One of the benefits of the trend of 80’s and 90’s nostalgia taking over day-to-day life, is that things that were previously very hard to find (with almost zero effort) are now all over the place. The best example of which is the movie we have here; while wandering a local HMV i suddenly had the whim to find the first Pokemon movie and it was quite literally in hands reach the moment the thought came into my head.

P:TFM was the first movie i watched without my parents, and man do i remember the hype. Theaters were whole sale reserved to play this movie when it first released, everybody at school was talking about when they were going to see it, i was excited and tried to get any news on it that i could, and me and my buddy went to see it on opening night. Looking at it now, it wasn’t as big an event as i thought it was (even to this day) only grossing a “modest” 240 000 000 (adjusted) dollars world-wide. It didn’t even make it into the top 20 box office earners of 99, even other kids movies like Stuart Little, Tarzan, and Toy Story 2 absolutely clobbered it.

I think part of that had to do with the audience, my buddy and i had to be the only kids above the age of 8 in a theater that could sit a couple of hundred. Most importantly i think that by November of 99 the Pokemon craze had just about reached its peak, as the sharp decline of the box office performances of Pokemon: The Movie 2000 and Pokemon 3: The Movie show. Thus making P:TFM a perfect example of how hype can get you a strong opening (it had the 9th best opening for the 99′ movie year), but won’t guarantee longevity.

But enough of that boring stuff, i know that what you want to know is if Pokemon: The First Movie – Mewtwo Strikes Back * still holds up. I remember being quite satisfied with what i saw when i walked out of the movie, but as we all know our tastes as children were questionable to say the least

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Under Siege and Under Siege 2

better than any poster

better than any poster


A former coworker once remarked while Under Siege was playing on the tv in the lunch room:

“Nothing clears women out of the room faster than a Steven Seagal movie…”

It proved true in that instance, as the women in the room at the time had all left leaving nothing but men. Aside from that little anecdote, i would be remiss if i didn’t tackle the old adage of how you can put “Steven Seagal is…” in front of his movies for great comic effect:

  • Steven Seagal is Out for Justice
  • Steven Seagal is Marked for Death
  • Steven Seagal is Above the Law
  • Steven Seagal is… Exit Wounds?

That last example is what i wanted to tackle; yes the rule works for 9 (technically 8) out of his 12 major movies from his 88′-98 “golden age”, it doesn’t work with Executive Decision, Fire Down Below, or the aforementioned Exit Wounds. Not unless you add some sort of noun, preposition, or indefinite article attached to “is”. So for example:

  • Steven Seagal is an Executive Decision
  • Steven Seagal is close to a Fire Down Below
  • Steven Seagal is in addition to Exit Wounds

So remember guys, it’s always important to take any generalized statement with a grain of salt; i mean you don’t want to look like an idiot right?

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On Music and Scores Part Three: Development/Embellishment of Leitmotif’s



This is how adults solved their problems.


yeesh. I’m not sure why i delayed the release of the last part of this series for 3 months, as it’s been sitting on my hard drive complete since at least June…

and remember to read parts one and two before starting here.


The last principle to be discussed naturally takes an understanding of the concepts of Introduction and Reinforcement to grasp. As Development/Embellishment is the most abstract, nebulous, and open for individual interpretations of the three guiding principles; thus the viewer should use the previous two to see if their thoughts on development are founded and backed.

To use narrative terms Development is the moral of the score; and much like a story’s moral Development constitutes the reason for the score to exist within the narrative. It is however important to note that development doesn’t only come at the end of the story, as musical themes can grow and change throughout the course of the narrative to better suit the composer’s and story’s needs.

First though i feel it is important to provide the reason why the third principle encompasses both Development and Embellishment of a theme (instead of them being separate). When i say that a theme develops, i generally mean that the music changes in context and meaning throughout the course of the film. Technically the themes can change their tonal colour or melody entirely to emphasise dramatic developments within the narrative. An example of technical development (leading to a complete change of the original theme) is the theme of the Ring Wraiths from the The Lord of the Rings films.

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Bit of an update “On Fury Road and Feminism”


I didn’t want to repost the article in question as i don’t think it merits a repost as to be brutally honest about this blog: not a lot of people give a shit about what i have to say on any subject in particular.

But i want to be as transparent as possible about my views, i’ll always change my views when presented with evidence that contradicts them fairly and reasonably and in the year from when “On Fury Road and Feminism” was posted until now i have exposed myself to a lot of diverse opinions on many issues.

so i added an addendum to that article which i feel clears up and reveals my position on the subject matter in accordance to my current views.





I finished DOOM (2016) sometime ago, however i’ve lately been going back to it again, thus racking up nearly 30 hours with the game so far. Sadly it is highly unusual for me to invest so much time into an FPS title in recent years, so that naturally brings up the question of: why?

In examining that question i came to quite a lot of reasons that i didn’t cover in my review of the title, and more interestingly enough it revealed how deep DOOM is despite its seemingly mindless presentation.

So the first place to start in unpacking why DOOM is such a great game we have to look at the most obvious of its traits: the violence.

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I remember my sister regularly watching a television show about a family, it was filled with a terrifying atmosphere, as it felt (even as a child) like some sort of grotesque parody of a functioning family. Unsurprisingly I hated it, every single time she would “steal” the TV and i would be forced to watch the inane further adventures of those horrible grinning teeth behind those dead waxen faces, it was the closest thing to torture i had experienced in my young life.

Indeed, The Brady Bunch left far more of a negative impact then the Addams family could ever have. As the family unit that my sister, mother, and i resembled nothing like that hideous caricature. Luckily my sister also liked the Addams’, and so we got along with at least that.

Interestingly enough John Astin himself made the comment that the Addams family were the best role models on television, and quite frankly i have to agree. Despite their penchant for the strange and the ghoulish ultimately they are quite a happy family.

As for the films, the first film of this series is one of the few that my sister watched more than i did.

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Evan Freeman: Luna



While volunteering at this years Calgary Folk Music Festival i was taken aback from a local artist by the name of Evan Freeman. Specifically i was actually liking the music quite a bit, which is notable as i didn’t expect to like any as it was the Calgary Folk Music Festival. Also i was puzzled as the band during their song “Halo” hit with some rockish guitar chords, that honestly had me questioning whether the band was too heavy to be playing at this festival. Also, he was good. Like memorably good, his songs had hooks, and honestly that’s pretty notable for a local band.

So based on these revelations and despite the highway robbery prices of Cds at CFMF (“Luna” was $25.00!) i decided to support what i found to be a promising local artist.

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