Film Junk » Featured http://www.filmjunk.com Blog and Podcast Thu, 09 Feb 2012 22:09:56 +0000 http://wordpress.org/?v=2.9.2 en Film Junk Podcast Episode #356: Chronicle and Tim and Eric’s Billion Dollar Movie http://www.filmjunk.com/2012/02/08/film-junk-podcast-episode-356-chronicle-and-tim-and-erics-billion-dollar-movie/ http://www.filmjunk.com/2012/02/08/film-junk-podcast-episode-356-chronicle-and-tim-and-erics-billion-dollar-movie/#comments Wed, 08 Feb 2012 06:39:41 +0000 Sean http://www.filmjunk.com/?p=70811 0:00 - Intro 11:40 - Review: Chronicle 57:35 - Review: Tim and Eric's Billion Dollar Movie 1:22:10 - Trailer Trash: The Avengers, Act of Valor, Get the Gringo 1:46:30 - Other Stuff We Watched: Natural Born Killers, Tremors, Any Given Sunday, Invincible, The Program, Little Giants, The Spanish Prisoner, Spartan, Inglourious Basterds, Drive, Rolling Thunder, To Live and Die in L.A., Take Shelter, The Help, Mission: Impossible - Ghost Protocol, The Take, Justified, Thief, Luck, Misfits 3:07:20 - Junk Mail: Post-Oscar Roles for African-American Actors, How to Avoid Falling Asleep in Movies, Why People Enjoy Bad Movies, Favourite Movie Cars 3:34:55 - This Week's DVD Releases 3:37:35 - Outro » Download the MP3 (101 MB) » View the show notes » Vote for us on Podcast Alley! » Rate us on iTunes! Subscribe to the podcast feed: RSS iTunes My Yahoo!
Donate via Paypal:
Recurring Donation $2/Month:

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]]> 0:00 - Intro 11:40 - Review: Chronicle 57:35 - Review: Tim and Eric's Billion Dollar Movie 1:22:10 - Trailer Trash: The Avengers, Act of Valor, Get the Gringo 1:46:30 - Other Stuff We Watched: Natural Born Killers, Tremors, Any Given Sunday, Invincible, The Program, Little Giants, The Spanish Prisoner, Spartan, Inglourious Basterds, Drive, Rolling Thunder, To Live and Die in L.A., Take Shelter, The Help, Mission: Impossible - Ghost Protocol, The Take, Justified, Thief, Luck, Misfits 3:07:20 - Junk Mail: Post-Oscar Roles for African-American Actors, How to Avoid Falling Asleep in Movies, Why People Enjoy Bad Movies, Favourite Movie Cars 3:34:55 - This Week's DVD Releases 3:37:35 - Outro » Download the MP3 (101 MB) » View the show notes » Vote for us on Podcast Alley! » Rate us on iTunes! Subscribe to the podcast feed: RSS iTunes My Yahoo!
Donate via Paypal:
Recurring Donation $2/Month:

FOR MORE DAILY MOVIE GOODNESS, VISIT FILMJUNK.COM!

]]> http://www.filmjunk.com/2012/02/08/film-junk-podcast-episode-356-chronicle-and-tim-and-erics-billion-dollar-movie/feed/ The Woman in Black Review http://www.filmjunk.com/2012/02/03/the-woman-in-black-review/ http://www.filmjunk.com/2012/02/03/the-woman-in-black-review/#comments Fri, 03 Feb 2012 22:15:28 +0000 Colin http://www.filmjunk.com/?p=70701 Recipe for a Hollywood horror flick: pick a screenplay with a vaguely creepy-sounding title like The Woman in Black. Be sure the writer included one or all of the following: portraits with the eyes scratched out, little kids' drawings, antique toys, etc. Next, shoot everything at half exposure. Then pick a quiet weekend to release and collect your fifty million dollars. Repeat. It's a racket that works like a charm, and isn't going away until the audience does. The Woman in Black stars 'Arry Potter 'imself — Daniel Radcliffe — as Arthur Kipps, an adolescent English estate lawyer bound unluckily for a haunted house in the boondocks. Kipps' job is on the line, which accounts for his eager beaver attitude upon arrival, and dogged insistence on seeing the property, even against the behest of, oh, everyone in town. You know where this is going. Once inside the isolated island manor, Kipps can’t seem to get any work done. A typical sequence of scenes plays out with the protagonist sitting down to study a stack of documents and being immediately distracted by some foreign sound or supernatural happening. And then the investigation's afoot; jump scares abound, though they fall too formulaically to conjure much anxiety or subsequent shock. After all, scares by appointment aren't very scary. The screenplay is particularly disappointing given its author, Jane Goldman, who spun genre into gold with Kick-Ass and X-Men: First Class. Too dour to pass as a throwback haunted house flick, and too clichéd to surprise anyone, The Woman in Black is caught in the nebulous nowhere between fun and frightening. Even if her writing were stronger, however, there's no guarantee it would be spared the blunt hand of James Watkins, a director with the finesse of a steamroller. He brings not an ounce of aesthetic originality to the table, imbuing the movie with the same ugly, washed-out palette of six dozen other studio horror failures. The technique is intended to foster a mood, but it's a cheap substitute for good old-fashioned filmmaking. Mood isn't achieved in camera — it's an aggregate of art direction, camera placement, performance, music, etc. The obvious digital look of the film also hampers the believability of its period setting — the turn of the century never looked so bland. Performances add little life to the landscape. Daniel Radcliffe manages not to embarrass himself, and that's being generous. Frankly, it's tough to buy the Hogwarts alum as a dad when he's been playing a teenager for ten years. It's equally tough to imagine him a widower, as he broods with all the emotional turmoil of an Olsen twin. Ciarán Hinds plays Kipps' sole confidant in the haunted hamlet, and fittingly enough, delivers the film's sole compelling performance. Still, his character never goes anywhere, a waste of Hinds' talent. Effective horror is contingent upon a willingness to take the audience outside its comfort zone, and The Woman in Black is too creakily formulaic to creep us out. Because Hollywood is a business, it's more desirable to greenlight a derivative script and hire a yes-man director than to risk something edgier that might not pay off. The cycle continues. The Woman in Black follows that recipe to a T, but there's something lost in translation. Maybe the recipe wasn't all that good to begin with. Maybe the whole cookbook needs to go. — Colin

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]]> Recipe for a Hollywood horror flick: pick a screenplay with a vaguely creepy-sounding title like The Woman in Black. Be sure the writer included one or all of the following: portraits with the eyes scratched out, little kids' drawings, antique toys, etc. Next, shoot everything at half exposure. Then pick a quiet weekend to release and collect your fifty million dollars. Repeat. It's a racket that works like a charm, and isn't going away until the audience does. The Woman in Black stars 'Arry Potter 'imself — Daniel Radcliffe — as Arthur Kipps, an adolescent English estate lawyer bound unluckily for a haunted house in the boondocks. Kipps' job is on the line, which accounts for his eager beaver attitude upon arrival, and dogged insistence on seeing the property, even against the behest of, oh, everyone in town. You know where this is going. Once inside the isolated island manor, Kipps can’t seem to get any work done. A typical sequence of scenes plays out with the protagonist sitting down to study a stack of documents and being immediately distracted by some foreign sound or supernatural happening. And then the investigation's afoot; jump scares abound, though they fall too formulaically to conjure much anxiety or subsequent shock. After all, scares by appointment aren't very scary. The screenplay is particularly disappointing given its author, Jane Goldman, who spun genre into gold with Kick-Ass and X-Men: First Class. Too dour to pass as a throwback haunted house flick, and too clichéd to surprise anyone, The Woman in Black is caught in the nebulous nowhere between fun and frightening. Even if her writing were stronger, however, there's no guarantee it would be spared the blunt hand of James Watkins, a director with the finesse of a steamroller. He brings not an ounce of aesthetic originality to the table, imbuing the movie with the same ugly, washed-out palette of six dozen other studio horror failures. The technique is intended to foster a mood, but it's a cheap substitute for good old-fashioned filmmaking. Mood isn't achieved in camera — it's an aggregate of art direction, camera placement, performance, music, etc. The obvious digital look of the film also hampers the believability of its period setting — the turn of the century never looked so bland. Performances add little life to the landscape. Daniel Radcliffe manages not to embarrass himself, and that's being generous. Frankly, it's tough to buy the Hogwarts alum as a dad when he's been playing a teenager for ten years. It's equally tough to imagine him a widower, as he broods with all the emotional turmoil of an Olsen twin. Ciarán Hinds plays Kipps' sole confidant in the haunted hamlet, and fittingly enough, delivers the film's sole compelling performance. Still, his character never goes anywhere, a waste of Hinds' talent. Effective horror is contingent upon a willingness to take the audience outside its comfort zone, and The Woman in Black is too creakily formulaic to creep us out. Because Hollywood is a business, it's more desirable to greenlight a derivative script and hire a yes-man director than to risk something edgier that might not pay off. The cycle continues. The Woman in Black follows that recipe to a T, but there's something lost in translation. Maybe the recipe wasn't all that good to begin with. Maybe the whole cookbook needs to go. — Colin

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]]> http://www.filmjunk.com/2012/02/03/the-woman-in-black-review/feed/ Film Junk Bonus Podcast: Back to the Future Trilogy http://www.filmjunk.com/2012/02/03/film-junk-bonus-podcast-back-to-the-future-trilogy/ http://www.filmjunk.com/2012/02/03/film-junk-bonus-podcast-back-to-the-future-trilogy/#comments Fri, 03 Feb 2012 06:01:24 +0000 Sean http://www.filmjunk.com/?p=70477 Great Scott! It's the fourth episode in our continuing series of premium podcasts, and this time around we decided to double back and rewatch another staple of '80s cinema: the Back to the Future Trilogy! The first film is obviously a classic, but some people seem to be divided over whether or not the sequels are worthy continuations of the story or just pure cash grabs. In this episode we analyze time travel paradoxes, reflect on Robert Zemeckis and Bob Gale's vision of the future, discuss our preferred Jennifers, and decide once and for all who made the better contribution to the series soundtrack: Huey Lewis and the News or ZZ Top. You guys might not be ready for this podcast, but your kids are gonna love it. » Download It Now! This series of premium podcasts was created to help support the regular weekly Film Junk Podcast. Head on over to Bandcamp and download the full episodes now for a minimum donation of just 99 cents. As always, let us know if you experience any technical difficulties or if you have any other suggestions for future specials. Thanks for your support!

FOR MORE DAILY MOVIE GOODNESS, VISIT FILMJUNK.COM!

]]> Great Scott! It's the fourth episode in our continuing series of premium podcasts, and this time around we decided to double back and rewatch another staple of '80s cinema: the Back to the Future Trilogy! The first film is obviously a classic, but some people seem to be divided over whether or not the sequels are worthy continuations of the story or just pure cash grabs. In this episode we analyze time travel paradoxes, reflect on Robert Zemeckis and Bob Gale's vision of the future, discuss our preferred Jennifers, and decide once and for all who made the better contribution to the series soundtrack: Huey Lewis and the News or ZZ Top. You guys might not be ready for this podcast, but your kids are gonna love it. » Download It Now! This series of premium podcasts was created to help support the regular weekly Film Junk Podcast. Head on over to Bandcamp and download the full episodes now for a minimum donation of just 99 cents. As always, let us know if you experience any technical difficulties or if you have any other suggestions for future specials. Thanks for your support!

FOR MORE DAILY MOVIE GOODNESS, VISIT FILMJUNK.COM!

]]> http://www.filmjunk.com/2012/02/03/film-junk-bonus-podcast-back-to-the-future-trilogy/feed/ Game Junk Podcast Episode #10: Top 10 Games of 2011 http://www.filmjunk.com/2012/01/30/game-junk-podcast-episode-10-top-10-games-of-2011/ http://www.filmjunk.com/2012/01/30/game-junk-podcast-episode-10-top-10-games-of-2011/#comments Mon, 30 Jan 2012 05:54:24 +0000 Sean http://www.filmjunk.com/?p=70205 0:00 - Intro / Uncle Frank's Retro Lounge Update 11:35 - Headlines: Rocksteady Developing a New TMNT Game? 17:20 - Feature: Our Top 10 Games of 2011 1:39:30 - Top 5: Most Anticipated Games of 2012 1:58:10 - Junk Mail: Difficulty Levels and Play Testing, HD Upgrades, What We Do, Apple II and First Programming Platform, Skyrim Game Breaking Glitch, Games Without HUDs, Storytelling and Cinematic Games, Top 5 Mario Games 2:33:55 - Upcoming Releases 2:35:50 - Outro » Download the MP3 (93 MB) » Subscribe via RSS » Subscribe in iTunes » Join our Facebook page » Follow us on Twitter

FOR MORE DAILY MOVIE GOODNESS, VISIT FILMJUNK.COM!

]]> 0:00 - Intro / Uncle Frank's Retro Lounge Update 11:35 - Headlines: Rocksteady Developing a New TMNT Game? 17:20 - Feature: Our Top 10 Games of 2011 1:39:30 - Top 5: Most Anticipated Games of 2012 1:58:10 - Junk Mail: Difficulty Levels and Play Testing, HD Upgrades, What We Do, Apple II and First Programming Platform, Skyrim Game Breaking Glitch, Games Without HUDs, Storytelling and Cinematic Games, Top 5 Mario Games 2:33:55 - Upcoming Releases 2:35:50 - Outro » Download the MP3 (93 MB) » Subscribe via RSS » Subscribe in iTunes » Join our Facebook page » Follow us on Twitter

FOR MORE DAILY MOVIE GOODNESS, VISIT FILMJUNK.COM!

]]> http://www.filmjunk.com/2012/01/30/game-junk-podcast-episode-10-top-10-games-of-2011/feed/ The Grey Review (Colin’s Take) http://www.filmjunk.com/2012/01/27/the-grey-review-colins-take/ http://www.filmjunk.com/2012/01/27/the-grey-review-colins-take/#comments Fri, 27 Jan 2012 22:39:11 +0000 Colin http://www.filmjunk.com/?p=70285 So it's come to this: Liam Neeson, a pack of wolves, and a filmmaker with delusions of grandeur. The Grey might have passed as merely a second-rate survival flick had it laid off the pseudo-intellectual grandstanding and quickened the glacial pace. Unfortunately, its shepherd, Joe Carnahan, knows no such restraint. Bloated, juvenile, and absurd, the movie attempts to pass off a few cheap thrills as an ode to humanity. Oh, and according to Carnahan, it may return to theaters to make an Oscar run in October. Give me a break. Neeson plays Ottway, a professional wolf hunter with a penchant for internally reciting corny poems written by his deceased daddy. "Once more into the fray/ Into the last good fight I'll ever know/ To live and die on this day," he rasps. Hey, how that's poetry elective going? It might seem profound as a beer hall anthem to rally spirits in the fourth quarter, but it's embarrassingly maudlin as the emotional crux of a movie. But enough about poetry — let's talk about wolves. A plane crash strands about half a dozen men in The Middle of Nowhere, Alaska. Hounded by a pack of edgy predators, the crew must literally fight for their survival. Never mind the practical how-tos like sustaining an expedition without potable water — they've got man-hungry wolves on their tail! The biggest, nastiest wolves special effects can conjure, though they're mostly relegated to chasing everyone from one tired setpiece to the next. Here's the problem — with riveting wilderness docs like Touching the Void and Encounters at the End of the World streaming online, there's no excuse to settle for such a stagey drama. But Werner Herzog is obviously beyond these morons; someone in The Grey paraphrases Grizzly Man as that movie about "The fag and the bears." Are these guys from Alaska or a college fraternity? I don't demand that any character be likeable — but I ask that they be interesting. Not a one in Ottway's ragtag group of "fugitives, drifters, and assholes" brings a single compelling trait to the table. Ottway wins the likability contest by default, even though his character might as well be the Wikipedia page on wolves for all he contributes to the conversation. And it's a shame we're stuck with such shallow people, because their trek is often atmospheric, and the many perils they face might mean something if we actually cared about who they are. Writer/director Joe Carnahan can get by on keen visuals, but he writes like an emotionally stunted 19-year-old. His ceaselessly abrasive, hollow characters engage in dialogue with all the wisdom and wit of a whirring garbage disposal. Their pointless, profanity-laden bickering and eventual, manufactured camaraderie play stilted, not uplifting. Just die already. The Grey is a mangy, flea-bitten excuse for an epic with an obnoxiously inflated self-image. Nowhere in its unwarranted 117 minutes does it possess a shred of the intellectuality it pompously aspires to, nor does it achieve a badass nirvana despite its consistent, cocksure projection of masculinity. Carnahan succeeds in scoring a few cheap thrills, but he ought to leave the philosophizing to the artists. End rant. — Colin For another take on The Grey, check out Shannon's review.

FOR MORE DAILY MOVIE GOODNESS, VISIT FILMJUNK.COM!

]]> So it's come to this: Liam Neeson, a pack of wolves, and a filmmaker with delusions of grandeur. The Grey might have passed as merely a second-rate survival flick had it laid off the pseudo-intellectual grandstanding and quickened the glacial pace. Unfortunately, its shepherd, Joe Carnahan, knows no such restraint. Bloated, juvenile, and absurd, the movie attempts to pass off a few cheap thrills as an ode to humanity. Oh, and according to Carnahan, it may return to theaters to make an Oscar run in October. Give me a break. Neeson plays Ottway, a professional wolf hunter with a penchant for internally reciting corny poems written by his deceased daddy. "Once more into the fray/ Into the last good fight I'll ever know/ To live and die on this day," he rasps. Hey, how that's poetry elective going? It might seem profound as a beer hall anthem to rally spirits in the fourth quarter, but it's embarrassingly maudlin as the emotional crux of a movie. But enough about poetry — let's talk about wolves. A plane crash strands about half a dozen men in The Middle of Nowhere, Alaska. Hounded by a pack of edgy predators, the crew must literally fight for their survival. Never mind the practical how-tos like sustaining an expedition without potable water — they've got man-hungry wolves on their tail! The biggest, nastiest wolves special effects can conjure, though they're mostly relegated to chasing everyone from one tired setpiece to the next. Here's the problem — with riveting wilderness docs like Touching the Void and Encounters at the End of the World streaming online, there's no excuse to settle for such a stagey drama. But Werner Herzog is obviously beyond these morons; someone in The Grey paraphrases Grizzly Man as that movie about "The fag and the bears." Are these guys from Alaska or a college fraternity? I don't demand that any character be likeable — but I ask that they be interesting. Not a one in Ottway's ragtag group of "fugitives, drifters, and assholes" brings a single compelling trait to the table. Ottway wins the likability contest by default, even though his character might as well be the Wikipedia page on wolves for all he contributes to the conversation. And it's a shame we're stuck with such shallow people, because their trek is often atmospheric, and the many perils they face might mean something if we actually cared about who they are. Writer/director Joe Carnahan can get by on keen visuals, but he writes like an emotionally stunted 19-year-old. His ceaselessly abrasive, hollow characters engage in dialogue with all the wisdom and wit of a whirring garbage disposal. Their pointless, profanity-laden bickering and eventual, manufactured camaraderie play stilted, not uplifting. Just die already. The Grey is a mangy, flea-bitten excuse for an epic with an obnoxiously inflated self-image. Nowhere in its unwarranted 117 minutes does it possess a shred of the intellectuality it pompously aspires to, nor does it achieve a badass nirvana despite its consistent, cocksure projection of masculinity. Carnahan succeeds in scoring a few cheap thrills, but he ought to leave the philosophizing to the artists. End rant. — Colin For another take on The Grey, check out Shannon's review.

FOR MORE DAILY MOVIE GOODNESS, VISIT FILMJUNK.COM!

]]> http://www.filmjunk.com/2012/01/27/the-grey-review-colins-take/feed/ The Grey Review (Shannon’s Take) http://www.filmjunk.com/2012/01/27/the-grey-review-shannons-take/ http://www.filmjunk.com/2012/01/27/the-grey-review-shannons-take/#comments Fri, 27 Jan 2012 22:39:02 +0000 Shannon http://www.filmjunk.com/?p=70098 January is usually known as an arid wasteland for new film releases. Studios dump all the films that weren’t good enough for awards consideration, and the results are not pretty. My expectations for The Grey were tempered accordingly. I expected a campy creature-feature, nothing more. What I got instead was a complex, touching and intelligent tale of survival. Solid acting, breathtaking set pieces and thoughtful ruminations on faith and spirituality elevate The Grey from the typical ranks of action-adventure movies. A group of oil company workers described as “unfit for mankind” depart on a small plane bound for Anchorage, which crashes in the middle of the frozen tundra somewhere in Alaska. Only seven of the passengers survive, but the crash becomes the least of their worries. The small band of men must face hunger, fatigue, freezing temperatures and a large population of territorial wolves. Ottway (a terrific Liam Neeson) instantly becomes the de facto leader when he takes charge in the chaos and panic following the crash. While others are dazed, terrified and in shock, Ottway is calm, collected and practical. A particularly poignant scene establishes his strength of character as he gently helps ease a dying man into death. That’s the exact moment that I knew the film was going to be special.  Neeson is so poised and graceful in the scene; I completely believed in his character from that moment on. The film feels very much like Jaws meets Deliverance. The rough and tumble men bond over their shared sense of peril while they are picked off one by one by either the wolves or the elements. The great injustice of surviving the harrowing plane crash only to succumb to these forces is frustrating to watch. You truly want these men to survive because they deserve to. Which brings me to the faith aspect of the film. Many of the men have strong faith, or believe that there must be some pre-destined reason that they were the only survivors. But how do you hold on to those beliefs when you see your numbers dwindle? Why would you be put through all of this only to be ripped apart by wolves? Ottway is a complicated character. Ironically, he was employed by the company as a sniper who protected the base from wolves and bears, giving him some inside information on wolf behavior.  He was dangerously close to committing suicide on the evening the plane departed, but after the crash he arises a new man, determined to survive the ordeal. He is the heart and soul of the group, at times appearing to will them to live. Late in the movie, he shouts a phrase of dialogue that gave me goose bumps. He looks up in the sky, tired, alone, and scared and screams, “F*** faith, EARN IT” to whoever or whatever is out there. It kind of blew me away, because by that point you completely understand why he says it. How many tests can one man take? Neeson is fantastic as Ottway, and without him, this is an entirely different film. Bradley Cooper was originally slated to play the role, and the movie would have been laughable if that were the case. Neeson has an air of melancholy and a sense of authority about him that is perfectly suited to Ottway. It’s no secret that Neeson tragically lost his wife a few years back, and he clearly draws on that in this role. As for the hand wringers who worry that Neeson is now stereotyped as these badass action heroes, who cares? He’s damn good at it. Though Neeson carries the movie, the supporting actors are very good: namely Dermot Mulroney and Frank Grillo. Director Joe Carnahan (The A-Team, Narc) missteps a bit with the pacing of the film, but for the most part, he does an admirable job with the material. The plane crash scene was as scary as any I’ve seen, and the disarray and shock following the wreck was completely harrowing. Carnahan had the benefit of filming in Vancouver, and the cold and the wind are palpable. The biggest disappointment is the CGI wolves. For reasons I can’t ascertain, no one has been able to render a convincing CGI wolf to this day. They always seem a bit off, so be prepared for that. Thankfully their appearance is kept to a minimum. Lots of the tension arises from simply hearing them. The action set pieces are thrilling, but it’s the humanization of the characters where he really excels. This is the type of movie we would usually find disposable characters. You might know their name, but nothing else before they get picked off. Here we get to know each of the men - how many kids they have, if they are married, etc. A few scenes that take place over a campfire reminded me of the close intimacy that the men in Jaws developed while on the boat. In both cases the men are scared out of their minds, and quickly build meaningful relationships. In The Grey, it takes a while for a few of the men peel away their false bravado and lower their defenses toward one another. It’s only after Ottway posits that it is okay to admit you are scared shitless that the men become a more cohesive unit. The Grey features a lot of elements from horror, action, adventure, survival and drama to create a wonderful hybrid film. It’s a welcome January surprise that skews toward a male audience, but I think women can appreciate the humanistic component of the film. It should be a crowd pleaser, though audiences will be frustrated with the ending. (Hint: Be sure to wait through the credits for a final shot.) - Shannon For another take on The Grey, check out Colin's review.

FOR MORE DAILY MOVIE GOODNESS, VISIT FILMJUNK.COM!

]]> January is usually known as an arid wasteland for new film releases. Studios dump all the films that weren’t good enough for awards consideration, and the results are not pretty. My expectations for The Grey were tempered accordingly. I expected a campy creature-feature, nothing more. What I got instead was a complex, touching and intelligent tale of survival. Solid acting, breathtaking set pieces and thoughtful ruminations on faith and spirituality elevate The Grey from the typical ranks of action-adventure movies. A group of oil company workers described as “unfit for mankind” depart on a small plane bound for Anchorage, which crashes in the middle of the frozen tundra somewhere in Alaska. Only seven of the passengers survive, but the crash becomes the least of their worries. The small band of men must face hunger, fatigue, freezing temperatures and a large population of territorial wolves. Ottway (a terrific Liam Neeson) instantly becomes the de facto leader when he takes charge in the chaos and panic following the crash. While others are dazed, terrified and in shock, Ottway is calm, collected and practical. A particularly poignant scene establishes his strength of character as he gently helps ease a dying man into death. That’s the exact moment that I knew the film was going to be special.  Neeson is so poised and graceful in the scene; I completely believed in his character from that moment on. The film feels very much like Jaws meets Deliverance. The rough and tumble men bond over their shared sense of peril while they are picked off one by one by either the wolves or the elements. The great injustice of surviving the harrowing plane crash only to succumb to these forces is frustrating to watch. You truly want these men to survive because they deserve to. Which brings me to the faith aspect of the film. Many of the men have strong faith, or believe that there must be some pre-destined reason that they were the only survivors. But how do you hold on to those beliefs when you see your numbers dwindle? Why would you be put through all of this only to be ripped apart by wolves? Ottway is a complicated character. Ironically, he was employed by the company as a sniper who protected the base from wolves and bears, giving him some inside information on wolf behavior.  He was dangerously close to committing suicide on the evening the plane departed, but after the crash he arises a new man, determined to survive the ordeal. He is the heart and soul of the group, at times appearing to will them to live. Late in the movie, he shouts a phrase of dialogue that gave me goose bumps. He looks up in the sky, tired, alone, and scared and screams, “F*** faith, EARN IT” to whoever or whatever is out there. It kind of blew me away, because by that point you completely understand why he says it. How many tests can one man take? Neeson is fantastic as Ottway, and without him, this is an entirely different film. Bradley Cooper was originally slated to play the role, and the movie would have been laughable if that were the case. Neeson has an air of melancholy and a sense of authority about him that is perfectly suited to Ottway. It’s no secret that Neeson tragically lost his wife a few years back, and he clearly draws on that in this role. As for the hand wringers who worry that Neeson is now stereotyped as these badass action heroes, who cares? He’s damn good at it. Though Neeson carries the movie, the supporting actors are very good: namely Dermot Mulroney and Frank Grillo. Director Joe Carnahan (The A-Team, Narc) missteps a bit with the pacing of the film, but for the most part, he does an admirable job with the material. The plane crash scene was as scary as any I’ve seen, and the disarray and shock following the wreck was completely harrowing. Carnahan had the benefit of filming in Vancouver, and the cold and the wind are palpable. The biggest disappointment is the CGI wolves. For reasons I can’t ascertain, no one has been able to render a convincing CGI wolf to this day. They always seem a bit off, so be prepared for that. Thankfully their appearance is kept to a minimum. Lots of the tension arises from simply hearing them. The action set pieces are thrilling, but it’s the humanization of the characters where he really excels. This is the type of movie we would usually find disposable characters. You might know their name, but nothing else before they get picked off. Here we get to know each of the men - how many kids they have, if they are married, etc. A few scenes that take place over a campfire reminded me of the close intimacy that the men in Jaws developed while on the boat. In both cases the men are scared out of their minds, and quickly build meaningful relationships. In The Grey, it takes a while for a few of the men peel away their false bravado and lower their defenses toward one another. It’s only after Ottway posits that it is okay to admit you are scared shitless that the men become a more cohesive unit. The Grey features a lot of elements from horror, action, adventure, survival and drama to create a wonderful hybrid film. It’s a welcome January surprise that skews toward a male audience, but I think women can appreciate the humanistic component of the film. It should be a crowd pleaser, though audiences will be frustrated with the ending. (Hint: Be sure to wait through the credits for a final shot.) - Shannon For another take on The Grey, check out Colin's review.

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]]> http://www.filmjunk.com/2012/01/27/the-grey-review-shannons-take/feed/ Film Junk Podcast Episode #354: Haywire http://www.filmjunk.com/2012/01/24/film-junk-podcast-episode-354-haywire/ http://www.filmjunk.com/2012/01/24/film-junk-podcast-episode-354-haywire/#comments Tue, 24 Jan 2012 05:17:14 +0000 Sean http://www.filmjunk.com/?p=69928 0:00 - Intro 6:30 - Headlines: 2012 Golden Globe Winners, The Expendables 2 Will Be PG-13 28:15 - Review: Haywire 1:22:15 - Trailer Trash: Resident Evil: Retribution 1:28:45 - Other Stuff We Watched: Alcatraz, Jim Gaffigan Live, AHL Winter Classic, And Everything is Going Fine, The Prestige, Summer of Sam, We Bought a Zoo, The Island of Lost Souls, Hanna, Con Air, Hands on a Hard Body, Routine Pleasures 2:05:40 - Junk Mail: Breakout Roles for Athletes, Displaying Box Sets with Cardboard Sleeves, Favourite Breast Shots, Crispin Glover and Nic Cage, Theatre vs. DVD and Blu-ray, Digital Copies, Critiquing a Movie Based on What You Thought It Should Be 2:28:50 - This Week's DVD Releases 2:31:00 - Outro » Download the MP3 (70 MB) » View the show notes » Vote for us on Podcast Alley! » Rate us on iTunes! Subscribe to the podcast feed: RSS iTunes My Yahoo!
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]]> 0:00 - Intro 6:30 - Headlines: 2012 Golden Globe Winners, The Expendables 2 Will Be PG-13 28:15 - Review: Haywire 1:22:15 - Trailer Trash: Resident Evil: Retribution 1:28:45 - Other Stuff We Watched: Alcatraz, Jim Gaffigan Live, AHL Winter Classic, And Everything is Going Fine, The Prestige, Summer of Sam, We Bought a Zoo, The Island of Lost Souls, Hanna, Con Air, Hands on a Hard Body, Routine Pleasures 2:05:40 - Junk Mail: Breakout Roles for Athletes, Displaying Box Sets with Cardboard Sleeves, Favourite Breast Shots, Crispin Glover and Nic Cage, Theatre vs. DVD and Blu-ray, Digital Copies, Critiquing a Movie Based on What You Thought It Should Be 2:28:50 - This Week's DVD Releases 2:31:00 - Outro » Download the MP3 (70 MB) » View the show notes » Vote for us on Podcast Alley! » Rate us on iTunes! Subscribe to the podcast feed: RSS iTunes My Yahoo!
Donate via Paypal:
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]]> http://www.filmjunk.com/2012/01/24/film-junk-podcast-episode-354-haywire/feed/ Haywire Review http://www.filmjunk.com/2012/01/22/haywire-review/ http://www.filmjunk.com/2012/01/22/haywire-review/#comments Sun, 22 Jan 2012 19:07:54 +0000 Colin http://www.filmjunk.com/?p=69877 Haywire is a lot like last year's Drive. What both lack in substance, they make up for in style. Likewise, both could be dismissed as pulp dreck if their respective directors hadn't classed up the material. Haywire isn't as riveting as last year's sleeper hit, but the way Steven Soderbergh stages and choreographs the action elevates it from generic genre fare; especially apparent in contrast to its opening weekend competition: Underworld Awakening. Punctuated by terse life-or-death scuffles between a badass black ops agent and her would-be assassins, it's no wonder Soderbergh hired martial artist slash actress Gina Carano (not to be confused with Carla Gugino). Of her handful of big screen credits, Haywire is by far the biggest deal; her casting is a move reminiscent of another recent Soderbergh flick — The Girlfriend Experience, which marked the dramatic debut of porn star Sasha Grey. Both actresses fit well in the roles Soderbergh picks for them, but I question how well either would come off when working with a director less versed in coaching non-actors. Perhaps the most impressive thing about Carano's performance is that she holds her own in such formidable company: Ewan McGregor, Michael Fassbender, Michael Douglas, Bill Paxton, Antonio Banderas, etc. Channing Tatum. The list goes on. Their collective effort is in large part what makes Haywire such a breezy watch. 93 minutes soaking wet, the film flashes backwards and forwards in its narrative to keep the momentum from faltering (and also, I reckon, to gussy up a simplistic espionage tale). The IMDB synopsis says it all: "A black ops super soldier seeks payback after she is betrayed during a mission." The film's final moment perfectly reflects the entirety: cheesy, cheeky, fun, and ultimately, forgettable. Famous for his Hollywood haggling to get passion projects off the ground ("One for me, one for you"), Soderbergh is blurring the line between his studio pictures and personal films. With Haywire, the lack of marketing oomph and no-name lead suggest it might fall into the "One for me" category, especially after his crowd-pleasing Contagion. But if the audience I saw it with was any indication, Haywire is no less accessible. Nor does it feel as obligatory as, say, an Oceans sequel. For the most part, Soderbergh brings his A-game, although I do take issue with the cheapo aesthetic. The harsh digital look he seems fond of works in low-key experiments like Bubble, but feels out of place in a fast-paced action flick. Dim, bland interiors with overblown light sources lend to the film's overall disposable vibe. But while it lasts, Haywire is an enjoyable January actioner. Though it pales in comparison to Nicolas Winding Refn's excellent Drive, they have a lot in common: a bare bones story spearheaded by a brutal and ruthless protagonist, and a director who knows how to play them to maximum effect. Drive skews operatic while Haywire skews goofy, but both provide more compelling action sequences than any of last summer's blockbusters, Contagion included. Plus, this time of year empirically means slim pickings for the discerning cinephile. It's either this or Underworld, folks. I'll give you a minute to decide. — Colin

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]]> Haywire is a lot like last year's Drive. What both lack in substance, they make up for in style. Likewise, both could be dismissed as pulp dreck if their respective directors hadn't classed up the material. Haywire isn't as riveting as last year's sleeper hit, but the way Steven Soderbergh stages and choreographs the action elevates it from generic genre fare; especially apparent in contrast to its opening weekend competition: Underworld Awakening. Punctuated by terse life-or-death scuffles between a badass black ops agent and her would-be assassins, it's no wonder Soderbergh hired martial artist slash actress Gina Carano (not to be confused with Carla Gugino). Of her handful of big screen credits, Haywire is by far the biggest deal; her casting is a move reminiscent of another recent Soderbergh flick — The Girlfriend Experience, which marked the dramatic debut of porn star Sasha Grey. Both actresses fit well in the roles Soderbergh picks for them, but I question how well either would come off when working with a director less versed in coaching non-actors. Perhaps the most impressive thing about Carano's performance is that she holds her own in such formidable company: Ewan McGregor, Michael Fassbender, Michael Douglas, Bill Paxton, Antonio Banderas, etc. Channing Tatum. The list goes on. Their collective effort is in large part what makes Haywire such a breezy watch. 93 minutes soaking wet, the film flashes backwards and forwards in its narrative to keep the momentum from faltering (and also, I reckon, to gussy up a simplistic espionage tale). The IMDB synopsis says it all: "A black ops super soldier seeks payback after she is betrayed during a mission." The film's final moment perfectly reflects the entirety: cheesy, cheeky, fun, and ultimately, forgettable. Famous for his Hollywood haggling to get passion projects off the ground ("One for me, one for you"), Soderbergh is blurring the line between his studio pictures and personal films. With Haywire, the lack of marketing oomph and no-name lead suggest it might fall into the "One for me" category, especially after his crowd-pleasing Contagion. But if the audience I saw it with was any indication, Haywire is no less accessible. Nor does it feel as obligatory as, say, an Oceans sequel. For the most part, Soderbergh brings his A-game, although I do take issue with the cheapo aesthetic. The harsh digital look he seems fond of works in low-key experiments like Bubble, but feels out of place in a fast-paced action flick. Dim, bland interiors with overblown light sources lend to the film's overall disposable vibe. But while it lasts, Haywire is an enjoyable January actioner. Though it pales in comparison to Nicolas Winding Refn's excellent Drive, they have a lot in common: a bare bones story spearheaded by a brutal and ruthless protagonist, and a director who knows how to play them to maximum effect. Drive skews operatic while Haywire skews goofy, but both provide more compelling action sequences than any of last summer's blockbusters, Contagion included. Plus, this time of year empirically means slim pickings for the discerning cinephile. It's either this or Underworld, folks. I'll give you a minute to decide. — Colin

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]]> http://www.filmjunk.com/2012/01/22/haywire-review/feed/ Extremely Loud and Incredibly Close Review http://www.filmjunk.com/2012/01/20/extremely-loud-and-incredibly-close-review/ http://www.filmjunk.com/2012/01/20/extremely-loud-and-incredibly-close-review/#comments Fri, 20 Jan 2012 15:08:14 +0000 Shannon http://www.filmjunk.com/?p=69796 I suspect this film will be quite polarizing for audiences, but not for the reasons you may think. Though Extremely Loud and Incredibly Close takes place in the days, weeks and months following 9/11, it is essentially devoid of controversy or political overtones. The tragedy serves as a catalyst for the story of one boy’s strange and hopeful odyssey through the city of New York while he searches for a clue that he believes his father left for him before he perished in one of the twin towers. In order to enjoy the movie you have to be able to empathize with or at least tolerate the film’s young protagonist Oskar (Thomas Horn), an extremely unconventional hero who makes this movie a difficult sell. If you find him irritating (which I can completely understand), you will absolutely loathe the film. That’s a real pity, because Horn is amazing as a grieving, anti-social nine year old who has to cope with losing the most important person in his life. His mom (Sandra Bullock) is well meaning, but virtually helpless as she is crippled by grief herself. Oskar throws some misguided resentment and blame on her, further driving a wedge between them. Through a series of flashbacks we see what a wonderful dad (played by Tom Hanks) Oskar had. He cultivates his son’s freakish intelligence with elaborate treasure hunts and secret missions that require intricate mapping and organizational skills.  Dear old dad plants all the clues in advance, and each mission infuses Oskar with confidence. This is also dad’s way of getting Oskar (who may have Asperger’s) to interact with people, something he is reluctant and possibly unable to do on his own. Oskar was almost finished with one of these puzzles when his father was killed on 9/11. What many will find off-putting about Oskar is his seeming lack of emotion, particularly following his father’s death. He is reclusive and downright cruel to his mother sometimes, and he is so matter of fact that it comes across as creepy as times. If Oskar really does have Asperger’s, these emotional detachments would fall under normal behavior for someone with the condition. It also could just be his way of coping with the trauma and loss from “the worst day”, as Oskar chooses to call 9/11.  At any rate, I thought Horn was brilliant, particularly in a frantic scene in which he recants everything that has happened to him over the last year in quick bursts of exposition.  The dialogue made my head swim; I can’t imagine how the young actor nailed it. Oskar's journeys through the streets of New York bring him into contact with a myriad of helpful people, including a mysterious mute (played by Max Von Sydow), a kindly woman (Viola Davis) and her husband (Jeffrey Wright) who all play heavily into the outcome of Oskar's story.  Naturally he touches everyone he meets with his sad tale. The cynic in me was rolling my eyes at all the coincidences and kindness swirling around the culmination of the movie, but it is a sweet tale. Oskar explains that his obsession to finish the project is his way of extending his last moments with his dad, an understandable sentiment. Hanks and Bullock are the co-stars here, and actually don’t have much screen time compared to Horn, who appears in almost every scene. You can hate the character, but don’t hate the actor. I think he performs exactly as he was supposed to. Part of Oskar's bizarre behavior is a direct result of shouldering the burden of being the sole family member who heard dad's messages on the answering machine on "the worst day." He hides the tape from his mother to save her the anguish. Incidentally, this is the first fictional movie I have seen with 9/11 in it. The scenes are brief, but still packed an emotional wallop. I don’t think that director Stephen Daldry (The Hours, The Reader) exploited the tragedy. If there is any manipulation to be found, it is simply in the story of a young boy losing his father, his manner of death simply complicates things further.  Burying an empty casket doesn’t give Oskar closure, and his resolution of grief is a long time coming. - Shannon

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]]> I suspect this film will be quite polarizing for audiences, but not for the reasons you may think. Though Extremely Loud and Incredibly Close takes place in the days, weeks and months following 9/11, it is essentially devoid of controversy or political overtones. The tragedy serves as a catalyst for the story of one boy’s strange and hopeful odyssey through the city of New York while he searches for a clue that he believes his father left for him before he perished in one of the twin towers. In order to enjoy the movie you have to be able to empathize with or at least tolerate the film’s young protagonist Oskar (Thomas Horn), an extremely unconventional hero who makes this movie a difficult sell. If you find him irritating (which I can completely understand), you will absolutely loathe the film. That’s a real pity, because Horn is amazing as a grieving, anti-social nine year old who has to cope with losing the most important person in his life. His mom (Sandra Bullock) is well meaning, but virtually helpless as she is crippled by grief herself. Oskar throws some misguided resentment and blame on her, further driving a wedge between them. Through a series of flashbacks we see what a wonderful dad (played by Tom Hanks) Oskar had. He cultivates his son’s freakish intelligence with elaborate treasure hunts and secret missions that require intricate mapping and organizational skills.  Dear old dad plants all the clues in advance, and each mission infuses Oskar with confidence. This is also dad’s way of getting Oskar (who may have Asperger’s) to interact with people, something he is reluctant and possibly unable to do on his own. Oskar was almost finished with one of these puzzles when his father was killed on 9/11. What many will find off-putting about Oskar is his seeming lack of emotion, particularly following his father’s death. He is reclusive and downright cruel to his mother sometimes, and he is so matter of fact that it comes across as creepy as times. If Oskar really does have Asperger’s, these emotional detachments would fall under normal behavior for someone with the condition. It also could just be his way of coping with the trauma and loss from “the worst day”, as Oskar chooses to call 9/11.  At any rate, I thought Horn was brilliant, particularly in a frantic scene in which he recants everything that has happened to him over the last year in quick bursts of exposition.  The dialogue made my head swim; I can’t imagine how the young actor nailed it. Oskar's journeys through the streets of New York bring him into contact with a myriad of helpful people, including a mysterious mute (played by Max Von Sydow), a kindly woman (Viola Davis) and her husband (Jeffrey Wright) who all play heavily into the outcome of Oskar's story.  Naturally he touches everyone he meets with his sad tale. The cynic in me was rolling my eyes at all the coincidences and kindness swirling around the culmination of the movie, but it is a sweet tale. Oskar explains that his obsession to finish the project is his way of extending his last moments with his dad, an understandable sentiment. Hanks and Bullock are the co-stars here, and actually don’t have much screen time compared to Horn, who appears in almost every scene. You can hate the character, but don’t hate the actor. I think he performs exactly as he was supposed to. Part of Oskar's bizarre behavior is a direct result of shouldering the burden of being the sole family member who heard dad's messages on the answering machine on "the worst day." He hides the tape from his mother to save her the anguish. Incidentally, this is the first fictional movie I have seen with 9/11 in it. The scenes are brief, but still packed an emotional wallop. I don’t think that director Stephen Daldry (The Hours, The Reader) exploited the tragedy. If there is any manipulation to be found, it is simply in the story of a young boy losing his father, his manner of death simply complicates things further.  Burying an empty casket doesn’t give Oskar closure, and his resolution of grief is a long time coming. - Shannon

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]]> http://www.filmjunk.com/2012/01/20/extremely-loud-and-incredibly-close-review/feed/ Film Junk Podcast Episode #353: Tinker Tailor Soldier Spy and Young Adult http://www.filmjunk.com/2012/01/17/film-junk-podcast-episode-353-tinker-tailor-soldier-spy-and-young-adult/ http://www.filmjunk.com/2012/01/17/film-junk-podcast-episode-353-tinker-tailor-soldier-spy-and-young-adult/#comments Tue, 17 Jan 2012 06:24:14 +0000 Sean http://www.filmjunk.com/?p=69640 0:00 - Intro / Jay's Trip to Florida 17:00 - Headlines: Mark Wahlberg Planning The Fighter 2 Without David O. Russell, Tim Burton to Direct Live-Action Pinocchio, Party Down Movie Confirmed, Police Academy Remake Gets a Director, Catfish Directors to Return for Paranormal Activity 4, Josh Trank to Direct Fantastic Four Reboot? 27:35 - Review: Tinker Tailor Soldier Spy 1:04:15 - Review: Young Adult 1:31:20 - Trailer Trash: Moonrise Kingdom 1:38:00 - Top 5: Most Anticipated Movies of 2012 1:47:50 - Other Stuff We Watched: A Dangerous Method, Paradise Lost 3: Purgatory, Sweet Genius, Winter Wipeout, Rob, The Innkeepers, Boogie Nights, Branded to Kill, The Fifth Element, Bottle Rocket, Rushmore, Contagion, Modern Life, Moneyball, The Town, X-Men: First Class, Paradise Lost 3, Dumbo, The Russia House, The Spy Who Came in from the Cold, Merantau, The Wire 2:25:00 - Junk Mail: Top Actors and Actresses of 2011, Books vs. Film Adaptations, DVD Organization for Mini-series, Family Films Passed Down from Parents, Why Jay Directed a Documentary, Technical Glitches in Documentaries, Charlie Day is the New Bobcat Goldthwaite 2:50:30 - This Week's DVD Releases 2:52:00 - Outro » Download the MP3 (79 MB) » View the show notes » Vote for us on Podcast Alley! » Rate us on iTunes! Subscribe to the podcast feed: RSS iTunes My Yahoo!
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]]> 0:00 - Intro / Jay's Trip to Florida 17:00 - Headlines: Mark Wahlberg Planning The Fighter 2 Without David O. Russell, Tim Burton to Direct Live-Action Pinocchio, Party Down Movie Confirmed, Police Academy Remake Gets a Director, Catfish Directors to Return for Paranormal Activity 4, Josh Trank to Direct Fantastic Four Reboot? 27:35 - Review: Tinker Tailor Soldier Spy 1:04:15 - Review: Young Adult 1:31:20 - Trailer Trash: Moonrise Kingdom 1:38:00 - Top 5: Most Anticipated Movies of 2012 1:47:50 - Other Stuff We Watched: A Dangerous Method, Paradise Lost 3: Purgatory, Sweet Genius, Winter Wipeout, Rob, The Innkeepers, Boogie Nights, Branded to Kill, The Fifth Element, Bottle Rocket, Rushmore, Contagion, Modern Life, Moneyball, The Town, X-Men: First Class, Paradise Lost 3, Dumbo, The Russia House, The Spy Who Came in from the Cold, Merantau, The Wire 2:25:00 - Junk Mail: Top Actors and Actresses of 2011, Books vs. Film Adaptations, DVD Organization for Mini-series, Family Films Passed Down from Parents, Why Jay Directed a Documentary, Technical Glitches in Documentaries, Charlie Day is the New Bobcat Goldthwaite 2:50:30 - This Week's DVD Releases 2:52:00 - Outro » Download the MP3 (79 MB) » View the show notes » Vote for us on Podcast Alley! » Rate us on iTunes! Subscribe to the podcast feed: RSS iTunes My Yahoo!
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]]> http://www.filmjunk.com/2012/01/17/film-junk-podcast-episode-353-tinker-tailor-soldier-spy-and-young-adult/feed/ Film Junk Podcast Episode #351: The Adventures of Tintin, War Horse and Best of 2011 http://www.filmjunk.com/2012/01/02/film-junk-podcast-episode-351-the-adventures-of-tintin-war-horse-and-best-of-2011/ http://www.filmjunk.com/2012/01/02/film-junk-podcast-episode-351-the-adventures-of-tintin-war-horse-and-best-of-2011/#comments Mon, 02 Jan 2012 18:06:24 +0000 Sean http://www.filmjunk.com/?p=68963 0:00 - Intro 6:25 - Review: The Adventures of Tintin: The Secret of the Unicorn 42:45 - Review: War Horse 1:14:45 - Feature: Best and Worst of 2011 2:29:40 - Other Stuff We Watched: Warrior, Project Nim, Senna, A Christmas Carol, Tokyo Drifter, We Need to Talk About Kevin, Carnage, A Lonely Place to Die, Another Earth, Quatermass and the Pit, 1941, I Saw the Devil, Knuckle, Metal: Evolution, The League 3:18:45 - This Week's DVD Releases 3:20:35 - Outro » Download the MP3 (92 MB) » View the show notes » Vote for us on Podcast Alley! » Rate us on iTunes! Subscribe to the podcast feed: RSS iTunes My Yahoo!
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]]> 0:00 - Intro 6:25 - Review: The Adventures of Tintin: The Secret of the Unicorn 42:45 - Review: War Horse 1:14:45 - Feature: Best and Worst of 2011 2:29:40 - Other Stuff We Watched: Warrior, Project Nim, Senna, A Christmas Carol, Tokyo Drifter, We Need to Talk About Kevin, Carnage, A Lonely Place to Die, Another Earth, Quatermass and the Pit, 1941, I Saw the Devil, Knuckle, Metal: Evolution, The League 3:18:45 - This Week's DVD Releases 3:20:35 - Outro » Download the MP3 (92 MB) » View the show notes » Vote for us on Podcast Alley! » Rate us on iTunes! Subscribe to the podcast feed: RSS iTunes My Yahoo!
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]]> http://www.filmjunk.com/2012/01/02/film-junk-podcast-episode-351-the-adventures-of-tintin-war-horse-and-best-of-2011/feed/