Episode 39: Civil War!

CIVIL WAR! The entire family joins in to talk about the latest addition to the Marvel Cinematic Universe: Captain America: Civil War. Find out who's #TeamCap or #TeamIronman, why Tony Stark needs to give up his super-suit, what makes Spiderman the awesomest, as well as discussion on force and law in a civilized society and a fan theory on the Winter Soldier's true motivations. All this and more in the thirty-ninth episode of The Pilgrim's Podcast.

The Godfather - Livetweet Review

So...I did this the other day.

And...here we go #thegodfather
— Longish ن (@HannahGraceLong) October 22, 2014

Marlon Brando sounds way less scary than he looks on the DVD case #theGodfather
— Longish ن (@HannahGraceLong) October 22, 2014

Poor Don Corleone. He just wants friends. #thegodfather
— Longish ن (@HannahGraceLong) October 22, 2014

Cue *You've Got a Friend in Me* #TheGodfather
— Longish ن (@HannahGraceLong) October 22, 2014

A Man for All Seasons (1966) - Movie Review

"More is a man of an angel's wit and singular learning; I know not his fellow. For where is the man of that gentleness, lowliness and affability? And, as time requireth, a man of marvelous mirth and pastimes, and sometime of as sad gravity: a man for all seasons."
~Robert Whittington, 1520

This film took me by storm. I expected a dry, rather cheap-looking medieval period piece, with a few quirky British thesps to spice up an otherwise dull historical biopic. Given the age and source, it seemed like an archetype of respectable, old-fashioned film-making. In a way it was. It wouldn’t be made today—it was far, far from the cutting edge of cinema, even in its own time. But it’s just these things that allow it to be the best film I’ve seen this year. 

A riveting political fable, A Man for All Seasons is jam-packed with superb performers and spearheaded by the most interesting protagonist I’ve encountered in a long time. It uses many standard conventions—long scenes, big-budget visuals, everything a little bit stagey, but given these play-like customs, it is allowed a slow, insistent growth of suspense and complexity of character. There are moments when you could cut the tension with a knife, mostly due to clash of personality between these expertly drawn characters.

Noah - Movie Review

Should you see this film? Should you not see it? I think the only thing I can positively say is: Don’t see it with your grandmother.

Darren Aronofsky ruffled feathers by proclaiming his new movie Noah the “least Biblical Biblical film ever made.” This is true, if your definition of “Biblical” is “stars Charlton Heston and has an anti-Communist agenda,” as The Ten Commandments did (it’s notable they both have subplots which didn’t occur in the Bible). Noah breaks numerous Bible movie conventions, and though its iconoclastic bent can be over the top, it effectively utilizes this alienating tactic to shock the audience into seeing the story with new eyes.

First thing to go is the traditional flamboyant Middle-Eastern attire, replaced by dull tunics of animal skin right out of either the Paleolithic era or a modern dystopia. I incline towards the latter, because the film lacks a real dimension of age. The world doesn’t seem young (should it?)—but rather old and decrepit and empty. It’s a bad sign when the majority of the striking visual shots can be contained in a film’s trailer.

True Grit (2010) - Movie Review

In 2010, the Coen Brothers (infamous for such bizarre epics as O Brother Where Art Thou) released True Grit, a remake of a John Wayne movie. What happened next took everyone by surprise: It was a hit. In fact, it pretty much dethroned the original, with its extraordinary blend of moral clarity, black humor, and phenomenal acting.

I have two primary comments.

One, I never knew that Leaning on the Everlasting Arms was such an excellent Western theme song. It should have been obvious.

Two, it’s a crime that Hailee Steinfeld’s name was not on the front of the case. A crime. Only seldom (I think of Christian Bale and Q’orianka Kilcher) have I seen such impressive child acting.

On that note, it’s really Steinfeld (then fourteen), as Mattie Ross, who carries the movie, despite the presence of big names like Jeff Bridges, Matt Damon, and Josh Brolin.