Palm Springs - Happy to be Stuck with You

Stream it on Hulu. 

One of my favorite comedies is the Bill Murry classic Groundhog Day from 1993. It was about a man who finds himself mysteriously repeating the same day over and over again. After realizing that he seems stuck in this loop indefinitely, he decides to take full advantage of it and lives his life to the fullest with no regard for the consequences. Over time, having exhausted every possible crazy thing one could do in this situation, he realizes that he now has the chance to do something productive with his newly found extra time. And, in doing so, he discovers what is truly important both in life and to himself. 

Some other films have utilized this time loop story device to varying degrees of success. The movie 12:01 tried to play it more like a serious drama and failed, while Happy Death Day (which I have not seen yet) attempted to use it for the horror genre. Of all the films I have seen so far trying to utilize the time loop story idea, none of them have ever really lived up to the quality found in Groundhog Day. Until today's movie, Palm Springs. Which, somewhat surprisingly, might be an early contender for my best film of 2020. 

The story follows an introverted young woman named Sarah (Cristin Milioti), getting ready to drink her way through being her sisters Maid of Honor. That is until she hits it off with a pretty cool (if overly confident) guy named Nyles (Andy Samberg). After the ceremony, and one too many drinks, they sneak away from the party to get it on. Only to be rudely interrupted by some psychopath out to kill Nyles. After evading the killer, Sarah finds Nyles crawling towards a strange orange light emanating from a cave. Despite Nyles's protests not to follow him, Sarah moves closer, only to mysteriously wake up back in her room, which would not be so bad, if it wasn't the beginning of the same day. It turns out that Sarah got herself trapped in a time loop repeating the same day over and over. While it's a new experience for Sarah, Nyles has been stuck in the time loop for quite a while. With no idea how to escape, the two of them hit it off and begin enjoying their new "freedom" as much as humanly possible. That is until reality rains over them, causing the two of them to confront each other and their fears. 

This movie is a witty, smart, insightful, and entertaining as all powerhouse. It takes full advantage of the time loop concept and has a ball. It's one of those comedies that succeeds in balancing between being silly and observant. The kind of movie that reminds us while playing around is healthy, we all need to take a step back occasionally and ask ourselves, "Do I like who I am?". I admit, it is a pretty deep existential thing to ask, but it is the kind of story that would call for such an exploration. And the movie delivers a satisfactory take on that very question in spades. 

The cast is remarkable. Cristin Milioti and Andy Samberg have lovely chemistry and possess the right amount of emotional range required by the story. It's also clear just how much a fantastic time they are having making the movie. Because they're having fun, we, the audience, are having fun. It's a delightful win-win. 

Palm Springs is a delightful shock of a movie. It takes a classic storytelling device and succeeds in presenting a fresh take on it. If you have a Hulu account or know someone who does, do not miss this film. 

Ladies & gentlemen, I am TheNorm, thank you all for reading. 

Save Your Cinema

My wonderful readers, 

I recently published an article on my blog about Movie Theaters and how everyone can help them survive. It would appear that the situation with Cinemas is even worse than I had feared. Many Theaters are on the verge of complete collapse due to the pandemic. If they don't receive the help they need soon, there is a good chance we may lose them entirely. 

Now, I know that, given the modern-day & age of entertainment, many people out there don't see any further value in Movie Theaters. When streaming services and digital rentals are so much more convenient and affordable, why should anyone bother to spend their hard-earned cash at the Cinemas?  

Having already written a piece about the relevance of Movie Theaters, and a few ways we can all keep them alive,  I will not repeat myself here. However, one aspect of this ultimately destructive mindset I did not bring up before was the domino effect. If we argue that Cinemas are no longer relevant and should shut down, what's to stop people from saying the same thing about live theater? Broadway is a massive part of New York's identity. Is it fair to shut them down as well because video recordings of productions are more available? What about Ballet, or Choir shows, or even youth theater? Whether intentional or not, by supporting the elimination of one aspect of artistic presentation, you're effectively advocating the removal of them all. 

As I said in my earlier blog post, Movie Theaters are essential to society and culture as much as Restaurants, Book Stores, and especially live Theater venues. That is why I encourage you all to take part in saving Cinemas by signing this online petition by the National Association of Theater Owners—asking lawmakers and entertainment industry executives to take action to ensure their continued existence. No donations nor subscription required. 

Not to mention, one of the greatest joys of my life is going to the movies and telling you all if it is indeed worthy of your box-office contributions. While I enjoy seeing what the digital realm has to offer, I cannot bear the thought of losing the very thing that inspired this blog in the first place. I implore you, consider signing this petition and do your part to save Movie Theaters. 

Sign Here: 

https://saveyourcinema.com

Ladies & gentlemen, I am TheNorm, thank you all for reading. 

Readers Request - St. Elmo's Fire

Stream it on FuboTV, Showtime via Amazon. 

Rent it on Amazon, Apple TV, Google Play, YouTube. 

Despite being a child of the 90s, I have a fond appreciation for some of the greatest classics of the 80s. Especially the coming-of-age stories that were very prominent back then. Some of my favorites include The Breakfast Club, Ferris Bueller's Day Off, and The Big Chill (which I know isn't a "coming-of-age" story, but it's close enough). No matter what story you want to tell, the essential ingredient, and what makes these films so memorable is the characters. People with real-life struggles, conflicts, and flaws (both internal and external), allow viewers to enjoy a story of hope and growth. When we relate to the characters, not only do we want to see them succeed, but they can also inspire us to achieve great things ourselves.

In contrast, the characters in St. Elmo's Fire makes me want to take a blowtorch to every copy of this wretched trainwreck. I have no idea why so many children of the 80s see this abomination as one of the essential classics of that decade because this has to be one of the ugliest, insulting, and misleading films I have ever had the misfortune to sit through. The passion may burn deep, as the poster proclaims, but my fury burns deeper. 

The story follows a group of seven college friends trying to make their way through adulthood after graduation. The film opens with the group celebrating together at a place called St. Elmo's Bar. One might think that this would be another potentially engaging take on the school friends coming-of-age story, not unlike the film Diner from three years prior. Except, whereas Diner had three-dimensional characters with relatable personalities and sympathetic struggles, St. Elmo's Fire is stuck with one-dimensional jackasses with despicable characterizations and juvenile behavior that borderlines sociopathic. No one in this movie learns a lesson, strives to become a better person than who they were before, and don't have anything resembling a narratively satisfying character-arc. They seem to start as terrible people and end as appalling people, if not worse. 

Probably the most insulting aspect of the film, at least to me, is the way it deliberately demonizes homosexuality, which is indeed a surprise, given the film's director, Joel Schumacher (RIP). One could argue that, given the time, he was unable to treat the subject in the manner he might have seen fit. Also, there is the notion that early-career artists don't usually get much of a say in how they want to handle any given subject. Even so, I can't help but feel that someone was in the wrong state of mind about themselves when making this film. 

If you indeed loved this movie growing up, and it is an essential part of your adolescence, then I am genuinely happy for you. It is not my intention to shame anyone who likes something I happen to dislike. I just saw something different in this movie that rubbed me the wrong way. St. Elmo's Fire is, at least in my opinion, a film with an idea for a decent coming-of-age story, but it fails miserably in its execution. I honestly recommend that you not bother with this "classic" at all. As I mentioned earlier, try Diner instead. 

Ladies & gentlemen, I am TheNorm, thank you all for reading. 

Readers Request - Burlesque

Stream it on Netflix. 

Rent it on Amazon, Apple TV, Google Play, and YouTube. 

This one is a bit of a strange entity. I am a fan of both of the talented singers who star in this film. Yet I never got to see it when it was initially released—partly because the trailer reminded me of Chicago. That ugly, sexist, misguided, barely remembered crap that inexplicably won Best Picture at the Oscars. So, when I saw the trailer for today's film, Burlesque, I naturally conjured up memories of the other terrible film I no longer want to name. Not to mention coming across to me as yet another "Country Girl becomes A Star" cliche storyline. 

When I first saw the trailer for this film, I immediately brushed it off as a lame attempt to cash in on a fad that had already passed. Then, when a reader requested I review this film, I took it upon myself to see if my suspicions were correct. Now, having seen the movie, I am happy to report that my prior inclinations were wrong. Burlesque may not be the most original story, and it does make a few mistakes here and there (more on that in a moment), but it is, in actuality, a fun and upbeat foot-tapping blast. I enjoyed this film much more than I thought I would, and not for the obvious reasons. If nothing else, it is probably the best possible anthesis of Chicago. 

The story follows a young girl named Ali (Christina Aguilera) who leaves her small hometown in Utah (I think) to make a new life for herself in Los Angeles. A gifted performer, she looks for work in the arts, only to hit constant rejections. That is until she finds a little place called Burlesque, a bar/performance space stylized right out of the prohibition era, run by a cool ex-performer named Tess (Cher) and her best friend, Sean (Stanly Tucci). Through a series of shenanigans, some cliche and some clever, Ali gets the opportunity to showcase her impeccable singing voice, drawing in more crowds than the club has ever seen before. Which is lucky for Tess, since she is about to lose the club to a bank foreclosure, and needs all the extra money she can make. Will Ali's voice be enough to save Tess's pride & joy? Only one way to find out. 

Burlesque is a prime example of the difference between being sexy vs. being sleazy. Yes, the performers are all scantily clad women performing exotic-style dances with suggestive themes, but it does so in a way that is less erotic and more playful. Also, they're not only playing for men. It's not a strip show; it's a sexual parody. No one involved in the show feels degraded, nor are they ever treated as objects. It's a showcase of classic performance art. On top of that, the dance numbers themselves are incredible. There are so much energy and enthusiasm in each number that it makes you want to get up and move around yourself. 

As I said at the beginning of this review, I enjoy Christina Aguilera and Cher as singers. They both have memorable songs and fantastic voices. Christina Aguilera especially has always been a listening joy. The two divas (and I mean that positively) showcase their musical talents incredibly well in the film, though Christina has more songs than Cher. 

The MVP award has to go to Stanly Tucci, who has always been one of my favorite actors. He gets to be the "cool uncle" character who supports everyone and still has something wise to share, not to mention Stanly Tucci delivering his usual high-level charisma. I am utterly convinced that, much like Samuel L. Jackson, Stanly Tucci could not give a poor performance even if he tried. 

While I did genuinely enjoy this movie, it was not without its flaws. As I said, the story is yet another retread of the classic country girl going to Hollywood seeking fame and everything that cliched story entails. Including a love triangle between our heroine, a wealthy suave jackass, and a starving musician. While the film does tell this classic story in an incredibly fun way, it's still the same story of "A Star is Born" that we've seen many times before. It might have been better if it did something to subvert expectations, if not transcend them somehow, but it never does.

Also, as much as I loved Stanly Tucci in his role, the film has the absolute gall to include Alan Cumming in the cast, another favorite actor of mine, and only give him, at most, three total minutes of screentime. If you're going to have Alan Cumming in your show, then use him, don't just plop him in the background like a prop. 

I should also mention that the sound design of the film is not quite right. When the dance parts are going, and the music is swelling, it sounds fine. Until we get to some of the dialogue scenes, the sound turns way down to damn near inaudible. I could not tell if this was an issue with my sound system of the film itself. In any case, be prepared to turn up the sound a little bit when watching.

Burlesque is a pleasant surprise of a movie. It may not have much in the way of originality or profound storytelling, but at least it doesn't treat the audience like idiots. It knows just what it is and what it wants to be, and is not embarrassed about it in the slightest. If you need a fun, bright, and upbeat distraction for ninety minutes, give this one a shot. 

Ladies & gentlemen, I am TheNorm, thank you all for reading. 

A Nice Girl Like You - Sincere, hilarious, and adorable.

Rent on Xfinity, Apple TV, Amazon, Google Play, and YouTube. 

One subject in storytelling that I find to be the most fascinating is human sexuality. It is probably the most universal aspect of the human condition and has a lot to say about people, society, and individual outlooks on life. After all, sex is, among other things, the ultimate expression of acceptance. Our attitude towards sexuality speaks volumes about our politics, likes & dislikes, and even how we treat those we love—both platonically and intimately. Most of the time, movies that tackle sexual stories tend to go about it in one of two ways: it's played entirely straight with the grave tenacity of an Oscar drama, or it's played up for cheap laughs as a lude and juvenal comedy. Today's film, A Nice Girl Like You, is the first movie I've seen in a long time that successfully rides right down the middle. Playing its story just severe enough to feel earnest, while also being genuinely funny for engaging entertainment value. While it may not go into as much depth as I would have liked (I will elaborate on that in a moment), I found this film to be a charming and adorable love story that felt more genuine and human than I expected. In these troubled times, we all need a good reason to laugh. 

The story follows a young Violin player named Lucy (Lucy Hall), who enjoys music almost as much as she enjoys makings lists for everything, and I mean everything! One day, she breaks up with her boyfriend because, apparently, she is "pornophobic." Throughout their relationship, while they have gotten along well, when it comes to the more intimate parts, Lucy is remarkably...absent. For as long as Lucy can remember, she has never been comfortable with sexuality. So, to rectify her strange situation, Lucy makes a list of ten incredibly sexual things to do so that she can become more comfortable with herself and her relationships. Including visiting a sex shop and a strip club. All the while being assisted by her close friends and falling for a rather cool dude named Grant (Leonidas Gulaptis). 

The film succeeds in walking a pretty high tight rope, It plays just straight enough to be sincere, and just funny enough to be approachable. While the jokes are sexual by nature, they never fall into the trap of adolescent pandering. This is a film that wants you to relax and not think too hard while not treating you like an idiot. It's the kind of mature comedy rarely seen these days. 

Lucy Hall is an absolute blast in this role. Having previously only seen her in terrible horror flicks such as Truth or Dare, I often suspected there was talent within her but was unable to see it before. Made more confusing by not knowing if it was the fault of the movies themselves or her lack of talent. I am glad to report that my suspicions of Lucy Hall having no real acting talent were wrong. She has the opportunity to showcase her whole range as a performer, and it is such a joy to watch. It is worth noting that I was unable to tell if Lucy Hall learned to play Violin for the role or if she was already a trained player. Regardless, she succeeds in convincing me that her character had been playing for her whole life. I suspect Meryl Streep would be proud. 

My only issue with the story was that it never got to delve deeper into Lucy's character. We never learn why Lucy is the way she is in regards to sex, only that she has issues with approaching it. I felt the movie had earned enough goodwill to at least hint at a deeper problem that Lucy needed to address, but it never happens. The good news is that while I might have preferred a little bit more texture, it was not enough of an issue to compromise my overall enjoyment of the film. 

2020 may be shaping up to be a mostly forgettable year, but this hilariously enjoyable film will undoubtedly become one of the few highlights. It's a genuinely human story with a great sense of humor and stellar performances all around. Absolutely check this one out. 

Ladies & gentlemen, I am TheNorm, thank you all for reading. 

One X-Cellent scene

Allow me to provide you with some context. On YouTube, there are a significant number of filmmaking oriented channels. Including Brown Table, Nerdwriter, and A Different Perspective, a show hosted by my best friend, Joseph Bresett. These are all excellent YouTube shows, and if you enjoy video essays on cinema and filmmaking in general, I recommend you check them out. For today's blog entry, I would like to bring your attention to one YouTube channel, mainly Nando V Movies. On this channel, the host presents thought experiments in which he showcases how some movies might have been better if they had made one small change to the script. Incidentally, his video on how he would have changed the film X-Men Days of Future Past is quite intriguing. 

One of the other things Nando V Movies does is he occasionally invites other YouTube movie people to pick a particular scene from a specific series of movies and discuss why they're great and why they work for storytelling. He previously got some YouTubers to contribute a series of videos on Marvel films, One Marvelous Scene, and it has resulted in some very insightful content. Recently, Nando V Movies decided to take another crack at the concept with the X-Men film franchise. While I was not on the official list of invitees to this challenge (assuming there is such a thing), I was intrigued by the idea and wanted to contribute my own two bits anyway. 

For those of you who don't know or need a quick refresher, The X-Men are a group of comic book superheroes from Marvel Comics. They consist of a band of evolved people with special abilities referred to as Mutants. In their respective stories, Mutants are feared and discriminated against to the point that Government officials can openly campaign as "Anti-Mutant." They are, in essence, an allegory for the disenfranchised. 

If you search YouTube for "One X-Cellent Scene," you will likely see most of them discussing a scene from X-Men First Class. Regarded by many, including myself, as the best X-Men movie. Others may mention a scene from Deadpool, which is just cheating. Because, as excellent as the film is, it's only an "X-Men" movie by association. I think it would be easy for me to point out a scene from X-Men First Class, but as I said, it's an easy film to draw material. Mostly because of its incredible quality and because most people have already discussed one of the many great scenes. Instead, I am going to talk about a scene that I think is the most provocative and useful in the whole X-Men film franchise, which is not recognized as well as it should, because it happens to be in one of the worst X-Men movies ever produced. In case you're wondering, no, it is not X-Men Dark Phoenix. 

It's this film: 

Now, please hear me out. 

Yes, this is still one of the worst X-Men movies ever made. It has significant pacing issues, and it retains some of the less-than-stellar bits of writing that plagued the franchise from the beginning. Also, it tries too hard to be an unofficial adaptation of one of the greatest X-Men comic stories ever told. Spoiler-Alert, it failed even at that. However, on its own merits as a movie, it's technically not that bad. It raises the steaks as any sequel should, it has some of the best performances from the whole cast, and in some parts of the script, it has better writing than earlier X-Men films. However, I am not here to defend the trainwreck that is X-Men The Last Stand. I am here to discuss the one scene in this film that I think is one of the best moments of the entire franchise that is sadly never brought to its full potential throughout the film. 

That scene happens right at the beginning of the movie, and it involves this character named Angel. 

There are two opening scenes in the movie. Both of them are flashbacks and serve to introduce essential plot points. At least one of them is crucial to the film, while the other gets shoved to the sidelines for no good reason, but I'll discuss that later. 

Anyway, the scene I want to discuss is the second one—the one about Angel. 

The second opening scene is a flashback of Angel as a child, about twelve or so. His father is a wealthy man who does not like Mutants, which doesn't become apparent until later on in the scene. 

It begins with the boy in the bathroom. He is scrapping his back for some reason, and it is incredibly apparent that it's painful. A moment later, his father knocks at the door and asks if he's alright. The boy proclaims that he's fine and will be out in a second. The father mentions that he's been in there for over an hour and insists that he come out. In a panic, the boy screams, "Just one second!" and frantically tries to hide his actions. We see the bathroom countertop littered with files, razors, and bloody cotton swabs. The father demands that he open the door, but the boy ignores him and keeps trying to cover up what he's been doing to himself. Suddenly, the father bursts through the door. He sees his little boy standing there without his shirt. As the boy begins to cry, the father looks down on the floor and sees bloody cotton swabs, and feathers. The father proclaims, "No, not you!" as the son replies, "Dad, I'm sorry." Then, the camera turns to face the mirror so we may see the boys back. It turns out he is growing a pair of wings as his mutation, and he had been deliberately mutilating himself to hide or prevent it—a shocking introduction. 

For me, this remains one of the most provocative and impactful scenes in the entire X-Men movie franchise, made even more astonishing by its short runtime of only sixty-nine seconds. This opening scene accomplishes three things: 

First, it introduces a new character not yet seen in the movies and gives the impression that he is to be our new protagonist. Second, it showcases the unhealthy and awful feelings the boy's father has for what his son is. Third, it presents the overall conflict of the story. In the film, scientists claim to have discovered a "cure" for Mutants. However, by the end of the film, it becomes apparent that while you can choose to suppress who or what you are, you can never really destroy your genuine self. True harmony comes from embracing yourself for who you are. Not to mention society learning to welcome that which is different and beautiful. While X-Men The Last Stand fails as a movie in many ways, the overarching theme of the dangers of repression and self-denial is probably one of the few things it did well. 

As I hinted at earlier in this blog entry, some of the things presented in this opening scene are never brought up again throughout the movie. The themes are there, and Angel does have a moment where he shows his father how wrong he is about Mutants, but the essential aspect is absent from the rest of the film. By placing this scene at the beginning of the film, it gives the impression that the story is about him. This could have been a fantastic opportunity to make a new X-Men film that focused on a new relatable protagonist that seriously drove home the homophobia allegory presented by the previous films. Instead, Angel only has, at most, two additional minutes of screentime, most of which is utterly wasted. 

This disappointed me more than the films failed attempt to adapt the most excellent X-Men story ever told, as mentioned earlier. Yet, despite that, the opening scene with Angel as a child will forever remain engraved into my memory. It is an image that is important and vital for many reasons. It shows how not to be a parent, the dangers of unhealthy societal pressure, and the importance of love for yourself and others from all walks of life. Even though the rest of the movie didn't take advantage of this opportunity, I am glad it at least left the critical impression that it needed to. 

Ladies & gentlemen, I am TheNorm, thank you all for reading. 

TheNorm's Top 5 Women in Games

Not too long ago, I came across an article on techradar.com that, quite frankly, got me a little agitated. It was a piece about how Ubisoft, one of the largest video game developers in business today, demanded a radical change to one of their most recent titles for less-than-sympathetic reasons. One of their biggest franchises, Assassins Creed, an open-world game set in specific times in history, has already had eleven significant releases. However, while the settings have always changed per installment (usually), and the gameplay improves, the one constant is the protagonist, who has always been a white heterosexual male. The developers of their most recent outing, Assassins Creed Odyssey, were planning on doing something different by introducing a new female protagonist. Unfortunately, the executives at Ubisoft did not agree and demanded that they change it back to a man. Because, according to one Ubisoft executive, "Women don't sell!" 

If you would like to read the article in its entirety, you will find a link to it at the end of this blog post. 

As a feminist, a gamer, and as a man, I am utterly insulted by this inexcusable level of misogyny. I guess it should not come as much of a surprise, given the horrible track record of most video game developing companies out there. Let's not forget; this is the same industry that, when they were making the tournament fighter game Mortal Kombat 11, demanded that the programmers watch footage of actual murders, so they could ensure the fatality moves in the game were as accurate as possible. I mean, there's research, and then there's that! 

While I could go on to discuss how video games are a significant aspect of the arts, and should not suffer persecution for the sins of their fathers, I am more interested in calling out Ubisoft on their outdated mindset. Because their blatant remarks towards half of the world's disposable income that would otherwise have boosted their sales was a direct attack on women. Please indulge me as I remind them of some of the most influential and compelling characters in gaming. 

It's TheNorm's Top 5 Women in Games: 

#5. Samus Aran (Metroid series) 

It is impossible to discuss women in games and not mention Samus. With the possible exception of the ridiculously misguided trainwreck that is Metroid Other M, the Metroid series has been a popular and successful staple of video gaming culture since the days of the first Nintendo Entertainment System. Samus has been a part of the gamer community since day one. A capable fighter, competent explorer, and master of some of the most advanced military-grade hardware in the galaxy. It has even been scientifically proven that Samus could take down Boba Fett. I assure you, that is a proven fact. Just ask the guys on Death Battle. 

#4. Lara Croft (Tomb Raider series) 

While Lara has a reputation of being video games first "sex symbol" for understandable reasons, her character has rarely, if ever, allowed that to define her. Lara Croft is a textured three-dimensional character with a relatable personality and a plethora of bad-ass skills. Including rock climbing, weapons & combat training, expert archeological & historical knowledge, and a great deal of internal strength. She has faced off against monsters, survived multiple deadly scenarios, and risen to every challenge thrown her way. Indiana Jones wishes he was as accomplished as Lara Croft. 

#3. Aloy (Horizon series) 

When I think of a strong female character with a bow & arrow, I don't think about The Hunger Games. My mind goes to Aloy from Horizon Zero Dawn. With the sequel game coming out soon, it's fair to say that Aloy has already taken the world by storm. Aloy is compassionate, helpful, an expert hunter, and more strong-willed than anyone else in her world. With a curious mind and precise aim, Aloy will find the truth in any situation, no matter how dangerous or unclear. There is no monster too big or too deadly for her to handle. 

#2. Claire Redfield (Resident Evil series) 

What do you get when you put a college student armed with a Grenade Launcher in the middle of a Zombie infested city tasked with protecting the life of a little girl she literally just met? You get Claire Redfield. In the original version and the remake of Resident Evil 2, Claire shines through as a genuine powerhouse of a protagonist. In the remake, there comes a moment when Claire discovers that the little girl she's been protecting has become infected with the Zombie virus, and is slowly turning into one of the undead. Without hesitation, Claire assures the little girl she will do everything she can to save her. When the little girl asks Claire why she was so kind and helpful when she didn't really know her, Claire responds with, "Because I care." She is willing to put her life on the line to save a total stranger, literally because it is the right thing to do. You cannot ask for a more genuinely human protagonist than this. I love Claire Redfield as a character so much, come next years FanimeCon, I will be cosplaying as a gender-bent version of Claire in her honor. Also, she likes Motorcycles! 

#1. Commander Shepard (Mass Effect trilogy)

There are many reasons to play the original Mass Effect trilogy, and playing Commander Shepard as a woman (FemShepard) is one of them. Players have the option to play their protagonist as a man or a woman. It is one of the many ingenious ways to encourage replayability. As you become engrossed in the experience, you become curious to see how some situations turn out differently when playing as another version of Shepard. I have played through the entire trilogy multiple times, with each playthrough providing a unique experience. Even so, the majority of my playthroughs have been with FemShepard. Not only are the dynamics of the story made more exciting with Shepard as a woman, but her voice actress, Jennifer Hale, delivers a significantly more compelling performance. When playing as Male Shepard, voice actor Mark Meer is fine, but he tends to play his optional dialogue with too much monotone. As if he was trying too hard to make Shepard a blank slate for the player.

On the other hand, Jennifer Hale, as FemShepard, puts an extra amount of conviction in her delivery. Making Shepard play more like an actual character and not just a bland audience proxy. You still feel as though you are the character with your choices, but there is a better sense of immersion with FemShepard. Not to mention, some of the supporting characters will behave around you differently, thereby providing an opportunity to learn something while walking in another person's shoes. This is but a fraction of the many amazing things that make the Mass Effect trilogy a fantastic game series. As far as I am concerned, FemShepard is canon, and nothing will ever convince me otherwise. 

Ubisoft, take note. Next time you decide to attack women, pray that renegade Shepard doesn't find you. 

Ladies & gentlemen, I am TheNorm, thank you all for reading. 

Tech Radar Article

Readers Requests Now Open

Once again, it is time for me to open the gates and let the flood roll in. That's right, everybody! It is time for Readers Requests. 

Throughout August, in addition to the usual content, I will be accepting requests for movies, television shows, or even short films on YouTube to watch and review here on my blog. 

You can send me requests by leaving a comment on this blog, on my Facebook page, or email at *normanlucecinema@gmail.com* 

You name it, I'll review it. 

Ladies & gentlemen, I am TheNorm, thank you in advance for your requests. 

The Show Must Go On - How to save Movie Theaters

When this pandemic ends, and I do firmly believe it will, everyone will want to go running back to some of their favorite social activities, including going to the movies. I enjoy visiting the silver screen regularly, and I am eager to return as soon as it is safe to do so. However, many people are increasingly concerned about the well-being of Cinemas, since no one has been able to visit them for the past four months. Some people argue that because Movie Theaters are so expensive and streaming services are cheaper and better, maybe we don’t need Movie Theaters anymore. To those people, I say, nonsense! Despite the admittedly ridiculous admission prices for tickets, not to mention the less-than-ideal prices on concessions, Cinemas have been a staple of social interaction and cultural enrichment. We need them as much as we need Museums, book stores, coffee shops, and especially live Theater venues. 

Even before the pandemic, concerns about the well-being of Cinemas have been circulating in many different ways. First, everyone thought the invention of Television was going to kill Movie Theaters (it didn’t). Then people believed that Video Games would put shut them down (they didn’t). The latest thing that was feared to kill the Cinemas was the rise of streaming services like Netflix and Hulu (again, never happened). Even so, while this is not the first time Movie Theaters have been in the crosshairs of disaster, the pandemic has put a noticeable dent in their potential return. Not to mention the rumor that some entertainment companies want to do away with Movie Theaters, to increase profits with their home-entertainment services. 

*cough* Disney *cough*. 

Because of the importance of Cinemas, I believe that, when the time comes, it will be vital for everyone to do their part, in whatever way they can, to help them stay alive. Not just average consumers, but the Prime-Time Studios as well. 

Here are a few things that everyone can do to help keep Cinemas around: 

#1 - Revive the “Theater Experience.” 

Part of what makes going to the movies so much fun is the experience, not just going to a massive extravaganza of a blockbuster with friends, but also the theater environment itself. Consider the way it was in the early days—a grand golden room with a velvety red curtain covering the screen. A brief musical intro is indicating that the show is about to start, as the curtains draw, the lights dim, and a warm welcome greets the audience. Then, after a few trailers, it’s showtime. 

Now, I’m not saying that Cinemas should revive this exact practice, but I feel that they might benefit from doing something that maintains the same spirit. A significant reason most people don’t go to Movie Theaters anymore is that it doesn’t feel special. They are not helped by how most modern Cinemas are kind of bland and lack character. A sizeable dark-colored room with a single screen at one end doesn’t scream “special occasion,” does it? 

Movie Theaters need to find a way to recreate that experience again, not through offering Martinis, not with lame party gimmicks, and not with 3D. They need to recreate that feeling of being somewhere special. Someplace beyond. 

#2 - Bigger Box-Office Percentage.

Despite what you may have heard before, Cinemas barely make any money from ticket sales. Incidentally, this is why their concessions are so uber-expensive because that is how they make their real profit. Box-Office sales go directly back to the Studios, which is how they measure a film’s success or lack thereof. Ironically, Prime-Time Studios seem to have little to no respect or appreciation for Movie Theaters. Considering how reliant upon them the studios are, you would think the exact opposite to be true. 

Here is a little anecdote that best describes the relationship between Studios and Cinemas. 

Back in 2015, acclaimed filmmaker Quentin Tarantino, the guy behind such classics as Pulp Fiction and Inglorious Bastards, put together plans for a December release of his western epic, The Hateful Eight. At the same time, Disney, having just bought Lucasfilm, set the first new Star Wars film, The Force Awakens, also for a December release. The main attraction to The Hateful Eight, other than Tarantino’s name, was that it was the first feature film in almost twenty years to present itself in Glorious 70mm Film, which is a precursor to IMAX. Quentin Tarantino put together an agreement with a Theater chain in Los Angeles known as The Cinerama Dome, which is one of the few screens left that can accommodate the larger format. According to Tarantino himself, his contract with the Theater chain stated that they would play his movie for the first two weeks of the Holiday weekend, then proceed to the new Star Wars film. However, Disney approached the Theater and expressed interest in playing Star Wars for the entire Holiday weekend, not just part of it. The Theater owners declined, pointing out the contract they had already completed. Despite that, Disney barged into the Theater and proclaimed that they would play Star Wars for the entire Holiday weekend, and if they refused, then Disney would not allow them to play Star Wars in any other Theater they happened to own. 

This incident is only one of the many stories that show how little Prime-Time Studios care about Movie Theaters. Which, I remind you, is the primary source of their profits. I find it so baffling that Studios rely so heavily upon Box-Office returns, and yet, they treat Theaters with such abusive behavior. 

It is time for Studios to get over themselves and change their attitude towards Theaters. Presently, Movie Theaters will usually receive, at best, 4% of Box-Office sales, which may sound reasonable, but it is barely enough to cover the costs of maintaining the Theater itself. If the Studios allowed Cinemas to have a more significant percentage of Box-Office returns, there’s a good chance that theaters would be less likely to go out of business. After all, Studios can afford to share a fraction of their profits, especially when it’s going towards the very thing that provides them in the first place. 

#3 - Subscribe to a Cinemas rewards program. 

One of the most clever attempts made by Cinemas to stay in business, at least in my opinion, is the creation of various subscription services for the respective Theater brand. I maintain a subscription to Cinemark, which offers some genuinely great benefits. Some services may vary, but please allow me to explain what you get with a Cinemark subscription. Full disclosure, I am not being paid by Cinemark to describe or promote this subscription service. I just happen to have one and enjoy using it. It may not be the one for you, so please take individual preferences into account. 

Anyway, as a member of the Cinemark Movie Club, I get all kinds of useful rewards. For only ten dollars a month, I get one free movie ticket per month, and any additional tickets are only an extra ten dollars. Which is already significantly less from the standard price of a Cinema ticket. The best part is that unused monthly free tickets roll over to the next month and never expire. Meaning, if you happen to be away from the movies for an extended time, you will build up plenty of free movie tickets. Not to mention, having a membership entitles you to no online purchase fees. 

But wait, there’s more! In addition to arguably a perfect deal on tickets, you also get twenty percent off of all concessions. Plus, as you use your Cinemark app, you accumulate points, which build up to even more rewards. Including extra free tickets and more significant discounts. The best part is, while you enjoy the benefits of your membership, the Cinema is getting some regular income outside of concessions sales. So by signing up for their club, you are contributing to helping them stay in business regularly—all for the price of a standard monthly streaming service subscription. 

There you have it. A few ways in which Movie Theaters can hope to stay in business for everyone's enjoyment. If you have another idea to help keep Cinemas alive, please share them in the comments. 

Ladies & gentlemen, I am TheNorm, thank you all for reading.

The Old Guard - Highlander meets Seal Team Six

Back in April, Netflix released the film Extraction, a forgettable, repetitive, and ridiculously terrible action flick that resulted in one of the shortest and most negative blog posts I have ever had to write. Made all the more annoying by the number of talented people involved in the production. Including actor Chris Hemsworth, producer and writer Joe Russo (based on his graphic novel), and stunt coordinator turned first-time director Sam Hargrave, whom I regarded as in way over his head. The only aspect of the film I had anything nice to say about was the fifteen-minute long take chase sequence, which might have been more impressive had it not been released after 1917. It was enough of an awful experience to discourage me from trying anymore future original content on Netflix. Even when I initially heard of today's movie, The Old Guard, I was understandably hesitant. Just like Extraction, it's an action movie based on a graphic novel. However, unlike Extraction, The Old Guard has some more exciting talent on its production staff. Resulting in a film that not only has better action scenes but a much more in-depth narrative. This may be a bit of violent action schlock, but at least it has a better reason to be so. 

Based on the graphic novel by Greg Rucka and Leonardo Fernandez, the story follows a group of elite mercenaries who, unbeknownst to their clients, happen to be immortal. They have been working together for thousands of years, always seeking to help those in need, the best they can. Their immortality has been kept secret until one fateful mission where they are caught on camera surviving an onslaught of automatic weapons fire. Now they must start all over again and hide from whoever wants their secrets. Complicating matters further is the recent discovery of a brand new immortal. Now they must find their latest member and take her under their wing. All the while, evading whoever is after them. 

What's actually kind of funny about this film is that it doesn't really "feel" like a movie. That's not to say that it's not entertaining. It has tons of entertainment value to boot. What I mean is that it seems a little less like a movie and more like an entire eight-episode series combined into a single presentation. Without spoilers, the story progresses in much the same way as an episodic series, complete with a sequel bait conclusion. It's almost as if this started out as a series, then converted into a movie. The good news is, at the very least, it never feels disjointed or clunky. It just feels as if it was meant to be something else. 

As you would expect, Charlize Theron is the best part of the film. Having proven herself as a capable action star with Atomic Blonde and Mad Max: Fury Road, she comes back to kick some more butt. Only this time, she's got a custom made Battle Axe. 

While I caution some viewers for tasteful graphic violence, the film provides enough entertainment for a night of mindless fun. If you need something fresh for an action "shclockathon," this is a decent one to consider. 

Ladies & gentlemen, I am TheNorm, thank you all for reading.