DISQUS

I am finishing it for a second time right now. I am in tears again. It truly was a perfect ending. It answered what needed to be answered. It left open what needed to remain a mystery. It satisfied on a primal level and yet left me with a gaping wound. I don't think it was too preachy, just a bit too "on the nose" perhaps. But I don't care. This has been one of the greatest television experiences I have ever had the honor so be a part of. In The Last Fracking Special Moore said that character is far more important than plot and he proved it by ending the action early and giving us an entire beautiful hour to say goodbye. Wonderful. As a mutual fan and I spoke of last night, I want to put the mini-series in right now and start all over. After all, all this has happened before and thanks to the DVDs, all this will happen again.

is the sort of movie M. Night Shyamalan wishes he was still making. Marketed as a supernatural sci-fi thriller, Knowing is something else entirely, a gorgeous, spooky, stylized doomsday enigma that utterly eclipses its largely hokey brethren. Entrancing even when it is at its most outlandish, Knowing is a breathtaking metaphysical rumination that, in the final seconds, actually caused me to cry out loud in uninhibited glee.

Nicolas Cage is not an actor. He is a personality black hole, an empty void in the shape of a human body. I went confidently into Knowing solely because of my faith in director Alex Proyas, who, in 1998, made one of my favorite films, the ground-breaking sci-fi Dark City, which pioneered some of the ideas The Matrix later took credit for. Here those ideas find expression in the tug of war between fate and determinism, the belief that our lives and our universe are ruled either by order or by randomness and coincidence. Is there meaning to our existence, or, as Cage’s character suggests, does a certain bodily function “just happen”?

Proyas’ Knowing is simultaneously unnerving and mystifying. It is a work of arresting craftsmanship and nightmarish imagery, complete with scenes of disquieting tragedy. Dark and menacing, Knowing has one foot in horror and the other in science fiction, straddling a gulf running over with metaphysical language. How you walk away from Knowing depends largely on what you believe. Luckily, you don’t have to believe what the film believes or endorse the mythology it appropriates to be blown away by the audaciousness of its vision.

If I have been vague in my assessment of the film thus far, it is intentional. I could and want to say so much more, but to do so would surely ruin the film’s considerable impact.

http://BrandonFibbs.com/2009/03/19/knowing/

Watchmen is astonishing. It is an instant classic, a lusty, no holds barred, laser precision adaptation that throws all caution to the wind, embracing both slavish reverence and dark satire with equal dynamism. The film transcends the superhero genre that gave it life even as it feeds off of it for sustenance. The result is a sophisticated intersection of heady philosophy, shocking violence and gratuitous sex. Watchmen is indubitably the most lavish adaptation of a graphic novel ever made and quite possibly one of the finest book-to-screen endeavors ever produced.

http://brandonfibbs.com/2009/03/05/watchmen/

After DC it was set to go to LA, maybe NYC. They still hope to end in the Springs. There is no DVD.

To call "The Dark Knight" the greatest superhero movie ever made is an understatement of titanic proportions. And yet, conversely, the film is so devoid of camp and superhero tropes, and is presented with such assured realism, that it hardly feels like a superhero movie at all. The most eagerly anticipated popcorn blockbuster of the summer is, in fact, one of the greatest crime epics ever made, taking its place beside such films as "The Godfather," "The Untouchables" and "Heat."

http://brandonfibbs.com/2008/07/18/the-dark-kni...

You guys get a lot of stage time and yes, your podcast does indeed end the play!

EXACTLY what Dexton said.