Movie Review – The Hunger Games: Catching Fire

The Hunger Games: Catching Fire (2013)
146 minutes
Rated PG-13
Directed by Francis Lawrence
Starring: Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth

Grade: B+

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The first film of the franchise surpassed all expectations, so it’s not a surprise that the same cast, with a good story and an increase in budget can deliver the goods once again. Directed by Francis Lawrence (Constantine, I Am Legend) the pace is a lot better than the first installment, which at times was sluggish but with movies like this it’s impossible not to spend half the movie displaying the rules and the world the characters live in. Gary Ross did a very good job with The Hunger Games, but Catching Fire is certainly an upgrade.

Led by Jennifer Lawrence, her Katniss is the hope for a better future in the world of Panem. Fresh off her victory with fellow District 12 resident Peeta, they’re preparing for their victory tour where they will visit every district and face the families of those who died during the battle royale. But the conflict between Katniss and her best friend Gale has never been more complicated because of the love-for-show with Peeta. While it’s not surprising that Katniss and Peeta are forced back into the death arena, the real mystery throughout is where Katniss’ heart lies.

The love triangle isn’t a distraction like it is in the Twilight franchise. This works in The Hunger Games because there are much larger things at stake for Katniss, which involves leading a potential uprising against the evil empire and also trying to stay alive in the fight to the death. But it’s the romance story that you can relate too, along root for or against. These layers in the plot are what makes The Hunger Games compelling for tweens to adults.

Throwing away a lot of the shaky cam that made the original dizzying, the action scenes are handled with a lot more precision (of course, the budget helped too). What’s most impressive about Lawrence’s direction in Catching Fire is how he made 146 minutes pass by so quickly. Sure, the action and violence during the second half passed by like we all expected, but even the first half with the tour, the focus on the families, Katniss’ relationship to District 12 and the pre-game shows passed by like a breeze. And this all stems from what you need from the beginning for a good movie, which is a good story.

There aren’t certain performances that really stand out in Catching Fire, but that’s not a bad thing because the plot-heavy production should be the thing that takes first priority. In fact, if a movie can make actors like Philip Seymour Hoffman, Elizabeth Banks, Donald Sutherland, Woody Harrelson, and Stanley Tucci seem hidden, it’s done with great focus on the story. Even the Oscar-winning Jennifer Lawrence can’t match up to the power of the world of Panem, though she is able to handle her scenes the best.

While the film concludes rather abruptly, it stays true to the books and that will make most fans happy. It’s also a cliffhanger that’ll have you wishing the next sequel was already completed so you wouldn’t have to wait another year to see what happens. Two films down and two films to go. So far, The Hunger Games is doing everything right.

The Walking Dead – “Dead Weight”

Season Four, Episode Seven

Grade: B

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Well that’s more like it. The thought did cross my mind that the Governor was a changed man after Woodbury fell. Just thinking about the whole Woodbury fiasco and how quickly the Governor lost his shit and massacred a bunch of his own people, makes me mad. The Governor had the potential of being a great villain, like how Gyp Rosetti was for the third season of Boardwalk Empire, but instead he was under-written and his psychotic behavior at the end of last season was a disappointing cop-out.

When The Walking Dead dedicated an entire episode last week to the Governor, a.k.a. Brian, many threw their hands up about a wasted episode. To be fair, they had a decent point, but all I wanted to see was how “Live Bait” was going to tie into this season in the long-term arc. We get those answers in “Dead Weight” where the Governor returns to doing what he does best, which is going crazy in a controlled way. Poor Martinez and Pete never saw him coming, but now the Governor is back at the top of a camp and seems to have one target in mind: Michonne.

All right, his real objective is trying to keep his new family safe (especially Megan), as we see when he suspects that the whole camp is going to rise up into chaos when they try to select a new leader. But separating and hitting the road doesn’t get them anywhere, and he realizes the best way to keep his family safe is to become the leader. The route from being the new guy on the block to the leader happens pretty quickly, and even though we never see how the Governor came about to rule Woodbury, I can’t imagine it was much different.

The ending of the episode is a great cliffhanger, with the Governor pointing his handgun at Michonne as she talks with Hershel in the distance. Should we expect another showdown between the Governor and Rick? Possibly. But what The Walking Dead is doing correctly is showing us the Governor and giving reasons for doing the things he does, even when that involves killing his way to the top. He doesn’t trust anyone else to keep his new family safe so he did what it took to take over the small camp. What’s next? The look in the Governor’s eye was full of the need for revenge, but can he learn to let go just to keep Megan safe? Or are the people in the prison a big enough threat where he wants to wipe them out?

The first half of the season is coming together nicely. After the gang at the prison dealt with the virus, we needed a new threat, and now we have it.

Movie Review: Dallas Buyers Club

Dallas Buyers Club (2013)
117 minutes
Rated – R
Directed by Jean-Marc Vallee
Starring: Matthew McConaughey, Jared Let, Jennifer Garner

Grade: B+

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Earlier this year I watched Matthew McConaughey in Mud and was thoroughly impressed by his performance as the mysterious man who befriended a pair of boys, telling them his story about the woman he loves and why he can’t be seen in public. While he played a supporting character, it was better than his performance in Magic Mike, though some would argue with me on that. But here in Dallas Buyers Club, he completely owns the movie from start to finish.

The first thing you notice is McConaughey’s physical state. He lost around 40 pounds for the role and he’s never looked worse (Christian Bale in The Machinist immediately came to mind). But once you get used to his loose skin and skelatal appearance, you dive right into his character Ron Woodroof. He’s a care-free and reckless Texan who can’t get enough of his girls, alcohol and drugs. It’s 1985 when his doctors tell him he’s diagnosed with HIV. Woodroof only knows one thing about the virus, that it’s usually something only homosexuals get, that is until further research has him finally understanding his situation clearer.

Given only 30 days to live, Woodroof desperately makes a deal to obtain a supply of AZT during its trial period by the FDA, but when his conditions worsen he visits a physician in Mexico who gives him vitamins and other pills to boost his immune system. What felt like a miracle, Woodruff’s health is stabilized, even though the medication he’s taking isn’t FDA approved. This presents the main conflict of the film involving drug companies holding hands with the FDA, looking for a sizeable profit from those with deep pockets. Woodroof provided an alternate option, the Dallas Buyers Club, where he sold drugs to patients for a $400 enrollment fee (which was much cheaper than the thousands of dollars for AZT).

Opposite of McConaughey’s Woodruff is Jared Leto’s Rayon, a transsexual AIDS patient who teams up with Woodruff to form the Dallas Buyers Club. Leto’s performance is worth mentioning because he, too, transformed himself physically to really make him stand out in the film. Leto’s playful and flamboyant Rayon is the perfect balancing factor to McConaughey’s rough and tough Woodruff. But as Woodruff understands his predicament, he begins to understand Rayon and in turn the audience opens up to the both of them and their partnership.

It’s a straight-forward and simple plot, but Dallas Buyers Club does many things right without pulling back too many punches. The film has a slightly out-of-place Jennifer Garner as a doctor who befriends Woodruff and represents the professional who finds herself on the wrong side of the line. Things become a bit hokey between her and Woodruff, but she serves her purpose in the end. Despite a few flaws, Dallas Buyers Club belongs to Matthew McConaughey in arguably his best performance in his career. His Woodruff is the life and the soul of the film and he rides this movie like a bull through the rough path of an AIDS patient until the very last scene.

Hello Ladies – “The Drive”

Season One, Episode Eight

Grade: A

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There was a lot of talk about Stephen Merchant’s Stuart being too mean, too uncaring about other people’s feelings and just a general douche. And while he did portray all of these things, he also occasionally showed a side of him that is tender and thoughtful. Even in scenes when he’s trying too hard, he can be considered more of a bumbling fool than someone who is downright cruel. But here, as the first season comes to an end, Stuart shows off his sensitive side, putting off something he wants and engaging in something more important.

Backing up a bit, “The Drive” picks up after “The Wedding” where both Stuart and Jessica are gleaming with great news. Jessica finally breaks through and is the new actress on NCIS: LA while Stuart is meeting up with Kimberly, the gorgeous model who used Stuart’s room from the last episode. Even Wade is feeling cool and confident as he also looks forward to a night of partying with his friends. Wade’s sort-of-ex-wife notices the change and for the first time, seems like the tables have turned. He’s not begging her to give their marriage another try, and that’s incredibly appealing.

But it wouldn’t be an episode of Hello Ladies with many speed bumps along the way. Kimberly practically takes Stuart (driving his friends) on a scavenger hunt from club to party to party trying to catch up to her. And like Stuart, he has a one-track mind: meet with Kimberly and then hook up with her. It’s been Stuart’s dream to hook up with a model all season long, and this is the closest he’s come. It’s hard to root against him just because it’s clear that he wants this badly, but you suspect that this isn’t going to work out.

It’s surprising that Stuart is the one that does end up having a chance at obtaining his dream. He finally meets up with Kimberly and they talk, flirt, drink shots, and spend alone time on the beach. She strips and dives into the ocean and asks Stuart to join her. Merchant does some great subtle acting here, showing off his excitement but covered with the nervousness a guy like him would have. But on top of it all, he’s concerned for Jessica who has just been replaced on NCIS. He’s about to strip down and join Kimberly in the ocean, but his conscious gets the better of him and he leaves to be alongside Jessica.

It’s tasteful and incredibly touching stuff, something Hello Ladies has only shown its last two episodes of the season. What I found interesting was how Stuart’s presence wasn’t something Jessica needed immediately. He could’ve swam in the ocean with Kimberly, dried up, then visited Jessica before bed and we still would’ve considered it generous behavior. But Stuart drops everything just to make sure she’s okay, and he even allows her to pick the movie! That’s some damn sweet stuff.

On top of Stuart and Jessica, Wade gets a dose of reality from the two in separate occasions. They attempt to tell Wade that his marriage isn’t worth saving and how sometimes, no matter how hard you try and want something, it doesn’t work out. Wade takes Stuart’s advice and removes his wife from the picture on his phone. Who would’ve thought Stuart would dish out some useful advice on this series! Not me, but this could be the start of a new type of Hello Ladies, one that allows its cringe-comedy to stand out but not over-power the series. The Office with Steve Carell was able to balance this sort of comedy very well, and we all know how successful that show was.

The stars here do shine brightly, as Stephen Merchant and Christine Woods share a chemistry that is certainly worth revisiting (hopefully for another season). Surely their story-line isn’t over as they have plenty more embarrassing situations to be trapped in, but at least now we have the foundation that no matter how miserable each of them fail, they have each other to fall back on. Whether it’s Jessica teaching Stuart to dance at the wedding, or Stuart blowing off a model to watch a movie with Jessica, the blueprint for a very good comedy has finally been established.

Season Grade: B+

Homeland – “A Red Wheelbarrow”

Season Three, Episode Eight

Grade: B-

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Everyone’s story keeps on moving forward in Homeland, and for the most part it’s good. The Javadi plan is the big picture that Saul is in charge of, but the little pieces involved almost fall apart. Saul and Mira are trying to salvage their marriage, and Carrie’s 13 weeks pregnant and is advised to take things easy at her job (I chuckled when Carrie rolled her eyes with the “that’s impossible” expression). But it wouldn’t be Homeland without a mountain of glitches along the way.

First, the immediate plot-line where Carrie is meeting with Franklin to expose the person who exploded the bomb (and possibly constructed) at the Langley bombing. Everything goes according to plan and just as it looks like Brody would be exonerated, Franklin is seen holding a gun with intention to kill the bomber hiding in his hotel room. Naturally (in crazy Carrie world) she abondons the mission, disregards her orders and attempts to stop the assassination. This would ruin everything the CIA has been working on for months and reveal the play with Javadi. But Carrie doesn’t care because she wants nothing more than to have Brody return to her as a free man.

I mean, come on now! I get how Carrie’s bi-polar and how she’s been dealing with a lot of craziness throughout the series, but without even blinking her eyes she decides that it’s worth ruining the entire mission? Why do they even keep Carrie involved if she keeps pulling these stunts. After repeated warnings, Quinn shoots Carrie in the shoulder and Franklin kills the bomber. So on top of taking lithium, drinking heavily, and being as a stressful job, Carrie puts the baby through the trauma of almost being shot. Yeah, Carrie’s got issues.

I wonder how Saul would’ve reacted to Carrie’s shenanigans. Instead he was too busy traveling to Caracas where he pays $10 million for Brody. The look Brody gives Saul when he sees him is priceless. But more importantly, what’s the play here? What could Saul possibly want or need Brody for? Is it related to the Javadi plan? You just know that Carrie is not going to like Saul going behind her back like this, though I’m sure Saul isn’t going to be happy when he hears that Carrie almost blew their cover and had to be freaking shot to be stopped.

One small element about the episode that I did like was the inside look of Fara’s home and the reason why she hasn’t told her ailing father that she works for the CIA. But after she misses two days of work, she gets a visit by an agent who reminds her that she has work to do. The conversation is overheard by her father and we discover the family still has ties to Tehran and if her identity is revealed then those family members’ lives are in danger. This was indeed a great little bit of information to share about Fara. She’s a new agent and it makes sense that she feels the way she does, and how she’s already getting sick with the way things are being run. It’s believable, much more than when Quinn wanted to quit.

For the most part, there are more good things that are happening that outweigh the bad, the bad being Carrie’s pregnancy. Seriously, is anyone interested in that at all? But Homeland has presented us with many questions that need to be answered, and it’s something worth sticking with for the time being. Can Saul really pull this off? Homeland seems to paint this portrait of Super-Saul, the pure CIA agent who is always right. They could really knock him down a handful of pegs if this all blows up in his face, that is if Carrie doesn’t ruin it for him.

How I Met Your Mother – “Mom and Dad”

Season Nine, Episode Ten

Grade: C

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Right from the beginning, I wasn’t crazy about the premise for this episode. With a Parent Trap vibe, Barney wants to force his parents to get back with each other, starting with malfunctioning the elevator and suggesting they have sex with each other. He even goes through the trouble in lowering wine, champagne, and a iPod playing a sensual version of “Bang Bang Bangity Bang” while they’re stuck in the elevator, but to no avail. Barney’s plans are complicated when James has the same idea with hopes his dad and mom will get back together.

The story is weak but it’s still full of many fun HIMYM moments, especially the black-and-white musical sequence when Barney and James imagine their parents reuniting. But it doesn’t do enough to carry the rather lackluster A-story. Meanwhile, Barney gives Ted the mission to keep the Wayne Gretzky signed photo for Robin until they’re married. Best Man Mosby is on the job, but after taking a shower he finds the photo covered with ink. “My calligraphy ink! I mean, the Gretzky photo!” Ted exclaims. This allows the alter-ego of Detective Mosby to come back, though Lily comments that he’s such a bad detective that he can’t even detect sarcasm.

This part of the story-line is much better, though still frustrating how it doesn’t move the season along at all. Detective Mosby has three suspects: Billy Zapka, the shifty eye bellhop, and Robin’s cousin Claude from Quebec. After investigating all of them, he comes to the conclusion that he must’ve spilled the ink on the photo, until at the same time him and Lily discover is was all a part of Zapka’s plan to steal the photo! Not very surprising, but still entertaining enough to keep the episode moving at a good pace. But after a great episode from last week where we get insight to important character decisions, all of this just seems irrelevant.

Finally in the C-story Marshall and Daphne are getting along, singing The Proclaimers’ “I’m Gonna Be (500 Miles)” with great enthusiasm, until like the switch of a light Daphne starts lashing out at Marshall. We’ve spent way too much time already with this road trip, but again this was a decision made by the writers and hopefully it all pays off at the end. I am glad to say that this seems to be the final episode Daphne is seen alongside Marshall, as she attends her daughter’s speech as Marshall leaves her with her family. There’s only 27 hours left until the wedding and Marshall couldn’t rejoin the gang any sooner!

In the end, Billy Zapka comes out at the real winner, which was due since according to him he’s been the bad guy his whole life after The Karate Kid. But do we really want an episode where Zapka plays a big part of the story? Where does that get us with how Ted meets his wife? Where is the character development as we wind down the final season of HIMYM? Sure, it’s a fun-filled episode with gimmicks, but it’s one that if you skip, you wouldn’t miss much and in my opinion, HIMYM can do much better.

Last but not least:

• “Marriage is just a meaningless piece of paper.” – Barney. Robin’s a lucky woman.
• That case from eight years ago that Detective Mosby hasn’t solved: The Pineapple Incident. Now THAT’S an episode I wouldn’t mind seeing.
• Things Marshall did wrong while Daphne was throwing a hissy fit: he left the bag of oranges on the roof of the car, flagged an officer down when Daphne was driving 67 mph, and used a word that is offensive to Daphne and her people alike, “Trekkie.”
• “Kids don’t understand logic. Kids understand who shows up.”

The Walking Dead – “Live Bait”

Season Four, Episode Six

Grade: C+

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This episode is sure to receive mixed opinions from fans, not like The Walking Dead is unfamiliar with this still fresh from seeing Rick ban Carol from the prison. This is a Governor-focused episode, reminding us that he’s still a very important character on the show and still has a lot to offer with this story-line. It reminded me of the “Tower of David” episode on Homeland where Brody dominated the entire episode, after being practically irrelevant in the third season. But what this is mainly showing is how The Walking Dead is looking at the big picture in terms of how it wants to tell its story. Because why else would they dedicate an entire episode to the Governor?

The last time we saw the Governor he just finished mowing down a number of Woodbury residents with a machine gun before skipping town. His very quick transformation of charismatic, creepy leader to psychopath left a sour note on the show, which capped off a mediocre season with many questionable character decisions. We now see him on what seems to be his last few steps before giving up on life, until he sees a little girl inside a nearby building. There, he meets a small family who are cautious but not very equipped or wise about the rest of the world.

There is Tara, who introduces her as a cop but later on reveals she was still in the academy; Lilly, the sister who is kind and the mother figure of the family; Megan, the young child who enjoys playing games; and the dad. The Governor introduces himself as Brian and it’s clear he’s gone through an incredible amount of trauma from being run out of Woodbury and traveling on the road ever since. But this family is kind and caring to him, allowing him to stay the night. Brian even does a few favors for the family, first finding a game set for Megan and then retrieving a few oxygen tanks for their dad. But in the end, the father passes away and the family begs for Brian to take them along (which I’m curious about because why wouldn’t they just stay put since Tara commented how they had enough jerky sticks for years).

My concern about an episode like this is asking myself the question, What are we supposed to take from it? We can’t forget the cruelty of the Governor from last season, so is this episode supposed to make us sympathize with him? Are we supposed to see him in a different light, or are we supposed to wait until he snaps again? The interaction he shares with Megan is quite touching, as he sees her like he did his own daughter. But what purpose did this episode have aside from teaming him back up with Martinez? That’s where I’m not entirely okay with “Live Bait.”

And the most frustrating thing about the episode is that at the end of the hour, we still don’t know where the writers are going with it. That ONE shot of him staring at the prison as Rick and Carl retrieve some vegetables, that scene was more powerful than the whole “Live Bait” episode. Is he seeking revenge? I’m torn with what I’ll be satisfied with because I did in fact like the Governor at the start of last season, but his character went to shit towards the end. Is The Walking Dead trying to re-write his character and present him as the villain 2.0? I don’t mind stand-alone, focused episodes. In fact, “Clear” was my favorite episode of last season, but while there is a separation from the main cast, there isn’t really a distinct path the show is giving us a peek at. We see the Governor, how he gains the trust of a needy family, and how he meets with his top lieutenant. The fading question is, now what?

Revolution – “Come Blow Your Horn”

Season Two, Episode Eight

Grade: B+

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Truman tells the residents of Willoughby (I keep thinking to type Woodbury from The Walking Dead) that Miles is the one responsible for the bomb that went off inside the walls and that he, along with Aaron, Rachel, and Charlie, are terrorists. So what does the gang decide to do? Make them eat their words by cooking up a bomb to eliminate Dr. Horn and anyone else hiding in the headquarters.

This part of the episode was full of the most tension because of the elephant in the room that Rachel and Charlie eventually discuss: what to do with Gene Porter? Charlie knows she can’t forgive her grandfather but she can forget his betrayal, while Rachel has more rage than forgiveness inside of her heart. What ends up happening is what we all expected, while Rachel sneaks to the roof of the building, Gene walks in to visit with Dr. Horn. Does Rachel drop the chemicals? Charlie certainly doesn’t want her to, but Miles calmly mutters that it’s Rachel’s decision. That all changes when a few Patriot officers bring in Aaron and Cynthia. The problem is Rachel doesn’t see this and Miles and Charlie have no way to tell her. Can this be the end of a handful of major characters?!

Of course not, but I must admit that this was one of the more suspenseful moments on Revolution this season. The way Rachel quietly climbs the steps to the roof while a dozen guards litter the yard. Seeing Gene walk into the headquarters just added to the decision of leaving the building in flames, but then when Aaron is seen your heart just drops! But ninja Miles swoops in and prevents Rachel from dropping the chemicals (which has me thinking, why didn’t Miles just climb to the roof instead of Rachel?).

This is when we just have to say, Poor Aaron. Since the beginning he’s been the one who’s arguably the most useless out of the group. He even knows it, but he’s that underdog character that it’s hard to root against. But since he’s been resurrected from the dead and has super-human powers, he’s target number one on Dr. Horn’s list. Why? Because he has a tumor growing in his brain and believes the nanotech that brought Aaron back to life can cure his tumor. Whoa. Oh, and Dr. Horn will do anything for this to happen, which includes torturing Aaron, watching his body heal itself like Wolverine, and eventually has an officer stab Cynthia to draw out an emotional response. That Dr. Horn is an evil man!

Meanwhile, Neville talks with Allenford’s husband, Roger, and makes a deal with him to hand over his traitor wife so the camp can see his loyalty to the Patriots. Roger has a change of heart nearing the site his wife’s being held, but Neville’s no fool. “I thought something like this might happen,” he said with a small smile. You simply don’t mess with Neville. Period. In the end, Roger shoots Secretary Allenford and Neville’s plan to climb the Patriot ranks is still moving flawlessly. It’s uncertain what’s going to be Neville’s next play, but that’s what keeps this part of the story-line so interesting. Unlike Miles and company trying to escape Willoughby (and for a while now), we really don’t know what’s in store for Neville as he continues to travel from camp to camp.

In the end, a lot of characters are facing imminent danger: Aaron spreads flames in the dungeon, Gene stares down the gun pointed at his head from Truman, Cynthia’s stab wound to the stomach, and Miles and company still wanted as terrorists. Last week I pointed out how the urgency level should be raised… well we finally got it. Now I’m concerned whether or not Revolution will keep their foot on the gas pedal, or will they slow down the action and draw out all the situations?

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Last but not least:

• Monroe leaves Aaron because if he’s captured, he’s dead. Smart, and also shows how Monroe wouldn’t sacrifice himself for others.
• Miles has a nasty infection spreading down his arm. Still, with one arm he’s still a kick-ass killing machine.
• Charlie was border-line annoying, preaching to her mom about keeping Gene alive.
• We see a lot of Dr. Horn flashbacks and learn he’s not a religious man, but he’s still a creepy old hellraiser!

Agents of S.H.I.E.L.D. – “The Hub”

Season One, Episode Six

Grade: C+

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There’s a very dangerous device that can trigger weapons from a distance, and Agent Ward and Fitz are the duo for the job. There are reminders that not everyone in S.H.I.E.L.D. have the clearance for certain information, and that really pisses Skye off. She hacks the system (because that’s really all she’s good for) and finds out that there is no extraction plan for Fitz and Ward. So Coulson and team go and save them without the go-ahead from Victoria Hand and everyone gets safely. Mission accomplished.

We are now six episodes in and it’s about time to start stressing out what’s been going wrong with Agents of S.H.I.E.L.D. First, the missions every episode seem to lack a real importance, or at least there is never a doubt in my mind that S.H.I.E.L.D. is going to come out of every situation successful. This is problematic because it makes a joke when the show tries to hook us into how dangerous a mission is. Oh my God, there’s no extraction plan! They’re just going to bomb the place and kill Ward and Fitz! – said no one. It was obvious that they were going to be rescued, just like it was obvious Simmons wasn’t going to successfully commit suicide. The series has to inject a sense of vulnerability so we don’t always know how every episode is going to end.

Second, no one likes a complainer. Skye has become that character that we all wish would just shut up. Even though she might have some points, does she not understand how a secret agency works? There are security clearance levels and it jeopardizes the mission if everyone knows it. Come on! Also, why the hell is she still there? We have an agency with great technology and power, surely there is someone else who can hack computers the way she does. This is a longer story arc that’s really been sluggish, to the point where I don’t even care anymore why she was chosen by Coulson. Nor do I care about why Coulson miraculously came back to life. These are story-lines that the show has to answer soon and move on.

Not everything is bad though. I enjoy how the show attempts to put different pairings together every week, though it seems like whoever teams up with Ward just tries to prove they’re as tough as him. The Fitz and Simmons almost-romance plot is boring, but I must admit that Elizabeth Henstridge as Simmons has really stepped up her game the last two episodes. “I shot a superior officer in the chest.” I’m still cracking up at that scene! But everyone is still very one-note. Melinda May barely talks, Ward is still macho, Fitz and Simmons are awkward brainiacs, and Coulson is some robot version of himself since he came back to life. Is there anything else we know (or care) about these characters?

I understand this is a family type of show so it’s tougher for it to take risks and break free from its formulaic ways, but something’s got to give soon. It’s not terrible television, but it’s painful to think of the potential a show like Agents of S.H.I.E.L.D. has.

Second Opinion: I Love You, Man vs. The Muppets

The Second Opinion posts will feature the opposite view of my Flickchart Battle decision. Here, my former podcasting partner, Mike Sheehan attempts to explain why the movie I didn’t choose is the one he would’ve chose.

Whenever you compare a comedy to another comedy people are going to get super defensive and mad because humor is so subjective. In this match-up we have two very funny movies and picking one over the other is just a matter of taste, and simply what you find funnier. Especially if both movies are well made and entertaining, which is the case here.

I don’t know if I Love You, Man had a vast advertising campaign, but I had never heard of the film until it was in theaters. Which is surprising since it was the follow-up film of Jason Segel after Forgetting Sarah Marshall. It was also starring Paul Rudd, who was on the rise in popularity. Upon viewing the film I laughed my butt off! I thought it was the funniest film Paul Rudd had been in, and Jason Segel was a riot. A cool story-line about friendship and love made it connect with me and audiences in general. I still quote some of the lines when talking people. And when this movie comes on TV, I will most likely watch it any time it’s on. But is it funnier than The Muppets?

Before I answer that, let me tell you how excited I was for The Muppets. I heard that Jason Segel was developing this movie, and man was I excited! I thought back to the puppet scene in Forgetting Sarah Marshall and hoped The Muppets would be just as silly and fun. The Muppets did not disappoint! It was big, it was epic, it was funny, but the thing it did best was remind me of my childhood. It was a perfect vision of what the Muppets always were at heart. Plus it had a cute story-line and an Oscar-winning song.

So which movie did I choose? It is probably fairly obvious but I will say this. Funny may not be something we can ever argue upon as a society, but as long as we are laughing then what does it matter what we laugh at.

Winner: The Muppets

This is why I picked I Love You, Man over The Muppets.