Nance's deeply concerned performance completely blew me away. There was not one second of this that I wasn't either in a trance, absolutely fascinated, deeply uncomfortable, or in a stressed awe. I just fucking loved this movie. I already want to watch it again just for another taste of that ovum lady tip-toeing and singing, stepping on sperm, embracing Henry.
Oh, and that baby. Those practical effects are incredible. I sincerely see no difference from that thing and a typical premature infant. They are the same. Both laugh at your demise and supposedly explode in to foamy vomit when punctured. This is known.

Howl's Moving Castle
Directed by: Hayao Miyazaki
8.5/10

For some context on my notes on the next three films, it is good to know that my husband and I decided to do a Miyazaki marathon one night. Both of us had only ever seen Spirited Away and had a great curiosity and respect for Miyazaki for different reasons. We had enjoyed video essays on Miyazaki's technique in animation and emotional storytelling, as well as his choice in sound design, soundtrack, and how he incorporates political messages in empowering ways in to children's films.
The reason we chose the three films that we did is because upon discussing this marathon idea with friends and doing a little research, it seemed like the best way to go about it was to pick films which represent each of his three "flavour palates" and to represent his earlier work ("Castle in the Sky") as well as his more polished later work ("Howls Moving Castle"). For lack of a better term, his dominant "flavours" appear to be; political, fantastical, and adventurous. We do intend to do another one in the future because we loved this one so much, though our next picks will likely lean more on the political and fantastical side as Castle in the Sky, while fun, wasn't as visually or intellectually as interesting to us as the other two.
Now, to "Howl's Moving Castle".
When this film had finished, I realised it was probably absolutely packed with metaphor and deeper meaning, but to be honest most of it must have gone over my head because I was too busy catching up and processing the continuously fascinating and visually rapturous concepts, character designs, and environments offering something new and exciting every 5 minutes. Despite the enormous amount of changing environments and other fantastical elements, as a whole the world building is still really pleasantly cohesive and nothing ever feels "out of place". Everything about this film is really elegant in it's presentation and balancing of conflicting atmospheres and tones. It's strange that my experience and memory of this movie is so peaceful and comforting because so much of it is violent and action packed, but I suppose this is part of Miyazaki's greatest strengths as a filmmaker. The childlike wonder we experienced watching this movie was never achieved through anything "childish", but instead Miyazaki manages to touch on some ethereal consciousness on what it means and feels like to be in awe and swept up in imagination. It is truly incredible and one of the most stunning imaginative pieces of art I have ever seen.
There are so many parts of this movie that stick out and I will never forget, much like Spirited Away. Not the least of which are the endlessly fascinating and colourful environments in the moving castle and royal city in particular (as well as the nature scenes which made me incredibly homesick for the mountains I'm usually hiking in around this time. Damn legally enforced isolation). Though simple, the hopping scarecrow also inspired a delight in me I can't fully explain, in kind of the same way the rasping lizard dog did. Honestly, pretty much everything sans the protagonist completely blew me away. I love that no structure exists without some fascinating mechanism behind it, no fantastical character without a colourful mechanic, no environment without small yet utterly transfixing touches that all work together to sweep you up in this constant state of awe.
My only real complaint in this film is that the conclusion, to me, dragged on quite a bit and didn't make much sense. The protagonist wasn't particularly engaging to me either, but at the end of the day, who cares? More than a movie with a plot and emotionally engaging characters, to me "Howl's Moving Castle" was more of a gorgeous spectacle. I'm sure many would disagree, and upon a second viewing maybe I would too. I can tell there is something behind this film which speaks to the injustices of war, the isolation of vanity, and the role of women in WW1 Japan. I'm sure these topics are explored in really interesting ways, but I was honestly just too distracted by everything my eyes were seeing, and that is the farthest thing from an issue in this case.

Princess Mononoke
Directed by: Hayao Miyazaki
9/10
At this point, it became clear that Miyazaki has a serious fetish for black goop. This is the third consecutive film of his that we have seen which heavily features black goop monsters. Also, full disclosure, my CBD oil high had peaked early in to this movie and some of the concepts and moving pieces definitely went right over my head. My husband could probably have written a better piece on this last night, but here we are.
While I know I enjoyed "Howl" more, I absolutely know that sober Megan would have preferred Princess Mononoke and I am confident that this is the "better" film in terms of layered meaning and execution. Many ideas in "Howl" appear to be somewhat half-baked and the conclusion kind of comes out of nowhere, but in contrast "Mononoke" is a meticulously plotted out film that is a lot more severe, deliberate, and contemplative in nature.
Basically, the conclusion we came to is that this film is "Avatar" but not for brainlets. It is Avatar if "Avatar" had any nuance at all and if it explored the complex ethics and realities behind the topics it barely touches on. Also, "Mononoke" manages to be beautiful and age like a fine wine, while "Avatar" looks pretty good until generic military bullshit comes in. Even the military in "Mononoke" have a distinct and contrasting aesthetic from the various other parties at play (nature, Iron City, and the Samurai) which I thought was very cool At first, "Mononoke" did seem like it was gonna be a little heavy handed, but it skilfully avoids this. "Mononoke" is an incredibly mature, layered, and unique approach to the subjects of war, exploitation of both nature and the working class, environmentalism & sustainability, global warming & band-aid solutions, and pacifism vs revolutionary politics. I need to view it another time to get a full appreciation for this movie but even from a surface glance this film is artistically and philisophically brilliant. One little thing I did notice which made me feel like a big-brained smarty-pants was that the perspectives of the animals mirror how they would later be involved with humans. Wolves get domesticated and appear to be more willing to trust people and boars will get exploited and thus are very distrustful and get corrupted/ tricked much easier. I love many things about this film, not the least of which the fact that humans aren't clear-cut as "evil" like most stories of this type will do. Instead, humans represent a broad spectrum of approaches here ranging from the short-sighted  and exploited working class, ruthless army generals, native inhabitants, and the sly buisnessmen type that baited me so hard for at least a third of the film.
Even the protagonist is interesting, despite him and all of Miyazaki's protagonists suffering from a critical case of "same-face". As a sidenote, it's funny to me that his character designs for everyone and everything else are complex and insanely interesting, and yet his protagonists all look identical to the male and female protagonists in his other films. It's a bummer for sure but not so much that I really hold it against him.
This movie is also shockingly gory and has this wonderfully creepy vibe that is super effective in carrying that foreboding and tense atmosphere throughout. I just love asian-style demons. They are so much more interesting and varied than Christianised demons who are just edgy and badass. Give me my black goop demons and ultra-creepy forest spirits! I will take them over winged gargoyles any day!

Castle in the Sky
Directed by: Hayao Miyazaki
7/10
This one definitely had my favourite protagonist. The plucky blue collar orphan child with big dreams is a formula that works and I love his scrappy charm!
"Castle in the Sky" was a real change of pace from the other two, and I'm glad we saved it for last as it was like 11pm by the time we started this one and I think we needed something a little more action packed and silly. "Castle" is a lot funnier than the other two that night and you can tell that it was Miyazaki's first- he hadn't yet achieved the careless elegance that he would later develop in to his films, so there are bits of this movie that feel tonally strange. For one thing, while it is clearly a cartoonish children's film, the body count is massive (Literally every single member of the military dies. Very based). The violence toward the children is also kind of shocking at first when they straight up pistol whip the 10 year old protagonist and shit, but later on it becomes unintentionally hilarious. Overall it is a pretty enjoyable experience to watch this and once again the soundtrack in it's sweeping and emotional grandeur really hits the spot. Though this was easily my least favourite, I was still super impressed with the beautiful animation and general playful attitude of this film. One thing I love about Miyazaki is that his films are often playful but again, rarely feel immature.
The design of the various flying machines and the way speed, lightning, and wind were translated in to animation in "Castle in the Sky" was absolutely phenomenal. I can absolutely see why this is deemed a classic and I have vague childhood memories of seeing this film but being too frightened to ever watch it again. It probably had something to do with the constant vertigo I feel watching hundreds of people fall from outrageous heights and possibly fear of the villain/s constantly trying to shoot children lol.

The Wolverine
Directed by: James Mangold
8.5/10
I was pleasantly surprised with how much I enjoyed this smaller scale and more personal XMEN story, considering I was not particularly engaged with the main plot. It was interesting to see the proof of concept that is showing Logan's various conflicts bound to happen outside of his involvement in the XMEN though. Logan's blunt affect on such a serious and dramatic story line was both interesting to watch and lent a lot of depth to the character. I can definitely see how this evolved in to Mangold's "Logan" released in 2017. Marvel never really took the time to tap in to Logan's real potential, and that is the fact that while he may be immortal, he still absolutely feels pain. While he may be immortal and grows more and more nihilistic, he feels compelled to be a soldier for the people who need him. Consequently, the trauma from his experiences keeps him from ever sticking to one place too long. We always find him retreating back to the rough and hostile environments of Northern Alberta and North Carolina.
The biggest strengths of this film come from it's visual aesthetic and parallels that can be drawn with Logan in Japan. The isolation and chaos Logan is shown to experience in Japan are polarising and force him to confront himself and his trauma in interesting ways. The fight choreography in this film is incredible too and I think matching Logan up with a samurai is interesting for a couple reasons:
   1. Opposite fighting techniques. While samurais are silent, deliberate, sneaky, and tricky, Logan is brutal, forceful, and powerful.
   2. The samurai is the better fighter, more invested in the fight, and should by all accounts win. Both him and Logan come to the realisation that Logan has an unfair advantage and that he isn't as noble as others may like to believe
   3. Aesthetically, they couldn't be more different.
   4. The samurai environment lends a great noir aesthetic and lighting to the background.
Also, samurai Iron-man suit was pretty awesome. I cannot deny this. This is objective fact.

The Fountain
Directed by: Darren Aronofsky
7/10
I recognise that this is a messy film. It is a highly cerebral slow burn but there are scenes, particularly those representing Izzy's novel, which kind of break the flow and are a bit repetitive. There are flaws in this film. But nonetheless, it is one of my favourites. Every time I show this film to someone new I realise that there are flaws, but it has such a firm place in my heart and I love running my brain tongue through it and so I can hardly give a real unbiased take on this thing.
I adore all of the imagery, metaphor, and repeating imagery-motif and I am blown away each time by the concluding bits to the current, future, and storybook plotlines. I consider it to be breathlessly beautiful and Hugh Jackman's adapting to such a wide breadth of emotional spectrum in this film leaves me in awe. This hits me different every time I see it over the last 8 or so years that I've known of it. I take something new from it each time, but it's poignant in just the right spot regardless of my new understanding of it. I go in knowing how the bathtub scene will make me feel, knowing how I'm going to get completely wrecked by Hugh turning over in bed and crying, prepared for that tightness in my chest I feel at his angry and brutal struggle. I know what I should expect to feel at the various revelations with Conquistador Hugh, Buddha Hugh, and Jesus Hugh, and it hits the spot every time.
At this point, this film is less of a film to me and more of an experience I know too well. I can relate intimately to the manic stubbornness of Hugh with a sick wife, trying desperately to have some agency over the situation but being denied it at every turn. I love that while Izzy may be the one that seems like she is in the know of all this, like she is the enlightened one, she cannot make it to Shebalba on her own. You cannot get there with simple acceptance. You have to work at it, you have to make the conscious choice to let go, and when they say that they will "be with each other forever" up there, what that really means is that they will exit the never ending cycles of death and rebirth and be nowhere together forever. There is no more clinging.
I'm obviously big on the spiritual implications of the conclusion, but even set that aside I consider it to be a pretty profound portrayal of the stages of grief. Even the storybook section shows a character who fights endlessly to meet his goal, only to be completely dumbfounded by death. He never gets the glory he expected, but instead is torn kicking and screaming from death, desperately tearing at the earth trying to take him back.
Yeah I just fucking love it. I recognise it's flaws, and they do not matter to me. The soundtrack makes me believe in a God, the emotional beats validate my own, and the concluding spiritual aspects are deeply moving to me. I will probably always love The Fountain. It's just how it is.

Rubber
Directed by: Quentin Dupieux
6.5/10
Rubber is great, but I gotta say the second viewing didn't hold up for me. I still love it and I still want everyone on Earth to see it. It was still funny, absurd, and conceptually ambitious. I love it when it is meta and I love it when it is unapologetic and silly. However, I'd be lying if I said I didn't get a little bored this time around. I think it's a fun concept to do what this film does- critique the experience and strange position the viewer is in while watching a film, the strange power and lack of power a film critic has, and the absurdity of filming anything at all. The way this movie approaches it's meta comments is pretty inspired and some of the humour really holds up. I guess what bored me wasn't any of these things. I suppose what doesn't hold up on a second viewing for me has nothing to do with the smart parts of Rubber (the meta aspects and humour) and more to do with the things I found entertaining at first. The actual journey of the tire is probably what held up the least for me.
Still, a confidently unique and interesting film and I will support the shit out of it until the day I die. I would love nothing more than to see this in theaters and/or get a signed copy. In concept, it is one of the best films I've ever seen.
Fun fact: this film has a 69% on Rotten Tomatoes. Nice.

Dark (seasons 1-3)
Directed by: Baron Odar
10/10
"Dark" is probably the only time travel show I could ever say is logically perfect. I've been watching this and following the community online for 3 years and to my knowledge not one plot hole or unanswered question has been found. I don't necessarily think plot holes and vagueness are indicative of quality (like, not at all. I frequently love vagueness in stories of this nature) but nonetheless it is impressive. I think it's incredible that you can approach this series with endless notes, red string, family trees, and line graphs and have every single piece of it add up in the end. There are infinite levels of complexity to this series and a not insignificant chunk of it can only be fully understood by following up and researching quantum physics terms brought up here and there. If any series warrants a rewatch, it is "Dark".
Though deeply cerebral (and certainly this is the subject of most of its critical acclaim) for me it was discovering and understanding the many motivations behind each action and response from the characters, of which there are hundreds to note across at least a dozen characters each with 2-7 different "versions" of themselves across time and the partner universe. Every motivation adds up and nothing seems like it is just there for drama or convenience. In fact, quite the opposite- motivations are anything but convenient here. What may seem perplexing or horrifying at first becomes more and more clear after other perspectives are shown and the grander scheme of alliances are revealed.
This series is deeply German in its nihilism and embracing of the void. I was completely floored by the finale in particular which is all at once bold and serenely balanced. The philosophy behind "Dark" is very much unappologetically faithless despite brilliant religious allusion. Though this show is moved with a lot of love and empathetic force in its characters, thematically it never steps fully in to the light. Even in the best case scenario, these people cannot help but be desperately lost and haunted by feelings of deja vu. Tragedy in "Dark" has more layers, more dread and more punch than any other series I can think of. We often see tragedies from different perspectives and only after examining it from every angle do we realise how futile our free will is in this knot of a world.
Despite the intricacies and genius of this thing, it is not without its simple and profound moments and ideas. Over and over I found myself stolen away from the wide breadth of mystery and outrageously huge scope of everything going on and suddenly focused on one single perspective. I would get haunted by how isolating and strange it must be to watch your son grow up to be your childhood friend, or to watch your neighbour's child grow up to be you. How awful must it be to be stuck in 1834 with no means of getting home and understanding you must create the very thing your family has been abused by for centuries. A mother and daughter who have infinitely been raised and stolen from each other. Adam and Eva both endlessly trying to escape the knot, and a third party working endlessly to lead people down paths to preserve it.
While the critical appeal of Dark may be its cerebral and technically brilliant aspects, there is a lot of heart and soul in this series and this is what shall stick with me forever.
Finally, I feel that it is equally incredibly eery and kind of hilarious that season 1 of Dark, 2 years ago, had this ongoing narrative about the apocalypse occurring in 2020 (June 27th to be exact. The day season 3 premiered) and here we are, in 2020, certainly in an apocalypse.


Xmen: First Class
Directed by: Matthew Vaughn
8/10
The casting for this instalment in the franchise is phenomenal. Every character not only captures perfectly how the younger versions of themselves would be, but also achieves a chemistry between them that far surpasses what the first trilogy had. On top of that, "First Class" is a good deal more visually interesting, exciting, and ambitious (the creativity behind Magneto's use of his powers was particularly amplified) and wastes no time in getting political. The historical revisionism aspect of this film (and Future Past) is really, really interesting and I feel like the risk taken in all this more than pays off. The politics in the future (original trilogy) are contextualised so much better and more naturally when you get a glimpse in to the huge influence mutants and mutant rights has already had in the past.
The central conflict between Magneto and Xavier, as well as their friendship and common ground is done exquisitely well in "First Class". Not only is Magneto made even more objectively correct in most cases, but also continues to be more and more sympathetic. His rapport with Xavier is made all the more genuine (not to mention the spectacular power of Michael Fassbender behind all this. One of the greatest performers of our time, in my opinion) as we see them navigate the realisation on both their ends that every mutant is going to have to make a choice in the ideologies they've built together.
Now, typically I am just about 100% on team Magneto, but I really appreciate the complexity behind what is ultimately the driving wedge between Xavier and Magneto's relationship and goals here on out. While Magneto is correct in his interpretation of injustice and conflict, Xavier cannot condone giving up on the human race and murdering "men who are just following orders". Elaborating on Magneto's past with the Holocaust makes his emotional statement about the legitimacy behind the forgiveness of men following orders a really powerful and uncomfortable one. OG Magneto's ideology requires less sacrifice of belief in the moral complexities of power and I think backing all of this with what is shown in "First Class" is an objective step forward not only in character development but in the overall philosophy of the franchise. Mystique and Beast are also given a satisfying backstory and I really dig that as well.
The overall aesthetic and soundtrack of this movie is also groovy as fuck. I realise "Future Past" is pretty much marketed on "groovyness" but this one feels so much more...naturally groovy? Organically groovy? I've reached my quota with that words so I hope my point has come across by now. Whatever it is that makes this film so...lets say psychedelically and aesthetically cozy...is awesome and I love it. I mean, the jackets alone are worth the price of admission. There be some fine men's jackets in this film and I am not sorry for appreciating.
It isn't perfect though. The villains in this one are very forgettable and boring, even if one of them is January Jones. They're honestly just so meh not only individually but as a group. What do we have here...ah yes. Explodey man, tornado dude, and extremely cheesy devil man who is essentially a less interesting version of Nightcrawler. Cool. Oh, and diamond lady who is hot and all but still pretty uninteresting. Later they gain Angel who is fine, I guess. But none of these people have any chemistry like those on the other side, not even close.
At the end of the day though, I pretty much don't care about the mediocre villains. So much of this film is iconic (that submarine scene, the German beer scene, and Beast turning blue in particular) and I consider it a great leap of faith in the franchise.

Nausicaa of the Valley of the Wind
Directed by: Hayao Miyazaki 
4.5/10
We were kind of surprised with how unimpressed we were with this one. With an outrageously 80's soundtrack and fantastic creature design (and even the occasional interesting environmental design) we believe this would've made a really interesting Heavy Metal short. Perhaps we have been spoiled by Mononoke and Spirited Away, but this was a real disappointment for us. Stylistically some bits are cool but they stand in stark and kind of embarrassing contrast to the rest of the film. The bugs, ships, and jungle look cool and everything else looks pretty boring. The plot, dialogue, and action is also unremarkable and the sheer intensity of Mary Sue going on with the protagonist and her fucking glider became unintentionally laughable near the end.
It's just a slow, uninteresting, overly simple film with a handful of cool bugs. That's all it is.

Grave of the Fireflies
Directed by: Hayao Miyazaki
10/10
I needed to take a few days rest before I wrote about this. I knew pretty much right away that this is one of the best, if not the best, movies strictly about war I have ever seen. After seeing this I was awake all night going over it again and again in my head. I felt stressed long after I'd finished crying. This film ends giving you absolutely no comfort or resolution. Nothing is fair and nothing means anything. I'm reasonably certain it triggered my PTSD a bit, but that's ok. It is necessary sometimes to be triggered, uncomfortable, upset, and afraid. I have never lived through a war. I have read headlines about our sending troops off to Afghanistan, I was technically alive and cognisant when 9/11 happened, and I have occasionally seen the effects of war and disaster in my travels. However, my understanding that war has happened or is happening somewhere else still leaves me with a distinctly detached experience with it. War happens to the world. It hasn't happened to mine.
I swear to god, "Grave of the Fireflies" has the ability to take you to war for a while. The bleak urgency of the whole ordeal is captured in all ways from every perspective. We know within minutes of the film opening that the protagonist dies alone, and so in the back of our minds we have to know that neither of them survives. With this implicit knowledge, we should feel numb with all that occurs. We should feel a deep sense of foreboding.
But...I didn't. Not always. Sometimes Seita would sooth and trick me, too, in to feeling brief joy at the beach. Despite everything, I could not be numb to the cruelties shown to us. Miyazaki manages to frame this very personal tragedy in such a way that shows us the broader picture without ever taking our focus away. When Setsuko finds a dead body on the beach we are told to look away, don't mind that. That is another tragedy but we won't survive if we consider this too long. People are selfish and violent to Seita & Setsuko but we are reminded that they, too, are trying to survive the war. They don't need to be hoarding their food, they shouldn't be, but the judgement isn't placed on him so much as the focus is put on the stress and despair Seita faces in caring for his sister.
There is a moment in this film where something is revealed and if you have a soul, it will instantly clench up and you will think to yourself "oh no. That's it.". When this moment happened, I was instantly taken back to the moment I realised my cat's tumours had grown back and she wasn't just having an "off day". I remember that supernaturally calm sensation that happens before the panic, that thought of "This is it". You can know and you can understand when hope is lost, but it cannot save you from the moment it dies. Seita perseveres. He never "gives up" and it is never, ever, not even for a moment fair. He must have also realised the heaviness of that moment when all of his work would be futile, but it doesn't matter. You keep going.
I'm getting PTSD shakes just writing about it. And still, one day I want to watch this film again. It is so tenderly sad, so exact in its focus and framing, so unbelievably soul-breaking and yet breathlessly beautiful. It has been many days and I'm still thinking about it all the time. I'm still thinking about the string of events, of helplessly bad decisions, scenes of pure childhood innocence even when it has no right to be there. I'm still thinking about it and I'm still hurting from it.
I cannot overstate how brutally sad this film is. It should make you angry too, but this too will be overshadowed by your grief. I don't know whether I want my friends to see it or whether I would rather shield them from this pain. It is awful. But the film is brilliant.

Days of Future Past
Directed by: Bryan Singer
7/10
Future Past is good fun but it may be my least favourite of the series (we aren't watching Apocalypse or the shitty Wolverine film, and we watched Logan earlier this year). It's not that it is bad at all, but there is a lot more plot armour and "because plot" going on in this one. It's definitely the most "Marvel" feeling of the series, but that being said at least it does still have a good deal of perma-death and it has the balls to continue its historical revisionism.
lets be clear. The historical revisionism is still awesome. I fondly remember being in the theatre when they reveal that
1. Magneto curved the JFK bullet
and
2. JFK WAS ONE OF US
I'll never stop laughing at that. I don't laugh because it is bad, but because it is so delightfully absurd. Xavier's reaction is as if he had been obsessing over it this whole time and is just now thinking to himself "ah yes, why didn't I consider that JFK was a mutant!? How silly of me". I just love this so much. I love that the American government legitimately treats Magneto as a weapon. I love that in this alternative America, the conspiracy theories surrounding JFK just don't exist because they have the dude in jail for killing him already AND HE HAS SUPERPOWERS. Its just all awesome.
You know who else is awesome? Quicksilver. Quicksilver is phenomenal. Every moment with him on screen is a delight and I would happily watch an entire film of his antics. When I think about this film, the parts that stick with me the most are the Quicksilver parts, Magneto being extra carrying that football stadium with him, Magneto being angry on the plane, and Xavier's sad and affecting character development. I love all of these parts. I truly think Xavier's character development in this one rivals Logan's in "Logan".
Ultimately though, it's the weakest of the series for me. It isn't as iconic as I remembered it being and Peter Dinklage kind of just sucks in this too, which is a bummer.

Life 2.0
Directed by: Jason Spingarn-Koff
7.5/10
It's a 10 in my heart, but I can't in good conscious give something so unintentionally hilarious and with such absurd tonal dissonance a higher rating. I have seen this film probably 4 or 5 times now and I unironically love it. I love to show it to people the moment Second Life enters a conversation. I like to watch them believe they have some grasp on Second Life's reality and then be slowly more and more lost.
The wildest thing about all of this is that it was made in 2010. Second Life has changed since then. On one hand, it's supposedly a mostly dead community now, but on the other hand the people that do remain on Second Life are super intense about it. Gone are the days when people flew around on dragons and did all sorts of wild shit there, now you can wander the abandoned wreckage of a dying virtual landscape and occasionally find groups of die-hard super fucking weird people doing god knows what.
The sex stuff is weird and hilarious and a little uncomfortable. The grown men playing as 8 year old girls is uncomfortable and weird. The small girls suicide bombing is kind of hilarious. But all of the things introduced in this documentary come off as more surreal than anything, and that's coming from a 2020 perspective where online dating and virtual worlds are pretty normal. Second Life is something you could study for a lifetime and never know how to digest. One can only imagine how many lawyers got involved with Second Life. The funniest part of the documentary is definitely the segments involving the lawyer. I just want to see him explaining "Cum-fuk-me boots" on repeat.
One little thing I adore about this documentary is that the biggest piece of shit, by a country mile, is the dude from Calgary. Never has a more perfect representation of Alberta be put to film. Bless him, the worlds biggest bitch.


Guns Akimbo
Directed by: Jason Lei Howden
6.5/10
"This is the cinematic equivalent of a deep fried snickers bar"
- my husband

He is correct. This movie has wild cocaine energy, trashy punk-ass colourful comic book aesthetic, and an unintentionally hilarious soundtrack that is going to age like milk.
I found the narration to be pretty cringe and everything involving internet trolling/ hacking to be pretty obnoxiously out of touch, but everything else was very fun...but in the way black tar heroin injected in to the skull could be fun.
I can't stand American Daniel Radcliffe. His American accent isn't bad at all, in fact my issue with it is that it's too technically perfect. It is too "clean" and sounds like someone has trained their whole life in sounding "normal American". I mean, maybe that's the case. Nothing against Daniel Radcliffe as I genuinely enjoy his work. I love that he appears to exclusively accept roles that are bizarre and involve him mutilating some part of his body. I just can't stand the voice. I didn't like it in "Horns" or "The F Word" either, even if "The F Word" is a favourite of mine.
Guns Akimbo is like if "Sorry to Bother You" was "Crank".
I recommend this to anyone looking to have fun and watch a dude scramble around American City in a bathrobe and tiger slippers with guns surgically attached to his hands. If that premise sells you, you'll love it. And if you love Samara Weaving with a mini-gun, you'll really love it! We had a lot of fun with it. I just about threw up watching Radcliffe eat an old hot dog off the ground next to a used condom (without using his hands, of course).

Zodiac
Directed by: David Fincher
8/10

Jake Gyllenhal, transcendent as always, seems so effortlessly vulnerable in this great thriller. I think I went in to this the best way you could- knowing next to nothing about the legend of the Zodiac killer. While I do believe that true crime and serial killers as a fad don't particularly interest me, what makes this film and maybe this story special is the psychological weight behind the mystery and investigation. The crimes are not particularly interesting and the killer is (probably?) not charismatic or prepared with any stand-out philosophy. The method of communication between the Zodiac killer, the investigation team, and the general public is interesting to consider in sort of a broader lens, but I think it's wise of this film to hone it's focus almost completely on it's 3 main characters and how their lives are involved in all of this which suits Fincher's style really well.
I've always respected Fincher's aesthetic which is sharp and stylish in its framing but always pointed directly at naturally human images and sentiments. I found the portrayal of "every day horror" to be really immersive and effective. All of the attacks shown happened after a short establishing scene of the victim going through the regular life happening before the encounter. The brutal violence is shown but never "squinted at" if that translates at all to what I felt.
Overall it's just a great mystery thriller and I like that it leaves with a sense of resolution for the characters and their respective arcs, even if the mystery never really gets solved. I like being left in a place that is not unlike the place "The Crying of Lot 49" leaves you, but without the cold and unsatisfying feeling that you've been cut short or left out.
It also gave me big nostalgia for L.A Noir which, though not a perfect game by any stretch and the third act is an absolute mess, was one of the more engaging story-driven open world games of my life. Zodiac's third act is not a mess at all though. The whole thing is really well paced and held together with consistently compelling drama, mystery, and unfolding answers just out of reach.

Superman
Directed by: Richard Donner
8.5/10
This movie fucks and here's why:
1. The opening sequence (including the credits) and the entire first act, really, is spectacularly exciting and completely committed to establishing it's world. I had been hyped for this and was reaching a pleasant peak in a marijuana high at this point, but in any situation I can say that the first 20 minutes of this film would give anyone serious chills. It is exciting, compelling, aesthetic, and the absolutely roaring soundtrack is unbelievably immersive.
2. Marlin Brando is in it for like 10 minutes but is stunning as always. God I hate that man. Fuck him for being so chaotically talented.
3. The sets and models used in the first act hold up incredibly well and captured my imagination such that I felt legitimate awe even during, possibly even especially during, the ultimate destruction of Krypton. F. That scene is really fucked up.
4. Have you seen Christopher Reeve
5. Lex Luther's secretary has outrageous boob
6. There are a handful of scenes that are really unappologetically horny. Louis Lane asking Kent how big he is-ah, sorry, how "tall he is" has palatable sexual tension.
7. it is acknowledged that Clark Kent is definitely looking at women's underwear all the time
8. The flying sequence may have old effects and all, but it is legitimate movie magic.
9. UH Superman deadass just fills a tectonic plate rift with lava rocks and then moments later flies around the Earth fast enough that time goes backwards??? Because that's what happens when the rotation of the Earth changes??? Listen, I don't care. Fucking awesome.
Un-ironically though, this is an incredible film. It couldn't be further from my cup of tea on paper, but on the screen it is a magical experience. I also can't help but feel a rare and unexpected warmth and sentimental pride seeing all of the scenes filmed in very recognisable Southern Alberta. Films have been made here before, but none that I can think of have captured that austere beauty of the prairies (and the Rockies, though many films have done that well) and given it real character. I felt genuinely moved by it especially when backed by the grandiose soundtrack. It's just a great summer flick. Fuck. Who would have guessed it- me shilling for a Superman flick.
Now I seen it all!

Goodfellas
Directed by: Martin Scorsese
9/10
Even though this stars Ray Liotta, that piece of shit, I loved this flick. Even if I had to look at Ray Liotta's wax figurine face and watch his Lizardman peaking out barely concealed with all that fake laughter, I cannot deny my huge fondness for this film.
Its no secret I'm a sucker for memoirs and I love that this film is structured a lot like one. The narration is excellent and lends a warmth and sentimentality to something that might otherwise seem a little presumptuous and messy. Though it is spectacularly paced, genuinely one of the best paced films I can think of actually, even if nothing were happening the narration alone would be able to carry the emotive story forward. Honestly, I don't know why more book adaptations don't do this. What makes books so appealing is often the voice of the narrator and a lot of that gets lost when film adaptations take a third person view. I'm sure it has something to do with the fact that everything after "Goodfellas" that would do this would be mocked endlessly for being a "Goodfellas" rip-off, but still! It can't just be this, "Wolf of Wall Street", and "Blow"! It can be done well. I want to see more movies like this.
This was one of the most entertaining film experiences of the month for me and is also oddly "cozy" despite all of the violence. Maybe it's because a significant section of the film romanticises something that I've wished for my whole life- not to be in the mob, but to be in a close knit community like this. It's amazing how emotionally involved I can feel to these people while also laughing and cringing at their outrageous lifestyle and really not at all envying the constant yelling and marital drama going on.
Finally, I love the sentiment the film has going for it which expresses a kind of "you get what you give" kind of attitude. I love a story that takes place over a lifetime, but not "Forest Gump". I probably saw "Forest Gump" like 15 times in 5 years at one point. Everyone on Earth had a hard-on for that flick and it's fine, it's good, sure it's good the first couple times. But now I can't stand it. Sorry.

Blade
Directed by: Stephen Norrington
6/10
I suppose this is awesome the way only things from the 90's really could be- totally confident, always genuine, and Wesley Snipes. This is one of those super trashy and sexually frustrated vampire movies not unlike Underworld, but I prefer Underworld to be honest. I think my issue with "Blade" is that I found the aesthetic and environments pretty uninteresting and I'm super done with the cliche stoic and edgy atmosphere/script/mythos these kinds of things do.
Wesley Snipes is awesome. I liked watching him fuck vampires up and I love the whole thing where they get all gross and bloated and blow up, or alternatively completely dissolve in to a skeleton. I liked the train sequence too.
However, mostly I found myself surprisingly bored. I was entertained by the badboi vampire in a shitposty kind of way and I'm deeply confused and wierded out by the Oedipal shit going on, but mostly I felt pretty "meh" about "Blade". I realise this is a controversial and criminal opinion. Sorry bruh. I think you need the Y chromosome and to be hornier than I to get the most out of this film.

Honey Boy
Directed by: Alma Har'el
10/10
I'm going to write a big thing about this so I'll keep it brief here.
Shia Labeouf has made an outstandingly vulnerable piece about his childhood trauma living with his dad while filming "Even Stevens". It is raw, empowering, and features some of the best performances I've seen this year since "Thunder Road". Shia playing his own father is something so brave and cathartic, I can't help but live in awe of him and this choice. This is something all children of abuse and adults with PTSD can only aspire to. Even given the resources, not everyone has the guts to do what Shia has done here. Lucas Hedges is also terrifyingly good which I've come to expect of him now. I've said it before and I'll say it again- he is the most interesting and talented young actor in Hollywood right now. Full stop.
Noah Jupe plays Shia as a child and gets everything right. The vulnerability, sensitivity, and fear this kid brings to the screen blew me away. I was brought to tears and chest pains several times.
I stayed up all night thinking, writing, agonising about this ethereal biopic. Just when I thought I'd processed my childhood, "Honey Boy" pulls me right back in. I would resent it for this if it wasn't so cathartic for me, as well.

Tread
Directed by: Paul Solet
5/10
This was a let-down.
I suppose I kind of assumed this documentary would focus more on Marv and be more interesting. Killdozer is an absolute giant of a folk legend and not once was this mentioned. There was very little shown or discussed about how the killdozer was built or what people may have discovered about it while tearing it apart. There was very little conflicts in opinion or information either- this documentary takes the firm stance that Marv was insane and the town did nothing wrong.
Now, I'm not necessarily opposed to having this view-point displayed. Though, according to the internet, this documentary is missing a lot of critical information about just how much Marv was screwed over and how he may have actually been reasonable at first, to be honest I am kind of privy to believe its a little of both. I truly believe that the town was unreasonable with Marv, but I also think its pretty indisputable that isolation and mental illness played a part in his perception of everything. The mental illness angle was sadly barely explored at all, but the glimpses we did get of Marv's madness were really compelling.
The footage of the killdozer destroying the town was cool but it lacked any emotional catharsis because to be honest, the documentary is shockingly boring. considering the fact that it is considered one of the best revenge stories of all time, you'd think you'd have felt more of that in the film. The strangest thing is that it ends with a sentence which says this small town drama became national news, but then doesn't examine the rest of the world's perspective on all this or the internet's position. I think it would have been interesting to show the viewpoints of both the small town counsel and all that as well as the people that firmly believe Marv was completely in the right.
It comes across as a really boring documentary that feels kind of like an extended version of Mike Birbiglia's bit about the car accident, except with no meaningful resolution.
Did the small town "learn their lesson"? Lets not examine that. Was Marv's isolation, depression, and mental state affecting at all of his version of the truth? What is the actual truth? Why is so much left out of this documentary? It is established that everyone was aware that Marv was going insane and was living in an unheated storage facility. Why didn't anyone offer help? Did he reject help?
Why are these questions never addressed?

The Godfather
Directed by: Frances Ford Coppola
8/10

I didn't love this movie like I thought I would, but I can still see why it is so influential and considered a classic. I can't imagine watching two more of these, presumably without the enigmatic Marlin Brando, but I did enjoy watching "The Godfather" and realising just how far removed my father's quoting this movie had come from the source material. Honestly, I think I prefer my dad's rendition of most of it though, and it goes without saying that having knowledge of the sandwich just out of frame in the "look how they've massacred my boy" scene certainly added something.
This film has a spectacular opening. Right away we are treated to a feast for the senses and are shown the kind of social and environmental setting of the film. There is so much feeling, atmosphere, intrigue, and music going on that really elevates the opening sequence above all others.
I really appreciate the way Marlin Brando was able to create such a memorable and distinct character pretty much exclusively in gestures. It was a really skilled and impressive performance because while he may have had like 20 lines of dialogue total, he carries so much emotion and intent just in his body language, facial expressions, and hand gestures. The mad genius of Marlin Brando is endlessly fascinating.
This film is also very, very Italian. I did not expect so much Italian. I suppose I imagined it would be about as Italian as "The Sopranos" or "Goodfellas", but I love that it surprised me with how authentically Italian it was. I loved seeing the way Italy and Italian culture is actually involved in everything and I think this compliments the emphasis on intimacy throughout the film. I don't know that I agree with it needing to be as long as it was, as there were definitely bits that felt like the same thing that was done 30 minutes ago but done again, but I will say spending such a long time with these characters and framed the way Coppola does gives you a really pleasing full picture of the family and the complex roles they all play.
Overall, this is an interesting allegory on the fragility of vengeance, the nature of duty, and the cultural implications of Catholicism and Italian culture on traditional organised violence and family values. Michael's transition is interesting to watch and emotionally affecting at times too, but like I said I genuinely can't imagine watching part two or three without Marlin Brando.

Video Games

Some Distant Memory
Developed by: Galvanic Games
8.5/10
I loved this moody story-driven exploration game. It's definitely not fast paced and I don't know that I could've done it in one sitting, even if it was a very short game, just because you need to be in the right mood to get really engaged with it. It was a great game to settle down right before bed with.
You can tell this game was made with a lot of love and affection. Not only is the story one which touches on a lot of empathetic and loving themes, but the overall feel of the beautiful hand-drawn art style and sound editing which creates this uniquely warm and melancholic atmosphere. While I wasn't always super invested in the house stuff, I adore the ongoing examination and narrative around post-apocalyptic humanity. Hopelessness is balanced really well with an enduring feeling of moving forward with compassion and communal innovation. There's just a lot to love about this little beam of soft, dusty, light in the indie gaming landscape.
Now, it isn't perfect. Some of the humour definitely misses and tries too hard to make funny references, but even at the worst of times it's always cute and feels organic. It is also, as I mentioned, very slow paced. This isn't a riveting story but the mood it evokes is genuinely enchanting.
I don't think everyone would enjoy this, even if they do like story-driven games in this genre. To me, though, something about the last of humanity exploring a sunken home for keys to understanding their past hits in all the right places.

Battle for Bikini Bottom- Rehydrated
Developed by: Purple Lamp Studios
7.5/10
This was a nostalgia thing for me, but I stand by it.
Yes, it is clunky and awkward much of the time.
Yes, Spongebob is annoying.
Yes, there are a couple bits that are just bullshit.
But it is super fun and unlike any other 3D platformer of my youth. There are levels where you are surfing off an elongated America flag through the idea of Texas, lassoing over piles of manure and through cow skulls. Every world has a distinct aesthetic and challenge to it and the soundtrack is rad as hell. The humour in this game will either get you or it wont, but for me it hits. Entering Patrick's dream to learn that his mind is completely and totally empty always got a laugh out of me and I will always love the modern art museum in Rock Bottom.
Fun/10. This is fun/10 for about 8 hours and well worth my 30$.

Yoku's Island Adventure
Created by: Villa Gorilla
9/10
This is a pinball adventure game. I can't believe this is as fun, inventive, energetic, and exciting as it is considering it is based off of the mechanics of pinball which I haven't played since that free pinball game on my dad's old computer before I had access to internet. It has probably been like 15 years since I last played pinball and it showed because at first I found myself being embarrassingly bad at the boss battles. However, the difficulty curve in this game is really great for allowing people to get the hang of its mechanics before demanding much of them. The open world concept also lends itself well to this- you never feel constrained to any given direction and the more you learn, the more skills you develop and more you unlock, the bigger and better the world becomes.
This game was truly a delight to play through on every level. Not only is the world kinetic, uniquely fun to explore, and beautiful to look at, but the character designs also sparked huge joy in me. I can't adequately explain how fun some of the mechanics of exploration are in this game- sometimes you'd be hitting the ball in to areas with complete reckless abandon and end up finding a spectacular secret which zips you around the whole map and it's just so exciting, nothing but actually playing it could do it justice. God, it was so fun. The main story-line quests are great but some of the side ones are even better. My personal favourite involved planting spores all around the island so mushrooms could take over.
Brilliant through and through, and not bad with a little hint of weed either. Aint nothing more pleasing to the senses than a little CBD oil and some Yoku's Island Express. This is a known truth.