DVDs vs. Piracy

I want to make it clear that I don’t condone piracy (of the digital or high-seas version, outside of the silly over-romanticized modern view of historical pirates). However, there’s a very real truth in this graphic (found via BoingBoing):

No Olympics For Us

While it’s not quite to the point of being what I’d call a “boycott,” it’s looking like the chances are extremely slim that we’re going to be watching much of this year’s Olympic coverage. We’d like to, but NBC has done a marvelous job of ensuring that we either can’t watch, or when we can, we don’t want to.

We just tried to watch some of this afternoon’s coverage. In the roughly fifteen minutes before we couldn’t take it any longer, we saw three commercial breaks, four talking heads (with audio lagging about a second behind the video feed), a bit of an interview with the first medalist from this year’s games, and eight-year-old footage from that same athlete’s first win in 2002. We listened to Bob Costas tell us that he was in Vancouver and that there were sports going on. We heard — again — about the accidental death on the luge track. We heard an interviewer ask an athlete “how he did it” after winning (um, he practiced his ass off, you idiot — why are sports interviewers always at the very bottom of the “stupid interview question” scale?).

What we didn’t see was any actual sports footage.

Oh, how I miss watching the last Summer Olympics on CBC, the Canadian network that Comcast carries locally. Their coverage was leagues better than anything NBC had: fewer inane talking heads (which can be interpreted as fewer talking heads overall or less inanity from the talking heads they had, either of which is an acceptable and correct reading); less “we’re the only country that matters” mentality; comprehensive coverage of all sorts of sports, even those that are less massively popular; and coverage that wasn’t constantly cut into with edits, updates, promises of what’s to come, and commercials (we spent one afternoon watching an entire marathon nearly commercial free, in part because we could, and in part because it was far more interesting than we’d ever realized, simply by virtue of actually being able to watch it). The realization that CBC wouldn’t be broadcasting the Olympics this year — and, further, that the Canadian network that got the contract isn’t viewable locally — was a sad one indeed.

Lately, we’ve been enjoying my new computer’s ability to watch streaming video sites like Hulu and Netflix, so I went to the NBC Olympics site to see what was available there. They’re posting a number of videos of stuff that has already happened, but prominently displayed on the main page is a live video stream (only active at particular times and for particular events, however). I click that, and am asked to tell NBC who my cable or Internet provider is. Apparently, NBC will only serve the live video to customers of certain other companies that they have contracts with. Annoying, but hey, Comcast is right near the top of the list, and we have Comcast cable, so we should be good.

After choosing Comcast, I get directed to a Comcast login page. I log in to Comcast, and they direct me back to the video stream…which tells me I’m not eligible. What? I go through the process again, and this time, work my way through until I discover that even though NBC has a contract with Comcast, and even though I’m a Comcast cable subscriber, I’m not the right kind of Comcast cable subscriber.

See, Prairie and I don’t watch a ton of TV, don’t see the need to pay ridiculous amounts of money for hundreds of channels we’ll never watch, and don’t even have a digital TV — both of our TVs are old, square, analog sets. So, there’s no reason for us to subscribe to digital cable, and we’re quite happy with our $15/month bare bones, completely basic, plug-the-cable-into-the-back-of-the-TV-set package (and honestly, we wouldn’t even bother with that if we got decent over-the-air reception with a digital receiver box, but OTA digital TV is essentially nonexistent in the Kent Valley). However, it appears that Comcast has decided that people like us don’t count, and is only sending the video streams to customers who subscribe to a digital cable package.

Crappy.

Out of curiosity, I took a look at Comcast’s website — and after poking around there, I think that digital cable prices might be one of the biggest arguments against upgrading our TVs until we absolutely have to (when they die, that is). Right now, we’re paying $15/month for a bare-bones package that serves us more than adequately — in fact, we only pay attention to about 7 of the 30-some channels that are part of the package, so there’s an argument to be made that even now, we’re over paying. If we were to upgrade to a digital cable package, the least expensive package available is $60 a month! Of course, what the website says is $30/month, but that’s only for the first six months. I can’t think of any reason why I’d want to quadruple what I’m currently paying so that I can have more crap that I’m not interested in piped into my home, no matter how pretty it is or how much of it has surround sound.

Further down the page, they mention a “Digital Economy Package,” apparently aimed at people like us, that actually is $30/month — but, of course, you can only get that if you also get your phone and/or internet through Comcast, which we don’t. So, once again, that’s not an option.

(Heading off counter-arguments: satellite TV isn’t an option, our apartment faces the wrong direction; and outlying the money for a HTPC/Media Center of some sort isn’t a realistic option for both budgetary reasons and that nagging little fact that we’re still using “old school” TV sets. I’ve got a very nice Sony TV set that’s only eight years old, and my parents have a Sony TV set that’s in its 30s and still working, so we may well not be upgrading our hardware for a long time to come.)

The end result of all of this? NBC can bite me, Comcast can bite me, and the Olympics — well, it’s not really their fault, but come on.

Best Movies of the Decade

Three lists follow, all yoinked from Slashfilm: first and second, the best-reviewed movies of the decade (10 from Metacritic and 20 from Rotten Tomatoes), third, the IMDb top 25 movies of the decade. For each list, I’ve italicized the films I’ve seen, and bold italicized the films we have in our movie collection at home (in other words, both seen and enjoyed enough to keep). I’ve also tossed in links to searches on my blog to mentions or reviews of the films I’ve seen, when possible.

Metacritic’s Top 10 Best-Reviewed Movies of the Decade

  1. Pan’s Labyrinth (2006)

  2. Ratatouille (2007) (Cute, but has the usual Pixar problem.)

  3. Spirited Away (2002)

  4. The Lord of the Rings: The Return of the King (2003) (As with the entire LotR series, TRotK gets quite a few mentions.)

  5. Sideways (2004)

  6. WALL-E (2008) (Once again, the Pixar problem.)

  7. Crouching Tiger, Hidden Dragon (2000)

  8. There Will Be Blood (2007)

  9. The Lord of the Rings: The Fellowship of the Ring (2001) (Many mentions of TFotR have appeared over the years.)

  10. The Queen (2006)

Rotten Tomatoes: Top 20 Best Reviewed Films of the Decade (minimum 100 reviews)

  1. Man On Wire

  2. Up (Cute at times, but on the whole, we didn’t like it.)

  3. The Wrestler

  4. Finding Nemo (My original review stands, but…well, by now, you know what the “but” is.)

  5. The Hurt Locker

  6. Let the Right One In

  7. Spellbound

  8. Chicken Run

  9. Murderball

  10. The Fog of War

  11. Anvil! The Story of Anvil

  12. The Band’s Visit

  13. The Incredibles (I love the film, but…am I beating a dead horse yet?)

  14. Sideways

  15. The Queen

  16. Spirited Away

  17. Once

  18. Capturing the Friedmans

  19. Maria Full of Grace

  20. Winged Migration

IMDb’s Top 25 Movies of the Decade

  1. The Dark Knight (2008)

  2. The Lord of the Rings: The Return of the King (2003)

  3. City of God (2002)

  4. The Lord of the Rings: The Fellowship of the Ring (2001)

  5. Avatar (2009)

  6. Memento (2000) (One brief, rambling review from when I fist saw it. Used to own this one, would like to again.)

  7. The Lord of the Rings: The Two Towers (2002) (Once again, many mentions.)

  8. WALL·E (2008)

  9. Amélie (2001)

  10. The Departed (2006)

  11. The Pianist (2002)

  12. Spirited Away (2001)

  13. The Lives of Others (2006)

  14. Eternal Sunshine of the Spotless Mind (2004) (One very brief blurb.)

  15. Requiem for a Dream (2000) (A brief mention from when I bought the DVD. Don’t have the DVD anymore, but this is another I’d like to have in my collection again.)

  16. Inglourious Basterds (2009)

  17. Up (2009)

  18. Pan’s Labyrinth (2006)

  19. The Prestige (2006)

  20. Slumdog Millionaire (2008)

  21. Downfall (2004)

  22. Gran Torino (2008)

  23. Sin City (2005)

  24. District 9 (2009)

  25. Batman Begins (2005)

I haven’t been keeping up with my movie watching, have I?

Things That Bugged Me About ‘Up’

To start with, a list of things that I liked about Pixar‘s Up:

  • The animation, as always in a Pixar film, was gorgeous.
  • The opening ten minutes or so were some of the sweetest, saddest, and most touching work I’ve seen Pixar do since Jesse’s song (“When She Loved Me“) in Toy Story 2. Yes, I got sniffly.
  • There were a number of funny bits that got laughs out of me.

But, as I tweeted yesterday, I didn’t end up liking the film as a whole very much. What a tragic, depressing film.

  • Lesson number one: heroes will let you down. After spending his life idolizing the explorer, Carl finds him only to discover that he’s a greedy, obsessed murderous bastard with no redeeming qualities at all. Russell obviously idolized his father, and yet the failure of his father was a recurring theme, which ties right into…

  • Lesson number two: fathers also let you down. All we know about Russell’s father is that he’s been increasingly distant, to the point of being essentially nonexistent, until eventually Carl becomes a surrogate father for Russell.

  • What’s up with Russell’s family, anyway? We spend the entire film hearing about his absent father. There’s not a single moment of worry about Russell’s sudden disappearance when he inadvertently flies away with Carl. At no point do Carl or Russell show any concern about Russell missing his family, or his family missing him. The entire movie had me convinced that Russell was the child of a single-parent family, whose father had grown so distant that there was virtually no emotional bond between them whatsoever, given Russell’s lack of concern about his (admittedly inadvertent) kidnapping by Carl…but then, during the Wilderness Explorer award ceremony, suddenly Russell’s mother is sitting in the audience. He has a mother? What was she thinking during the time that her kid disappeared? Why was she so willing to allow Russell to continue his association with the old coot who kidnapped him, took him to South America, and nearly got him killed?

  • And, finally, there’s the familiar soapbox of Pixar’s roles for women. Let’s run down the women in Up.

    • Ellie. Initially, she’s one of the best female roles we’ve seen yet. As a child, she’s the stronger of the two main characters, taking the lead in her interactions with Carl, avoiding traditional gender stereotypes by fixating on the explorer and dreaming about adventuring around the world, and becoming one of the few Pixar characters available for little girls to look to and emulate.

      Then she marries Carl, grows old, and dies.

      Sure, it’s her memory that helps to prompt Carl to go on his adventure, but she’s not part of this adventure. Her only “adventure” in life was to get married. It’s sweet and all, and many of the moments where we see Carl missing her are very touching, but still…she spends the entire movie dead.

    • Kevin. A bird whose role is essentially comic relief and plot point, given a male name.

    • Russell’s mom. Never referred to, and only seen for a few seconds at the end of the film. As if that’s not bad enough, she wasn’t even allowed to be the proud parent awarding Russell his “Assisting the Elderly” badge when his father didn’t show up — rather, she sat passively out in the audience, apparently willing to allow Russell to be humiliated, until Carl shows up to act as a surrogate father and save the day.

      If Pixar wanted to have Carl step in, then why not have her on stage with Russell for the ceremony, then have Carl politely ask her for permission? Or why couldn’t Carl be in the audience, and have him give Russell Ellie’s pin afterwards, when it’s just Carl, Russell, and Russell’s mom? Why not find some way to arrange things that wouldn’t involve further marginalizing the mother?

  • How did the explorer get all those dogs? He must have added cloning to his list of achievements, as as far as we can tell, every one of those dogs was male. (Okay, you could make an argument that he only gave the translation collars male voices…but why bother to make multiple distinct voices for different dogs, but not bother to make girl voices for the girl dogs? I stand by my assumption that every dog on that ship was a male.)

  • The dogs flying little airplanes went too far. Until that point, all of those dogs were still dogs doing dog things, simply with the added comedy of the translation collars allowing us to hear what they were saying. Once they got in the airplanes, though, they broke the rules of the world that had already been established.

So, once again, we gave Pixar a chance, and once again, we were roundly unimpressed.

AMC Theaters OKs Bringing In Drinks and Snacks

Well, no, they don’t. However, they sure seem to be encouraging it, even if that’s not their intent.

This morning, Prairie and I went to see a matinee showing of The Princess and the Frog, Disney’s latest traditionally animated film. The film itself was a lot of fun, and we both loved being able to go out and see real animation on the big screen, something that happens all too rarely in these days of CGI and 3D gimmickry.

Unfortunately, as much as we enjoyed the film itself, we’re running out of reasons to bother with actual theaters, rather than waiting for video. The latest eye-rolling bit of obnoxiousness? It seems that AMC Theatres has discontinued all “small” sizes of drinks and candy.

When I went to the snack bar, planning on getting a small soda, the menu board had a blank spot under the “small” column for both drinks and candy. Scoping out the sales stations, I noticed that while they all had spaces for three sizes of cups by their soda fountains, only two were stocked. Asking the soda jockey behind the counter confirmed it: AMC is “reconfiguring” their snack bar options, and there are now only two sizes of drinks, medium and large.

While even the small drinks weren’t all that small before hand, it appears that now, the smallest size fountain soda you can get is a 32oz bucket, for $4.25. I have no real idea what they’ve done with their candy lineup, but I’m betting they just re-labeled all the “small” boxes to “mediums”, and knocked the larger “medium” boxes up to “large”.

Just one more reason (along with the barrage of ads euphemistically described as “pre-show entertainment,” the crappy customer service provided by the staff of most theaters, and the absolute lack of public decorum from the majority of other moviegoers) why my theater-going experience is going to be ever more rare. On those rare occasions when I do go — both Prairie and I are thinking that we want to see the 3D version of Tim Burton’s Alice in Wonderland, which will be our first modern theatrical 3D experience (no, I’m not planning on seeing Avatar in 3D…at this point, I’m not planning on seeing it until it’s out on DVD) — I’ll be taking advantage of Prairie’s largest purse and bringing in my own snacks and drinks.

12/21/09 Update: According to this Get Satisfaction customer support thread, small sizes of soda and popcorn do still exist, bundled together into a “Cameo Combo”. A combo doesn’t thrill me, as I’m not big on popcorn and would only want the drink, but the representative did say that it should be possible to buy the small drink on its own. I’m still not entirely thrilled by this (it seems ridiculous that this is the only way to get a reasonably sized drink), but at least it’s an option (assuming that the kids at the snack bar know about the option).

Thoughts on the Fall 2009 TV Lineup

I just peeked at TV Guide’s Fall 2009 TV lineup to see what Prairie and I might be interested in using to rot our brains with in the evenings. Most of the week looks doable, with only a few potential conflicts. (Oh, and we are old and crotchety and go to bed at 10pm, so I’m not paying much attention to the 10-11pm block.)

  • Mondays

    While we like both How I Met Your Mother and Big Bang Theory, as CBS has put one show we’re not likely to be interested in (Accidentally on Purpose) and one show we know we dislike (Two and a Half Men) in between the two, we probably won’t bother watching either one until the season DVDs show up on Netflix. This leaves us without anything we’re terribly interested in watching on Mondays until the mid-season switchup when Chuck comes back. Looks like Mondays will be TV-free for us until spring.

  • Tuesdays

    NCIS is a definite, with NCIS: LA a maybe. We’ll probably give NCIS: LA a couple weeks out of curiosity to see if they can pull off a successful spinoff, but we’re reserving judgement, as the NCIS episodes from last season that introduced the new team weren’t our favorites. Plus, once Dancing With the Stars (ugh) ends (hooray!), the Scrubs/Better Off Ted combo will (for us) be a strong contender — NCIS: LA will have to be really strong to pull us away once that switch happens. I am worried about ABC putting V up against NCIS in November — not only does NCIS already have a strong fanbase, but it’ll have had two months to set up any season-running plotlines to hold onto its fans. I really, really want to see this new take on V…but I also really enjoy NCIS. That’s going to be a difficult choice — one of them will have to get pushed to Bittorrent or some other form of online delayed viewing.

  • Wednesdays

    Law and Order: SVU and/or Criminal Minds are the only things that look interesting at all, and they’re both shows that we can watch or not watch depending on our mood. Wednesdays look pretty TV-free for us.

  • Thursdays

    While I’m curious enough about FlashForward to look for it on Bittorrent, Hulu, or some form of online watching, I’m not curious enough for it to win out over Survivor: Samoa (I’ll admit it, it’s one of two “reality” shows that Prairie got me hooked on). After that, it’s Fringe…or CSI (if I choose, it’ll be Fringe, if Prairie chooses, it’ll be CSI — either way, we’ll both enjoy what we watch, and the other will get the Bittorrent/Hulu/whatever treatment later in the week). Ugh. This one worries me. I really enjoyed season one of Fringe, and I’m not happy that FOX is putting it up against CSI. CSI has such an entrenched presence and fanbase, I’m not sure if the sci-fi, alternative reality weirdness of Fringe can pick up enough numbers to compete long-term. While I’m glad that Fringe is at least getting a second season, I worry that in putting it against CSI, FOX is just practicing a form of “delayed cancellation” — this way, FOX can just say Fringe didn’t get the market share it needed when they cancel it, even though if they’d moved it to a less competitive night (or left it where it was, though I can understand them not wanting to try to battle the NCIS juggernaut either), it might have done fine.

  • Fridays

    Prairie’s a fan of Ghost Whisperer, so we’ll keep watching that, even though last season kept annoying us (the ‘ghost of the week’ stories were fun and what kept us watching, the stupid ‘romance’ plotline with her husband in the body of the new guy is annoying, dragging on too long, and has enough WTF moments for a post of its own…but then I’d have to publicly admit that I watch Ghost Whisperer). Nothing else looks interesting.

  • Saturdays

    A wasteland of dreck. TV-free, for sure.

  • Sundays

    The Amazing Race is our favorite “reality” show, so that’s a definite. Nothing else that night is a must-see.

So that’s our lineup. Agree/disagree? Attempts to convince me to try a show I’m ignoring? Lemme know!

Amazon Kills Pocketpedia

For a while now, I’ve been using Bookpedia to catalog Prairie’s and my book collections, and DVDPedia for our movie collection. One of the handiest things about the system was the ability to sync our libraries to my iPod through Pocketpedia and have them available at my fingertips whenever we were out and about. No more trying to remember whether or not we’d picked up a particular book from a particular author or series, just check the iPod. It was one of my most-used iPhone apps.

Unfortunately, that’s not an option anymore: Amazon recently changed their API Terms of Service, and included the following clause in section 4(e):

You will not, without our express prior written approval requested via this link , use any Product Advertising Content on or in connection with any site or application designed or intended for use with a mobile phone or other handheld device.

Since the update to the TOS, Amazon has been aggressively enforcing that clause. I saw the writing on the wall a couple weeks ago when Delicious had their iPhone app pulled, and now Pocketpedia has been killed as well.

This morning we received an email from Amazon requesting the immediate removal of Pocketpedia from the App Store since the program is in violation of their license agreement. (A clause we’re pretty sure didn’t exist when Pocketpedia launched with the App Store in June last year but TOSBack only tracks Kindle and MP3 music service terms of use.)

We’ve logged a request with Amazon that Pocketpedia be exempt from the mobile clause (this is stated as a possibility in the license agreement) but it seems others have tried this before and were shot down so we’re not holding our breath for a favourable response. Hopefully the future will bring a positive change in their policy and we can all go on competing in the App Store.

Pocketpedia Not Available

Unsurprisingly, I — and a number of other previously-happy customers — are none too thrilled with Amazon about this. I’m hoping that some workaround can be found, and that Pocketpedia can continue on (even if that means gutting it to remove all data ever retrieved from Amazon). All I can do now (aside from dropping Amazon a quick complaint e-mail, which I’ve already done) is wait and see what happens next.

Update: Hooray! As of today, Nov. 10th, 2009, Pocketpedia is back! You can download the new, Amazon-free version right here.

Transformers: Revenge of the Fallen

Yesterday, nearly two years to the day after going to see Michael Bay’s first “Transformers” film, Rick and I once again channelled our inner 12-year olds, did our best to turn off our brains, and headed off to see “Transformers: Revenge of the Fallen”.

My original summary of the first “Transformers” was:

Mini-review number one: It was glorious, incredible, over-the-top, in-your-face, enjoyably bad.

Mini-review number two: Moments of “holy shit, that was cool,” buried in a whole mess of, “what the fuck?”

I can quite easily update that for this sequel, with just a couple brief changes:

Mini-review number one: It was incredibly over-the-top, in-your-face, bad.

Mini-review number two: Moments of mild amusement buried in a whole mess of WTF.

Admittedly, after seeing the first and reading some of the reviews of this one, I wasn’t laboring under any illusions of what I was walking in to. Mainly, Rick and I wanted to go because we’d gone together to the first one, we new it would be bad…and we knew we’d have a lot of fun suffering through it. Mock me if you wish, but I doubt we’re the only two people out there who’ve done such a thing!

Actual reviews of the movie have been handled far more ably than I’m likely to do. Here’s a few choice quotes from three of my favorites. First, from Roger Ebert‘s official review:

“Transformers: Revenge of the Fallen” is a horrible experience of unbearable length, briefly punctuated by three or four amusing moments. One of these involves a dog-like robot humping the leg of the heroine. Such are the meager joys. If you want to save yourself the ticket price, go into the kitchen, cue up a male choir singing the music of hell, and get a kid to start banging pots and pans together. Then close your eyes and use your imagination.

Second, and again from Roger Ebert, his blog entry The Fall of the Revengers:

The day will come when “Transformers: Revenge of the Fallen” will be studied in film classes and shown at cult film festivals. It will be seen, in retrospect, as marking the end of an era. Of course there will be many more CGI-based action epics, but never again one this bloated, excessive, incomprehensible, long (149 minutes) or expensive (more than $200 million). Like the dinosaurs, the species has grown too big to survive, and will be wiped out in a cataclysmic event, replaced by more compact, durable forms.

[…]

The term Assault on the Senses has become a cliché. It would be more accurate to describe the film simply as “painful.” The volume is cranked way up, probably on studio instructions, and the sound track consists largely of steel crashing discordantly against steel. Occasionally a Bot voice will roar thunderingly out of the left-side speakers, (1) reminding us of Surround Sound, or (2) reminding the theater to have the guy take another look at those right-side speakers. Beneath that is boilerplate hard-pounding action music, alternating with deep bass voices intoning what sounds like Gregorian chant without the Latin, or maybe even without the words: Just apprehensive sounds, translating as Oh, no! No! These Decepticons® are going to steal the energy of the sun and destroy the Earth!

Lastly, from io9’s brilliant review by Charlie Jane Anders:

Since the days of Un Chien Andalou and The Cabinet of Dr. Caligari, filmmakers have reached beyond meaning. But with this summer’s biggest, loudest movie, Michael Bay takes us all the way inside Caligari’s cabinet. And once you enter, you can never emerge again. I saw this movie two days ago, and I’m still living inside it. Things are exploding wherever I look, household appliances are trying to kill me, and bizarre racial stereotypes are shouting at me.

Transformers: ROTF has mostly gotten pretty hideous reviews, but that’s because people don’t understand that this isn’t a movie, in the conventional sense. It’s an assault on the senses, a barrage of crazy imagery. Imagine that you went back in time to the late 1960s and found Terry Gilliam, fresh from doing his weird low-fi collage/animations for Monty Python. You proceeded to inject Gilliam with so many steroids his penis shrank to the size of a hair follicle, and you smushed a dozen tabs of LSD under his tongue. And then you gave him the GDP of a few sub-Saharan countries. Gilliam might have made a movie not unlike this one.

And the true genius of Transformers: ROTF is that Bay has put all of this excess of imagery and random ideas at the service of the most pandering movie genre there is: the summer movie. ROTF is like twenty summer movies, with unrelated storylines, smushed together into one crazy whole. You try in vain to understand how the pieces fit, you stare into the cracks between the narrative strands, until the cracks become chasms and the chasms become an abyss into which you stare until it looks deep into your own soul, and then you go insane. You. Do. Not. Leave. The Cabinet.

If I haven’t bored you enough already, what follows are a few things that stuck out to me during and after the film. Mostly bad, of course, but there were one or two things that I actually liked….

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