Enjoyed the series, but the one-eyed cyborg fighters at the end looked an awful lot like the mannequin soldiers created by. Amestris, using the incomplete . The character of D. A. Sinclair looked a lot like Solf J. Kimblee, too.
Reviews
10 Reviews
Invincible
(2021– )
Seems like it stole a bit from Fullmetal Alchemist:Brotherhood at the end
6 October 2021
The Devil Is a Part-Timer!
(2013–2023)
A slice and a twist
27 January 2015
I absolutely loved this show. From the start it seemed to be an interesting twist on a common theme: a slice-of-life show, but not about high school-age kids, and with the twist that all the characters are supernatural beings from another reality. The only exception to this was Chiho, a 16-year-old high school girl and fellow part timer of Maou-sama's (whose Japanese name is Sadao) at "MgRonalds." Blessedly the anime only visited there once, and at night, in search of a place where Maou might gain some magic.
For once, the protagonist is not a hapless, nervous, inexperienced adolescent, but a 300-year-old being that had been on the verge of conquering an entire world. What a pleasure to have a lead that isn't constantly blushing, falling down, and apologizing, but instead is confident but not arrogant, and quickly grasps the situation whatever it might be.
His antagonist is The Hero, Emilia Justina, whose village and quiet family life were wiped out by Sadao's demon armies, and who is sworn to destroy him. However, in Japan, she is puzzled as to why a being intent on conquering his world by iron and fire would suddenly become considerate and helpful in our world, and rapidly advance in the ranks of fast-food employees.
I don't know why either, but it's a wonderful thematic ju-jitsu, leaving everyone from the "good" side of Ente Isla (their homeland) striving to defeat Sadao, while on his part he seems to be far more interested in being a success in his job at MgRonald's. It's never explained, and it never may be explained, but it's a great source of humor.
I haven't yet listened to the Japanese dub yet, but the English dub is great. Nice to see such voice talent without any of the usual suspects in sight, and the "topical" humor is still old enough that everyone has heard it. In one episode a character remarks that the Internet was like "a series of magical tubes,", and in another one of Sadao's generals overhears The Hero and another character badmouthing Sadao in the "Sentucky Fried Chicken" restaurant, and interrupts them with "I WOULD NOT SAY SUCH THINGS IF I WERE YOU!!!" -- straight from "The Princess Bride." I almost fell off the couch.
I just bought my copy in HD video from Amazon. Perhaps a second season will be made. I haven't read the manga yet, so I don't know where the anime ended up, but I'll follow up with that ASAP. This show is a truly original modification of a classic type of anime.
For once, the protagonist is not a hapless, nervous, inexperienced adolescent, but a 300-year-old being that had been on the verge of conquering an entire world. What a pleasure to have a lead that isn't constantly blushing, falling down, and apologizing, but instead is confident but not arrogant, and quickly grasps the situation whatever it might be.
His antagonist is The Hero, Emilia Justina, whose village and quiet family life were wiped out by Sadao's demon armies, and who is sworn to destroy him. However, in Japan, she is puzzled as to why a being intent on conquering his world by iron and fire would suddenly become considerate and helpful in our world, and rapidly advance in the ranks of fast-food employees.
I don't know why either, but it's a wonderful thematic ju-jitsu, leaving everyone from the "good" side of Ente Isla (their homeland) striving to defeat Sadao, while on his part he seems to be far more interested in being a success in his job at MgRonald's. It's never explained, and it never may be explained, but it's a great source of humor.
I haven't yet listened to the Japanese dub yet, but the English dub is great. Nice to see such voice talent without any of the usual suspects in sight, and the "topical" humor is still old enough that everyone has heard it. In one episode a character remarks that the Internet was like "a series of magical tubes,", and in another one of Sadao's generals overhears The Hero and another character badmouthing Sadao in the "Sentucky Fried Chicken" restaurant, and interrupts them with "I WOULD NOT SAY SUCH THINGS IF I WERE YOU!!!" -- straight from "The Princess Bride." I almost fell off the couch.
I just bought my copy in HD video from Amazon. Perhaps a second season will be made. I haven't read the manga yet, so I don't know where the anime ended up, but I'll follow up with that ASAP. This show is a truly original modification of a classic type of anime.
American Warships
(2012 Video)
High concept needed more money to make it work
25 October 2013
This movie may have come out at the same time as the movie "Battleship," but it had a lot more thought behind it than the bigger-budget movie based on a '60s board game.
First off, ignore the cast and special effects, and consider the plot: The USS Enterprise carrier group is sunk in minutes by an unknown enemy after its electronics are disabled by an "EMP weapon," barely giving them time to send out a mayday. Only a large debris field is found by satellite. The USS Iowa is in the area on her farewell goodwill tour, and happens to be nearby when an island whose ownership is disputed by North Korea is attacked by missiles and destroyed by the same unknown enemy.
The Iowa engages the enemy, which seems to be not only Stealth-enabled, but actually invisible to the naked eye, though they do appear when they launch their missile attacks. The Iowa is also attacked with the EMP weapon, but thanks to the ship's legacy 1940's no-computer technology, and the presence of a skilled team of naval historians on board to restore the Iowa to her WWII condition for her new destiny as a floating museum, she is still able to fight on in her not-inconsiderate WWII level of combat readiness.
As the captain, crew (and hesitant Admiral) attempt to maintain contact with the enemy until reinforcements arrive, they try to figure out who is behind the attacks.
The CG effects are pretty bad. The acting is not much better. But the idea that the low-tech -- yet formidably-armed -- Iowa might be the best possible fighting platform against a technologically-advanced enemy is a concept worthy of better treatment. Certainly better than "Battleship" provided.
First off, ignore the cast and special effects, and consider the plot: The USS Enterprise carrier group is sunk in minutes by an unknown enemy after its electronics are disabled by an "EMP weapon," barely giving them time to send out a mayday. Only a large debris field is found by satellite. The USS Iowa is in the area on her farewell goodwill tour, and happens to be nearby when an island whose ownership is disputed by North Korea is attacked by missiles and destroyed by the same unknown enemy.
The Iowa engages the enemy, which seems to be not only Stealth-enabled, but actually invisible to the naked eye, though they do appear when they launch their missile attacks. The Iowa is also attacked with the EMP weapon, but thanks to the ship's legacy 1940's no-computer technology, and the presence of a skilled team of naval historians on board to restore the Iowa to her WWII condition for her new destiny as a floating museum, she is still able to fight on in her not-inconsiderate WWII level of combat readiness.
As the captain, crew (and hesitant Admiral) attempt to maintain contact with the enemy until reinforcements arrive, they try to figure out who is behind the attacks.
The CG effects are pretty bad. The acting is not much better. But the idea that the low-tech -- yet formidably-armed -- Iowa might be the best possible fighting platform against a technologically-advanced enemy is a concept worthy of better treatment. Certainly better than "Battleship" provided.
Vandread
(2000–2001)
Men are from Taraak, Women are from Mejere
12 November 2012
Warning: Spoilers
I see it's been six years since anybody commented on this nifty little series, so I'll toss out my opinion just to keep the page fresh.
This series was suggested to me by Netflix's preference engine, so I took a look at the first episode to see what it was about. The Netflix version is dubbed, of course, and the first character you hear, right off the start, is The Premiere, voiced by Beau Billingslea (Jet Black from Cowboy Bebop) at the top of his lungs, exhorting the men of Taraak to go forth into battle against the evil women of Mejere. Hearing ol' Jet again was a plus mark that kept me going for a bit longer, at least.
The story is that at some point in the past the human race in this solar system split off into "The Planet of the Men" (Taraak) and "The Planet of the Women" (Mejere), and are engaged in constant warfare. We see how the women are portrayed from the men's point of view: as medieval-looking demons sending men into helpless fits of terror.
Next we're introduced to our hero, Hibiki Tokai, a loud-mouthed "third-class citizen" who labors on the assembly line of the Vanguards -- the mecha fighter of the men -- and has bet his fellow workers he will steal one right off the ship in which they are being loaded for the latest assault against the women.
I was not crazy about Hibiki's English voice actor, who I thought was overly loud and all shouty-like, but he's supposed to be a hothead, so OK. Hibiki makes his way onto the ship, and just as he's about to climb into his Vanguard, the ship launches early due to the excitement of The Premiere, who advances the launch by two hours.
The ship is launched, Hibiki is discovered and tossed into the brig, "for immediate execution," and then the women attack, in the form of pirates assaulting the just-launched battleship. The pirates take the ship, manned as it is only by trainees and cadets, and immediately (and humanely) evacuate them off the ship. The Premiere, not wanting to surrender the ship to the women, orders it to be torpedoed instead.
Hibiki and two other men -- Bart Garsus, the fast-talking son of a food contractor for the ship, and Duelo McFile, a doctor (voiced by the immortal Stephen Blum) -- are left on the ship in the confusion of the torpedo attack and are quickly rounded up by the women. The explosion sends the pirate ship and the battleship into a wormhole, leaving them far from home, and also activates the mysterious power center of the battleship, the Paksis Pragma, which both combines and transforms the two ships and their equipment.
The mutual discovery of the reality of men and women to each group give the show its dramatic engine, but is not treated in a simplistic manner. Both sides actually believe the propaganda they've heard about the other group, and aren't aware that they are really just male and female humans... except for the pirate's captain, an older woman who seems to have knowledge of a time when men and women weren't separated.
What I enjoyed about this voyage of mutual discovery is that, even in the generations that the sexes have been separate, the spark of interest hadn't disappeared. Almost against their will, the men and women find one another interesting -- especially Dita Liebely, a young pirate Dread (the women's mecha fighters) pilot who takes an instant liking to Hibiki, calling him "Mr. Alien," much to his annoyance. Young doctor Duelo also finds himself forming a friendship with Parfet Balblair, the pirate's chief engineer, while Bart develops an unrequited interest in the pirate second-in-commend, Buzam Calessa.
There are space battles galore, and the surviving Vanguard piloted by Hibiki demonstrates a new ability to "merge" with the pirate's Dreads to form hybrid Vandreads with new, superior capabilities. Lots of humor is derived from the pirates' eagerness (with one notable exception)to "merge" with Hibiki in battle -- at one point Dita spreads her arms and joyfully shouts "Come and get me, Mr. Alien!"
All in all a fun, two-season ride with a group of young men and women rediscovering their human heritage as they battle an implacable enemy intent on destroying their home planets. Season One shows the discovery of The Harvesters and their ultimate goal concerning Mejere and Taraak, and Season Two covers the return home, their reception by their respective planets, and the final battle.
There's humor, sadness, combat, sacrifice, and pretty much every other human emotion in this series, and good English voice acting as well.
My favorite all-time moment: in episode five, "Sweet Temptation," Dita tries to spray-paint another Vanguard pink for a mission in which the women will be flying them, because of their ability to land on a planet's surface. Hibiki, horrified, jumps between her and the Vanguard to stop her, and takes the pink paint full-blast. As Dita coos "A pink alien! How cuuuuuute!" the animation zooms into her delighted face with the absolutely most super-cute expression ever in anime. I swear. Check it out, you'll agree with me.
Catch it on Netflix while it lasts.
This series was suggested to me by Netflix's preference engine, so I took a look at the first episode to see what it was about. The Netflix version is dubbed, of course, and the first character you hear, right off the start, is The Premiere, voiced by Beau Billingslea (Jet Black from Cowboy Bebop) at the top of his lungs, exhorting the men of Taraak to go forth into battle against the evil women of Mejere. Hearing ol' Jet again was a plus mark that kept me going for a bit longer, at least.
The story is that at some point in the past the human race in this solar system split off into "The Planet of the Men" (Taraak) and "The Planet of the Women" (Mejere), and are engaged in constant warfare. We see how the women are portrayed from the men's point of view: as medieval-looking demons sending men into helpless fits of terror.
Next we're introduced to our hero, Hibiki Tokai, a loud-mouthed "third-class citizen" who labors on the assembly line of the Vanguards -- the mecha fighter of the men -- and has bet his fellow workers he will steal one right off the ship in which they are being loaded for the latest assault against the women.
I was not crazy about Hibiki's English voice actor, who I thought was overly loud and all shouty-like, but he's supposed to be a hothead, so OK. Hibiki makes his way onto the ship, and just as he's about to climb into his Vanguard, the ship launches early due to the excitement of The Premiere, who advances the launch by two hours.
The ship is launched, Hibiki is discovered and tossed into the brig, "for immediate execution," and then the women attack, in the form of pirates assaulting the just-launched battleship. The pirates take the ship, manned as it is only by trainees and cadets, and immediately (and humanely) evacuate them off the ship. The Premiere, not wanting to surrender the ship to the women, orders it to be torpedoed instead.
Hibiki and two other men -- Bart Garsus, the fast-talking son of a food contractor for the ship, and Duelo McFile, a doctor (voiced by the immortal Stephen Blum) -- are left on the ship in the confusion of the torpedo attack and are quickly rounded up by the women. The explosion sends the pirate ship and the battleship into a wormhole, leaving them far from home, and also activates the mysterious power center of the battleship, the Paksis Pragma, which both combines and transforms the two ships and their equipment.
The mutual discovery of the reality of men and women to each group give the show its dramatic engine, but is not treated in a simplistic manner. Both sides actually believe the propaganda they've heard about the other group, and aren't aware that they are really just male and female humans... except for the pirate's captain, an older woman who seems to have knowledge of a time when men and women weren't separated.
What I enjoyed about this voyage of mutual discovery is that, even in the generations that the sexes have been separate, the spark of interest hadn't disappeared. Almost against their will, the men and women find one another interesting -- especially Dita Liebely, a young pirate Dread (the women's mecha fighters) pilot who takes an instant liking to Hibiki, calling him "Mr. Alien," much to his annoyance. Young doctor Duelo also finds himself forming a friendship with Parfet Balblair, the pirate's chief engineer, while Bart develops an unrequited interest in the pirate second-in-commend, Buzam Calessa.
There are space battles galore, and the surviving Vanguard piloted by Hibiki demonstrates a new ability to "merge" with the pirate's Dreads to form hybrid Vandreads with new, superior capabilities. Lots of humor is derived from the pirates' eagerness (with one notable exception)to "merge" with Hibiki in battle -- at one point Dita spreads her arms and joyfully shouts "Come and get me, Mr. Alien!"
All in all a fun, two-season ride with a group of young men and women rediscovering their human heritage as they battle an implacable enemy intent on destroying their home planets. Season One shows the discovery of The Harvesters and their ultimate goal concerning Mejere and Taraak, and Season Two covers the return home, their reception by their respective planets, and the final battle.
There's humor, sadness, combat, sacrifice, and pretty much every other human emotion in this series, and good English voice acting as well.
My favorite all-time moment: in episode five, "Sweet Temptation," Dita tries to spray-paint another Vanguard pink for a mission in which the women will be flying them, because of their ability to land on a planet's surface. Hibiki, horrified, jumps between her and the Vanguard to stop her, and takes the pink paint full-blast. As Dita coos "A pink alien! How cuuuuuute!" the animation zooms into her delighted face with the absolutely most super-cute expression ever in anime. I swear. Check it out, you'll agree with me.
Catch it on Netflix while it lasts.
Moon
(2009)
Bad science ruins this movie
19 October 2010
Warning: Spoilers
Bad science ruins this film.
First off, the clones. Unless clones and the supporting technology are ridiculously cheap, why would it be more cost-effective to keep an army of clones in reserve rather than put more people on the moon to take care of the base and each other? Previous hard SF treatments of industrial work in outer space always depended on the eccentricities of people to find those who were willing to work in extreme environments for long periods of time. Robert Heinlen was famous for his "space hardhat" individuals like "The Green Hills of Earth"'s Rhysling and the construction workers in "Delilah and the Space Riggers." J. T. McIntosh's "Hallucination Orbit" even goes so far as to put men in orbit around Pluto for up to seven years, figuring they'd do it for the money even knowing the dangers of such isolation.
This screenplay treats humans as so vulnerable that a three-year stint only light-seconds from Earth is beyond their capacity, and so expendable that the corporation is willing to kill someone every three years rather than spend the money to replace them via ship or just have a few more people around. If the technology exists to fuse He-3 and create clones with implanted memories, why wouldn't it be a simple matter to just replace a crew every few months? What about the original Sam Bell? Why would he be willing to let copies of himself be killed every three years? Rather than a study of what makes a human being, this is more a representation of what happens when human life becomes cheap. Do the clones have no rights? Does Earth even know about this process? Apparently not, given the voice-overs at the end of the movie, which makes one wonder why the corporation is wasting this technology to produce throwaway superintendents rather than getting rich in the medical line.
At only one point did the movie engage my emotions, and that was when clone-Sam-1 had the conversation with "his" teenage daughter and realized that his whole life had just been stolen from him. Maybe if the script had dealt with a few of these side issues, and then focused on how people would truly behave to discover that their lives were a fraud and of no worth, then perhaps we would have had a great film.
Instead, we are left with a superficial treatment that might have made a good 30 minute "Twilight Zone" episode.
First off, the clones. Unless clones and the supporting technology are ridiculously cheap, why would it be more cost-effective to keep an army of clones in reserve rather than put more people on the moon to take care of the base and each other? Previous hard SF treatments of industrial work in outer space always depended on the eccentricities of people to find those who were willing to work in extreme environments for long periods of time. Robert Heinlen was famous for his "space hardhat" individuals like "The Green Hills of Earth"'s Rhysling and the construction workers in "Delilah and the Space Riggers." J. T. McIntosh's "Hallucination Orbit" even goes so far as to put men in orbit around Pluto for up to seven years, figuring they'd do it for the money even knowing the dangers of such isolation.
This screenplay treats humans as so vulnerable that a three-year stint only light-seconds from Earth is beyond their capacity, and so expendable that the corporation is willing to kill someone every three years rather than spend the money to replace them via ship or just have a few more people around. If the technology exists to fuse He-3 and create clones with implanted memories, why wouldn't it be a simple matter to just replace a crew every few months? What about the original Sam Bell? Why would he be willing to let copies of himself be killed every three years? Rather than a study of what makes a human being, this is more a representation of what happens when human life becomes cheap. Do the clones have no rights? Does Earth even know about this process? Apparently not, given the voice-overs at the end of the movie, which makes one wonder why the corporation is wasting this technology to produce throwaway superintendents rather than getting rich in the medical line.
At only one point did the movie engage my emotions, and that was when clone-Sam-1 had the conversation with "his" teenage daughter and realized that his whole life had just been stolen from him. Maybe if the script had dealt with a few of these side issues, and then focused on how people would truly behave to discover that their lives were a fraud and of no worth, then perhaps we would have had a great film.
Instead, we are left with a superficial treatment that might have made a good 30 minute "Twilight Zone" episode.
Blood Alley
(1955)
"Blood Alley" not the Formosa Straits
31 January 2010
Others have reviewed this film better than I could, but I would like to point out one misconception I've seen in a couple of places: "Blood Alley" is not the Formosa Straits.
The Straits are approximately 420 miles ENE of Hong Kong, and are 118 miles wide at its widest point, which is practically the open sea. It's also nearly 250 miles from the end of the Straits to Hong Kong, which definitely would be open sea. The movie makes it clear that the refugees are moving 300 miles downriver to escape to Hong Kong, and at one point John Wayne's character worries about about what might happen to the boat in any kind of real waves.
Most likely "Blood Alley" is the Pearl River, which is China's third longest river after the Yangtze and Yellow, second largest in terms of volume, and does empty into the sea at Hong Kong. The delta near Hong Kong is wide and deep enough for the Chinese warship that was firing at the refugees later in the film. (Terrible shots weren't they?) The refugees also would have been following the east side of the delta rather than what appeared on Wayne's hand-drawn chart to be the west side, but hey -- it's the movies.
The Straits are approximately 420 miles ENE of Hong Kong, and are 118 miles wide at its widest point, which is practically the open sea. It's also nearly 250 miles from the end of the Straits to Hong Kong, which definitely would be open sea. The movie makes it clear that the refugees are moving 300 miles downriver to escape to Hong Kong, and at one point John Wayne's character worries about about what might happen to the boat in any kind of real waves.
Most likely "Blood Alley" is the Pearl River, which is China's third longest river after the Yangtze and Yellow, second largest in terms of volume, and does empty into the sea at Hong Kong. The delta near Hong Kong is wide and deep enough for the Chinese warship that was firing at the refugees later in the film. (Terrible shots weren't they?) The refugees also would have been following the east side of the delta rather than what appeared on Wayne's hand-drawn chart to be the west side, but hey -- it's the movies.
Tom Goes to the Mayor
(2004–2006)
Someone knew where the skeletons at Williams Street were hidden
2 January 2005
This program reeks. But, I suppose if you found the humor stylings of "Fernwood 2Night" hysterical, and then thought that a poorly animated version of it would be even better, then this show is for you.
Actually, "animation" is too strong a word here, since hardly anything in a shot ever moves: "South Park" looks like "Finding Nemo" in comparison.
Because of the nature of a bell curve, you can be sure that any offering, no matter how poorly-executed, will find an audience that finds it "groundbreaking." "Tom Goes To The Mayor" is no exception, but don't be fooled by that tenth of a percent of a standard deviation of the Adult Swim population that is enthusiastic about it.
It's just not funny at all, and we can only hope that Adult Swim finds something worthwhile with which to fill its spot.
Perhaps a spin off of "Super Milk-Chan"?
Actually, "animation" is too strong a word here, since hardly anything in a shot ever moves: "South Park" looks like "Finding Nemo" in comparison.
Because of the nature of a bell curve, you can be sure that any offering, no matter how poorly-executed, will find an audience that finds it "groundbreaking." "Tom Goes To The Mayor" is no exception, but don't be fooled by that tenth of a percent of a standard deviation of the Adult Swim population that is enthusiastic about it.
It's just not funny at all, and we can only hope that Adult Swim finds something worthwhile with which to fill its spot.
Perhaps a spin off of "Super Milk-Chan"?
Van Helsing
(2004)
Have you all forgotten the classic Hammer Films movies?
21 November 2004
This movie is what Hammer Films would be doing today if they were still making their stylish horror movies of the '70s. Hammer never saw a Dracula script they didn't like; and while Jackman and Roxburgh aren't Cushing and Lee, they did a good job of revisiting the stylish romps that were Hammer's forte.
Actually, I think that Roxburgh did a better job of revisiting Dracula as the stylish sexpot vampire than Jackman did with Van Helsing's usually staid, intellectual vampire hunter -- but given the modern taste for physical action over cerebral matchups, it's understandable that there's more room to "give" in the Van Helsing character.
If you'd like to see a new twist on the Dracula legend, with some pretty good CG to fill in the special effects in a way that Hammer could only dream of, then give this movie a watch.
Personally, I'd like to see another pairing of Jackman and Roxburgh -- after all, as many times as Peter Cushing did in Christopher Lee, Dracula always found a way to return again.
Actually, I think that Roxburgh did a better job of revisiting Dracula as the stylish sexpot vampire than Jackman did with Van Helsing's usually staid, intellectual vampire hunter -- but given the modern taste for physical action over cerebral matchups, it's understandable that there's more room to "give" in the Van Helsing character.
If you'd like to see a new twist on the Dracula legend, with some pretty good CG to fill in the special effects in a way that Hammer could only dream of, then give this movie a watch.
Personally, I'd like to see another pairing of Jackman and Roxburgh -- after all, as many times as Peter Cushing did in Christopher Lee, Dracula always found a way to return again.
Antz
(1998)
Double pun in the title?
3 November 2004
I don't really have an analysis of the film to add, except to say that I really enjoyed it. Instead, I'd like to comment on the double pun (or perhaps just a triple meaning) within the title itself.
"Antz" can be looked at in three ways: a cute misspelling of the plural of "Ant"; a statement of the name of the protagonist, "Ant Z"; and a description of how he felt about his place in society, "Ant-z" (antsy).
I don't know that the writers meant this, but it seems too improbable to be just a coincidence. Fodder for a film class debate, I suppose.
"Antz" can be looked at in three ways: a cute misspelling of the plural of "Ant"; a statement of the name of the protagonist, "Ant Z"; and a description of how he felt about his place in society, "Ant-z" (antsy).
I don't know that the writers meant this, but it seems too improbable to be just a coincidence. Fodder for a film class debate, I suppose.
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