Nov. 23rd, 2012

innocent_man: (abyssal)
Last Monday, our heroes reconvened.

We begin with a Transition Scene; the heroes getting interrogated by the press. Inferno holds up pretty well (but then, he's used to it, being a hometown hero and all). Duplex gets flustered and flies off, and Arcanix shies away from the cameras, eventually leaving his name in a flashy magic lights as he vanishes. Pink answers some of their questions, but then leaps away to try and rejoin her family at the ball park. This leaves Spore, stuck answering questions. He refers to himself in first person plural (since he thinks of himself as "we"), and tells the reporters that he works for the government and has a handler. Eventually he flies to the top of the arch to muse on the nature of the vine.

Duplex goes back to his lab, Inferno goes back to the office, Arcanix follows Pink to her car and waits. There, he tells her that he isn't sure where to go - he doesn't have a home, and his creators didn't program him with all of the knowledge he'd need. Pink rummages around in her car and finds him a track suit, and they start heading out, Pink mentioning that she needs to eat.

On the arch, Spore realizes that the vine is Phylum, like him, but a different stage - being cut off from the hive-mind, he doesn't know much about what the Phylum actually does. About then, a helicopter shows up and demands he get in. His handler, Carlson, tells him that the brass are concerned that he's been infecting people with those spores, and that he might be a danger, connected to the vine. Carlson pulls out a device that supposedly can stun or drain Spore, but Spore resists, escaping the copter and flying toward the ball park.

Meanwhile, Arcanix and Pink have left, going by the men in black suits checking IDs (Arcanix doesn't have one, but Pink masterfully talks her way by). And they see Spore flying in, followed by a helicopter, shooting energy beams at him. The men on the ground likewise draw guns.

Inferno, watching out the window, sees this, dismisses his employees for the day and sneaks out to the join the fray. Duplex, in his lab, hears as well, and dons his armor again. The battle is joined, with the government dudes trying to subdue Spore.

Pink pulls the car out and miraculously finds a parking space (she also puts the aspect Utter Confusion on the scene). Duplex jumps in and socks a g-man, but doesn't do any real damage (and in fact takes emotional stress from suddenly being under a lot of official notice). Inferno, however, shows up and throws a bunch of fire-walls around, telling everyone to cool it. That emotional stress on the g-men, plus some from Spore being all intimidating, ends the scene.

They meet Carlson and the others on the roof (Duplex walks, as his armor has overloaded; he activates his Limit). Apparently hospitals in the area are admitting people with spores in their systems. They aren't doing anything but wandering around, dazed, but this is apparently backlash from the attack. Also, they're picking up weird energy readings coming from Pink.

The heroes promise to figure this out, and Inferno reveals his true identity to Pink. He also buys them a building for use as a base, and they meet there. Arcanix starts telekinetically cleaning the place up, and they start forming a plan.

Meanwhile, across town, a bird flies under the arch...and vanishes in a blue-black flash of light.
innocent_man: (punkrock)
Ferris Bueller's Day Off is an iconic 80s movie starring Matthew Broderick, Alan Ruck, Mia Sara and Jeffrey Jones. It's a John Hughes flick, and like a lot of his work, it's about pretty, rich white people having problems. The problems in this movie, granted, are pretty darned minor compared with the abuse and depression of Breakfast Club.

The title character, Ferris Bueller (Broderick) is a charming but kind of smarmy high school senior who's decided to ditch school today. He talks his neurotic best from Cameron (Ruck) and his girlfriend Sloane (Sara) into joining him, and they bop around Chicago while their principal Ed Rooney (Jones) stalks Ferris (completely unsuccessfully; he has no idea where to look). Meanwhile, Ferris' sister Jeannie (Jennifer Grey) tries to cope with her jealousy and hatred for her brother.

Now, that by itself isn't much to speak of, but the movie has its moments. Ferris talks to the camera quite a bit, involving us in his lovable-scamp antics. They steal Cameron's father's prized Ferrari, which winds up getting wrecked when Cameron finally loses it. And, of course, there's the ongoing side plot that the whole community rallies around Ferris, whom everyone things is dying.

Like I said, the movie is an 80s classic...but here's the thing. I hate Ferris a lot more now that I have kids. Ferris not mistreated. His parents are not strict; indeed, they dote on him. They spoil him rotten. But they're so damned kind - they don't smother him, they aren't even especially overprotective (note that his mother goes home and checks up on him when the principal informs her of Ferris' chronic truancy), and it's hard not to be annoyed, as a parent, that Ferris is taking advantage of them so blithely.

Likewise, Sloane is kind of a useless character. She's there so Ferris can have a girlfriend, but we know nothing about her. When Cameron says that he's not interested in anything and so will have a hard time picking a major, we kind of feel for him because we know enough about his home life that his comment is in some kind of context. When Sloane agrees, it's kind of fluff because she hasn't really given us any sense of who she is other than "Ferris' boyfriend" (this movie does pass the Bechdel, however, because of scenes between Jeannie and Ferris' mother).

Cameron is really the only character with a story arc. No one else changes (you could make the argument that Rooney does, since at the end of the movie he looks directly at the camera, something that until now only Ferris does). Cameron, however, finally breaks at all of the abuse that his father (and, let's be honest, Ferris) throw at him, and when his father gets home, he's going to have "a little chat." Of course, wrecking the car is more likely to mean things get worse, but this being a Hughes movie we don't really worry about aftermath.

All in all, the movie is funny, but Ferris annoys me a little. I bet he grew up to be a hedge fund manager.

My grade: B+
Rewatch value: High

Next up: The Adventures of Tintin

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