My Workout For Sunday January 19

The Amazing Spider-Man Review

    It's been ten years since Sam Raimi unleashed his vision of the Marvel Comics superhero Spider-Man onto global audiences.   With dry wit, tight action, impressive structure, and soulful acting, Sam Raimi's Spider-Man trilogy became the definition of the comic-book superhero film series for the 21st cetury, with Spider-Man 2 being the golden standard alongside Superman: The Movie for what the genre can and should be.     The series' importance carried through even after the release of Christopher Nolan's masterful and game-changing Batman tale, The Dark Knight.  While Nolan focused on rooting superhero mythology into an image of the current state of the world, Raimi followed the path of the genre as a means of escape, showing that both approaches can exist with equal success.      The third Spider-Man film failed to catch a fire among audiences, meaning that a new story from a new perspective was wanted.  Enter Marc Webb, director of (500) Days of Summer, to take the reins of Spider-Man and tell his own story of the hero from the beginning with The Amazing Spider-Man.     The trajectory of the beginning hits all of the basic notes of the origin story in the previous series' first film.   Peter Parker is a geeky New York high school student who doesn't fit in.  He lives with his Uncle Ben and Aunt May, inadvertently wanders near a secret project that leads to a radioactive spider biting him and giving him superpowers.  At first, he struggles to get comfortable with his abilities, but a personal tragedy brings him perspective and a raison d'etre, and a threat to New York City shows him the man he needs to be.     With there being only ten years separating the previous series' first film with this one, it could have been either lazy or boring to cover a lot of the similar ground.  Then why does it feel different?     1.) We are shown who Peter's parents are and, to a degree, why they left them in Ben and May's care.  This has a profound effect on Peter, showing why he is so intelligent, has a chip on his shoulders, and almost prefers not to fit in with his classmates.     2.) The love interest is Gwen Stacy, a geeky fellow student who works as an intern at Oscorp, the place where Peter's father's colleague, Dr. Curt Connors does research, and the place where Peter eventually gets his powers.     3.) The webbing he shoots is man-made, not an organic effect from the bite.  This emphasizes his intelligence and well as provides a sense of danger in a couple scenes.     4.) Spider-Man is seen as a vigilante more than a hero.  The police, led by Captain Stacy, want to lock him up as a criminal due to his outside-the-law crime-fighting activities.     5.) The criminal who caused Peter's personal tragedy isn't caught.  This gives Peter a sense of failure that he carries throughout his endeavors, knowing that what happened to him could easily happen to someone else.     These changes, as well as other stylistic choices, all keep the film fresh and engrossing, allowing the audience to see it as its own entity without reminding them of the previous origin story.  The comic-book universe has several storylines for one character that play out, some in parallel with each other, and this is something that could be difficult to accept on film. Credit must be given to everyone working on the film for trusting the audience to give the film its own chance.     The script, written by James Vanderbilt, Alvin Sargent, and Harry Potter alum Steve Kloves, is tight, having a constant sense of propulsion while allowing the audience to delve deep enough into the characters to want to join in on the ride.  It tries to balance the grittiness and reality of Nolan's Batman series with the dry wit and fun of Raimi's Spider-Man series, and, for the most part, works well.     The main actors shine thoroughly.  Andrew Garfield has immense talent, as his work in The Social Network and Never Let Me Go shows, but it is still a surprise how natural a fit he is as Peter Parker/Spider-Man.  He gives Peter the arrogance, heart, humor, doubt, and strength that fits perfectly for this film.  Garfield understood how to interpret Peter in this universe, and his interpretation is wonderful.     Emma Stone comes off as strong, snarky, tender, and sexy as Gwen Stacy.  Gwen's personality could take any man on, but she lets her guard down with Peter, and the tender moments with Peter are a sight to behold.  Her chemistry with Garfield is natural and flawless.  Even if the rest of the film was terrible, every scene with Stone and Garfield together would still make it worth watching.     Rhys Ifans as Dr. Connors is a conflicted man struggling with keeping a secret from Peter about his parents' whereabouts and with a formula that gives him his arm back but at the cost of becoming The Lizard.  Ifans' filmography shows his range, and he maintains the humanity of Connors when the script sometimes forces him into the Lizard's psyche completely.     The supporting roles work as well as they need to, but some are better than others.  Martin Sheen takes his role in Wall Street and focuses more on how he manages home life, making Uncle Ben the father figure we love and respect.  Sally Field isn't given enough time with Garfield to develop the connection they need, but her Aunt May is still welcoming.  C. Thomas Howell is a great embodiment of how the world sees Spider-Man.  Irrfan Khan plays a one-note character, but as one of Dr. Connors' bosses, he has plenty of menace.     However, of the supporting roles, Dennis Leary is the standout as Captain Stacy, Gwen's father.  His acting chops were honed on his show Rescue Me, and he takes the abrasiveness and New York pride of Tommy Gavin and files it down to a more sensitive, fatherly base.  He feels threatened by Spider-Man as the superhero is doing the job that the police are supposed to do.  This tension carries through the dinner with his family and Peter as a guest, and when he sees Spider-Man's true identity, he understands that while he may not agree with the concept of Spider-Man, he knows that the hero is an asset to the city and not a hindrance.  Leary is superb as the moral center of the film.     Director Marc Webb started out with music videos and short films before his impressive feature debut, (500) Days of Summer.  That film showed how comfortable he is with a good script and great actors, and that carries through here.  The best moments are the smaller ones, not only the scenes between Peter and Gwen but also when Spider-Man rescues a child from a threatened vehicle, when Ben and Peter are together, when Peter begins to get comfortable with the new powers, when Spider-Man is in full smart-ass mode, and when Spider-Man goes to the sewer to pursue the Lizard.  Webb understands the power of a delicate touch, and when he applies that touch, the film reaches the greatness of Spider-Man 2.     However, there are enough flaws that keep it from reaching those levels consistently.     First, the construct of the villain doesn't work as well as it should.  The design of the Lizard is too artificial, and when the Lizard starts talking about how he wants to create perfect beings, it's jarring because of how Dr. Connors was never wanting that to begin with.  The Lizard is an interesting villain in the comics, but he doesn't fit with the grittiness of the film.     The post-credit scene is also disconcerting because it introduces an unnamed figure and randomly expands the Parker's parents storyline and Oscorp into the sequel.  It takes away from the film holding up as its own entity, but at least it allows for future films to give this one some additional meaning.     The music by James Horner is faceless.  While Danny Elfman's work in the previous series didn't have a strong theme, it fit the film better than this score does this film.  Horner knows how to up the drama, but nothing from the music is memorable.     The Amazing Spider-Man is not the greatest Spider-Man film ever made, but it matches the first film in the previous series in quality, and the trajectory of the story along with the acting and directing makes me excited to see where this series goes next, and that is most important. Movie Rating: 8/10 The action is good, the drama even better.  The villain isn't a good fit, but this film doesn't skimp on excitement. Film Rating: 8/10 The sense of loss, doubt, responsibility, and love carries the film effortlessly, and the scenes with Gwen and Peter together are perfectly done. Comic-Book Superhero Film Rating: 8/10 It tries to balance Nolan's grittiness with Raimi's sense of fun, and while it doesn't work completely, it's a great example of how good the genre can be. Spider-Man Film Rating: 8.5/10 It may not be as fun as Raimi's series, but it has more heart and as much depth, and it's as good as the first film in that series.

My Workout For Sunday February 09

I earned 1190 points for my workout on Fitocracy!

Standing Calf Raises +18 pts

12 reps || weighted || 85 lb (+5 pts)

12 reps || weighted || 105 lb (+5 pts)

10 reps || weighted || 115 lb (+4 pts)

10 reps || weighted || 115 lb (+4 pts)

Barbell Deadlift +214 pts

65 lb x 12 reps (+49 pts)

85 lb x 10 reps (+55 pts)

85 lb x 10 reps (+55 pts)

85 lb x 10 reps (+55 pts)

Stretching +2 pts

0:10:00 (+2 pts)

Barbell Squat +230 pts

75 lb x 12 reps (+53 pts)

95 lb x 10 reps (+59 pts)

95 lb x 10 reps (+59 pts)

95 lb x 10 reps (+59 pts)

Standing Barbell Shoulder Press (OHP) +249 pts

45 lb x 12 reps (+59 pts)

65 lb x 10 reps (+66 pts)

65 lb x 8 reps (+64 pts)

65 lb x 6 reps (+60 pts)

Dumbbell Bench Press +199 pts

30 lb x 12 reps (+49 pts)

35 lb x 12 reps (+52 pts)

40 lb x 6 reps (+49 pts)

40 lb x 6 reps (+49 pts)

Dips - Triceps Version +50 pts

4 reps (+14 pts)

3 reps (+10 pts)

3 reps (+10 pts)

3 reps (+10 pts)

2 reps (+6 pts)

Pull-Up +26 pts

1 reps (+13 pts)

1 reps (+13 pts)

Just to see if I could do it today...the answer is YES!!!

Barbell Incline Bench Press +202 pts

55 lb x 12 reps (+47 pts)

75 lb x 10 reps (+53 pts)

75 lb x 8 reps (+51 pts)

75 lb x 8 reps (+51 pts)

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Wreck-It Ralph Review

    Henry David Thoreau said in his novel Walden: "The mass of men lead lives of quite desperation.  What is called resignation is confirmed desperation."  A person faces this moment of resignation when realizing the monotony of his or her life.  How a person handles that moment defines his or her character.     Rich Moore's Wreck-It Ralph, the latest film from Walt Disney Animation Studios, is a beautiful, fully-rendered take on this .     Wreck-It Ralph is the villain of the Donkey Kong-inspired fictional arcade game Fix-It Felix, Jr.  The game sits in Litwak's Arcade with several other games.  After the arcade closes for the day, the games' characters come together in their own universe, living like humans do after a day of work - hanging out together, getting drinks, going home, and having parties.     On the 30th anniversary of Fix-It Felix, Jr.'s release, the characters throw a party to celebrate without inviting Ralph.  Fed up with being seen as only a villain, he decides to "game-jump" - leave his proper game and enter another - in order to prove that he can be a hero.  However, his game-jumping yields the possibility of not only closing his game up for good but also wreaking havoc on other games' viability in the arcade.  His journey leads him to Vanellope von Schweetz, a misfit in the candy-coated fictional racing game Sugar Rush who glitches uncontrollably and is feared to scare away gamers if she is allowed to actively race.  Both see the desire to be more than who they are seen to be, and both work together to try to make their dreams come true.     The sheer detail put into the universe crafted is astounding.  Not only are classics like Pac-Man, Tapper, Street Fighter II, and Q-bert mentioned, their characters play small but significant parts to the film.  The 8-bit style movements of the ancillary Fix-It Felix, Jr. characters start as a gag that slowly becomes a quirk that would have been unnatural to leave out.  Even the send-up of first-person action games in the construct of Hero's Duty and of racing games in the construct of Sugar Rush evolve to define their respective gaming environments.  A film of this nature could have simply rested on its laurels by making as many arcade game and geek culture references like this as possible.     What Wreck-It Ralph does so successfully is run askew of expectations, providing an exciting, engaging, and thought-provoking experience.     The voice acting is top-notch.  John C. Reilly turns on his lovable oaf mode for the title character.  Reilly is a versatile character actor, spanning drama and comedy  with ease, and he has perfected the lovable oaf through several of his films, but his Ralph is imbibed with more heart and self-assurance than usual.  Part outcast, part father-figure, all soul, Ralph is fully realized by Reilly.     Sarah Silverman inverts her raunchy schtick into something annoyingly adorable as Vanellope von Schweetz.  Her approach to Vanellope is very much like Lily Tomlin's Edith Ann character but more fully fleshed out.  Her chemistry with Reilly is impeccable, and her moments of sadness are as significantly felt has her moments of euphoria, and Silverman makes Vanellope a truly memorable figure of innocence.     Alan Tudyk channels Ed Wynn, the voice of the Mad Hatter from the original Walt Disney's Alice in Wonderland, with wonderful effect as King Candy, the hilarious and threatening antagonist of Sugar Rush.  Tudyk takes Wynn's vocal tics and amplifies them to 11.  His versatility is impressive, and he plays off Silverman and Reilly with ease.     Jane Lynch plays a variation of her Sue Sylvester from Glee as Sergeant Calhoun, the lead soldier in the light-gun game Hero's Duty.  Calhoun is someone that should have been in the film Aliens, a strong-willed and determined soldier whose deep fear of her game's antagonists hilariously borders on paranoia.  Her backstory is played for laughs as it should, but Lynch effectively takes that backstory and fills in the emotional gaps Calhoun would have had, making Calhoun an affecting creation.     Jack McBrayer is known for playing the sweet, innocent, "Mayberry-type" character.  What makes his approach to Felix notable in his repertoire is how rooted in Disney tradition Felix is.  Felix is the only character in the film who can do nothing but the right thing.  He's so rooted in in the moral high ground that he cannot help but be attracted to Calhoun, someone who is as determined to do good as he is.  He is Jiminy Cricket, Thumper, Flounder, and Zazu combined, and Felix never comes across as false or overdrawn under McBrayer's approach.     The writing, as done by Phil Johnston and Jennifer Lee, is tight and perfectly structured, using Pixar's Toy Story as a template.  The initial plot point - Ralph wanting a medal to prove he is a hero - gives way to several plot points, such as Vanellope's desire to be a full-fledged racer, Felix falling for the equally heroic Calhoun, Calhoun's backstory of a lost love, and the story of a long lost arcade game in which the character game-jumped and caused both his game and the other game were taken out of the arcade permanently.  The writing is so taut that each of these plot points are resolved and have significance in the overall story, and Johnston and Lee allow the audience to trust them to guide the story effortlessly.  The result is a fast-paced story with heart and soul, the best paced animated film from Disney in a long time.     Rich Moore has a long history with animation, directing several of the finest episodes of The Simpsons and having a hand in the finest episodes of Futurama.  Moore knows how to balance story and themes, and he allows the film to be unpredictable, trusting every actor and crewmember to carry the foundation of the film.     Maybe the most impressive aspect of the film is that foundation.  So many plot points, so many characters, so many references, so many details, but none of it feels overwhelming.  It's all because of the foundation.  Ralph is thirty years old, and being treated as the villain all these years has him facing his own quiet desperation.  He wants to be a hero.  He wants the appreciation Felix gets from the building tenants.  He wants to do good deeds without anyone fearing him.  He wants to break out of that desperation.     From this point, the film begins to address the following - what does it mean to be a hero, and is resignation the point of no return?  Ralph starts out purely selfish in his desire to earn a medal that shows that he's a hero.  After meeting Vanellope and becoming a part of her selfish game of becoming a full-fledged racer, their mutual selfishness gives way to a strong friendship based on doing anything to make the other person's dreams come true.  The natural evolution of their friendship is fantastic, and moments of struggle and hardship are fully felt.  In the end, the point of resignation shows what all of the characters are truly worth, and the film's ending is earned without succumbing to melodrama.     Walt Disney Animation Studios has ironically been seen as a step-sibling to Pixar as of late.  Starting with Tangled, Walt Disney Animation Studios has slowly built itself back to relevance.  With Wreck-It Ralph, Walt Disney Animation Studios has made a film that is on par with Pixar's repertoire and stands as the finest animated Disney film since the Disney Renaissance of the late 80's and early 90's.  Here's hoping that this is the beginning of another Renaissance. Movie Rating: 9.5/10 The best paced animated film Disney has released in a long time. Film Rating: 9/10 The Hero's Journey gives way to how to face the point of resignation - with head held high and the resolve that this is not the end. Disney Film Rating: 9/10 It's not a straight kid's film due to some of the subject matter, but it's perfect fun for the whole family. Video Game Film Rating: 10/10 By not being about a real video game in particular, the film focuses on the characters and on the arcade universe in general, becoming the greatest video game film ever in the process.

My Workout For Friday January 17

I earned 840 points for my workout on Fitocracy!

Moving boxes +840 pts

5:00:00 || Easy (+600 pts)

2:00:00 || Easy (+240 pts)

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My Workout For Tuesday January 07

I earned 614 points for my workout on Fitocracy!

Reverse Crunch +53 pts

15 reps (+19 pts)

15 reps (+19 pts)

12 reps (+15 pts)

Plank +30 pts

30 sec (+10 pts)

30 sec (+10 pts)

30 sec (+10 pts)

Side Plank +42 pts

20 sec (+14 pts)

20 sec (+14 pts)

20 sec (+14 pts)

Chin-Up +8 pts

12 reps || assisted || 145 lb (+2 pts)

8 reps || assisted || 130 lb (+2 pts)

6 reps || assisted || 130 lb (+2 pts)

4 reps || assisted || 115 lb (+2 pts)

Dips - Triceps Version +8 pts

12 reps || assisted || 145 lb (+2 pts)

5 reps || assisted || 130 lb (+2 pts)

6 reps || assisted || 130 lb (+2 pts)

4 reps || assisted || 115 lb (+2 pts)

Bent Over Two-Dumbbell Row +165 pts

20 lb x 12 reps (+41 pts)

30 lb x 10 reps (+43 pts)

30 lb x 8 reps (+41 pts)

30 lb x 7 reps (+40 pts)

Dumbbell Bench Press +208 pts

30 lb x 12 reps (+49 pts)

40 lb x 10 reps (+55 pts)

40 lb x 8 reps (+53 pts)

40 lb x 7 reps (+51 pts)

Dumbbell Bicep Curl +98 pts

15 lb x 12 reps (+26 pts)

20 lb x 8 reps (+25 pts)

20 lb x 7 reps (+25 pts)

20 lb x 5 reps (+22 pts)

Stretching +2 pts

0:10:00 (+2 pts)

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The endeavor continues...

As of last night, I've begun writing my critique of Star Wars. It'll be some time before it's ready, but be prepared for amazing news...

My Workout For Sunday February 02

I earned 731 points for my workout on Fitocracy!

Plank +18 pts

30 sec (+10 pts)

25 sec (+8 pts)

Dumbbell Shrug +80 pts

25 lb x 12 reps (+19 pts)

35 lb x 12 reps (+20 pts)

40 lb x 12 reps (+21 pts)

40 lb x 10 reps (+20 pts)

Dumbbell Bicep Curl +104 pts

15 lb x 12 reps (+26 pts)

25 lb x 8 reps (+26 pts)

25 lb x 7 reps (+26 pts)

25 lb x 8 reps (+26 pts)

Reverse Crunch +83 pts

18 reps (+23 pts)

17 reps (+22 pts)

15 reps (+19 pts)

15 reps (+19 pts)

Upright Barbell Row +93 pts

45 lb x 12 reps (+21 pts)

65 lb x 10 reps (+24 pts)

65 lb x 10 reps (+24 pts)

65 lb x 10 reps (+24 pts)

Bent Over Barbell Row +124 pts

65 lb x 12 reps (+28 pts)

85 lb x 12 reps (+32 pts)

95 lb x 8 reps (+32 pts)

95 lb x 8 reps (+32 pts)

Stiff-Legged Barbell Deadlift +202 pts

55 lb x 12 reps (+46 pts)

75 lb x 10 reps (+52 pts)

75 lb x 10 reps (+52 pts)

75 lb x 10 reps (+52 pts)

Stretching +2 pts

0:10:00 (+2 pts)

Pull-Up +8 pts

12 reps || assisted || 145 lb (+2 pts)

8 reps || assisted || 130 lb (+2 pts)

7 reps || assisted || 130 lb (+2 pts)

3 reps || assisted || 115 lb (+2 pts)

Side Plank +17 pts

25 sec (+17 pts)

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Now available for free on both iPhone and Android!

My Workout For Thursday January 16

I earned 723 points for my workout on Fitocracy!

Bent Over Two-Dumbbell Row +86 pts

25 lb x 12 reps (+42 pts)

30 lb x 12 reps (+44 pts)

Side Plank +17 pts

25 sec (+17 pts)

Dumbbell Bicep Curl +104 pts

15 lb x 12 reps (+26 pts)

20 lb x 12 reps (+27 pts)

20 lb x 10 reps (+26 pts)

20 lb x 8 reps (+25 pts)

Plank +7 pts

20 sec (+7 pts)

Reverse Crunch +68 pts

15 reps (+19 pts)

15 reps (+19 pts)

12 reps (+15 pts)

12 reps (+15 pts)

Dumbbell Shrug +73 pts

15 lb x 12 reps (+17 pts)

20 lb x 12 reps (+18 pts)

25 lb x 12 reps (+19 pts)

30 lb x 10 reps (+19 pts)

Upright Barbell Row +93 pts

55 lb x 12 reps (+23 pts)

65 lb x 10 reps (+24 pts)

65 lb x 8 reps (+23 pts)

65 lb x 8 reps (+23 pts)

Cycling (stationary) +19 pts

0:05:00 || 1.1 mi (+19 pts)

Stiff-Legged Barbell Deadlift +190 pts

45 lb x 12 reps (+43 pts)

55 lb x 12 reps (+46 pts)

65 lb x 12 reps (+49 pts)

75 lb x 10 reps (+52 pts)

Bent Over Barbell Row +56 pts

65 lb x 12 reps (+28 pts)

75 lb x 8 reps (+28 pts)

Stretching +2 pts

0:10:00 (+2 pts)

Pull-Up +8 pts

12 reps || assisted || 145 lb (+2 pts)

6 reps || assisted || 130 lb (+2 pts)

4 reps || assisted || 130 lb (+2 pts)

6 reps || assisted || 130 lb (+2 pts)

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Fitocracy is the social fitness community that has helped hundreds of thousands level up their fitness. Start your fitness transformation today!

Now available for free on both iPhone and Android!

Skyfall Review

    History has a way of defining a person, place, or thing.  There are two extremes to dealing with history - embracing it or burning it down.  The history of the James Bond film series is no exception, and the 50th anniversary of the release of Dr. No serves as a milestone for reflection on the series' history.     Two films define the series' dichotomous directions - From Russia With Love and Goldfinger.  From Russia With Love is the quintessential spy film - James Bond as a soldier for Great Britain, while Goldfinger is the quintessential spy movie - James Bond as a hero for the people.  Both present the series at its finest, and every subsequent film contain elements of both with varying results.  The rest of the best of the series - On Her Majesty's Secret Service, The Spy Who Loved Me, Goldeneye, and Casino Royale - were near-perfect balances of Russia and Goldfinger.     With Casino Royale, the history of the film series was scuttled and refreshed successfully, telling the story of Bond as a neophyte coming to terms with the cost of being the soldier and hero.  Quantum of Solace followed, and while parts of the film were well done, the overall result lacked the spark expected from a Bond film.     Skyfall, the 23rd entry in the James Bond film series, brings back the fun of the series while keeping the depth that Casino Royale brought, resulting in another near-perfect balance.     James Bond, after a failed mission that starts the film briskly, goes into self-imposed retirement, dealing with his failings as an agent and the failings of his superiors.  An attack at MI6 headquarters pushes him to return to the fold.  However, the star agent struggles to reintegrate into the spy life - his talents have worn down, and his emotions are unstable.  The impending world threat, a former MI6 agent named Silva, allows Bond slowly to gain his abilities and self-confidence.  Along the way, he sees the toll the threat has on his boss, M, who is dealing with an internal investigation on her from her superiors.  As the threat grows, Bond and M have no choice but to escape to Bond's family estate, Skyfall, and Bond has to face his past and his possible future.     That's a lot of plot points and thematic elements for a Bond film, but Skyfall never loses its focus, and all of the pieces come together in an impressive and fashion.     The script by Neal Purvis, Robert Wade, and John Logan is superb.  Constructed as a traditional Bond film, it has a deep respect for the history of the film series, yet it continues the deep emotional strides made with Casino Royale.  As traditional of a Bond film as the structure is, the writers made sure to defy expectations, peppering the structure with shocks and surprises, and the shocks never come at expected moments.  Even better is that the writers weren't afraid to pursue dark and challenging moments, be it the opening chase sequence, Silva's attack during M's hearing, and the final assault at Skyfall.  Purvis, Wade, and Logan found the perfect balance of the classic and the modern with their script.     The actors reinforce the emotional depth with excellent performances, never squandering any moments.     As the expected "Bond Girl" of the film, Bérénice Marlohe is a wonderful blend of sexiness and fragility.  Her character is removed from the equation just as she is getting interesting, the only real flaw of the film, but her moments with Bond are electrifying, filled with chemistry.  If Marlohe had been given more on-screen time, she would have been just as memorable as the rest of the cast, but she provides the audience with a good Bond girl.     Naomie Harris infuses Eve, a fellow agent of Bond's, with strength and independence.  Eve has a sexiness about her, not just in her beauty but in her wit and reliability as an agent.  Her moments with Bond are fun and saucy, and Harris will be able to build off of this great role since it is hinted that she will be a recurring character.     In a small but vital role, Albert Finney provides a strong foundation in the final act of the film as Kincade, the gamekeeper of Skyfall.  He gives Kincade a lived-in quality, someone who has seen the fall of the Bond family and is determined to keep the Bond history alive, however small of a life it may be.  He is a window to Bond's past, and Finney is an excellent mix of tragedy and levity.     Ben Whishaw is a delight as Q, the quartermaster of MI6 and Bond's armorer.  He is as mentally active in the mission as Bond is physically, and his dry, quick wit cuts through Bond without hesitation.  The chemistry between Bond and Q is undeniable, and with some of the dark turns the film takes, Whishaw is a welcome relief and fits perfectly into the Bond universe.     Ralph Fiennes is authoritative as Gareth Mallory, M's boss as the Chairman of Intelligence and Security Committee.  He's introduced as the governmental figure who rebels like Bond and M frustrate, but as the film progresses, his shades of grey are developed, becoming someone who fully understands M's struggle between fulfilling governmental duty while being an independent thinker.  Fiennes is another wonderful addition to the cast, and with his role being hinted at as recurring, he will be able to grow into the universe.     The Bond villain is a role that is known to attract fine actors, but sometimes the role doesn't live up to the actor who plays it.  This is not the case with Javier Bardem as Silva.  He's already played an iconic cinematic villain as Anton Chigurh in No Country For Old Men, and his Silva is destined to become  an iconic Bond villain.  Theatrical but infused with terror, Silva is never underestimated.  His approach to torture is more psychological, and he brings the audience to the brink with how successful he is with his plot.  This may be the first Bond villain in a long time who makes the audience feel like he could win, or at least force Bond into a pyrrhic victory.  As commanding and deadly as Red Grant and Rosa Klebb in From Russia With Love and as theatrical as Auric Goldfinger in Goldfinger, Silva stands among the finest Bond villains, and Bardem should take almost all of the credit for it.     Judi Dench has been M since Goldeneye, but this film may be her shining moment as Bond's boss and the head of MI6.  She has a personal connection to Silva, and she has a close relationship to Bond.  The terror and disappointment in her eyes when sharing scenes with Silva is amazing - she shows so much history with the villain without ever digging into the backstory, and it takes a lot of skill to be able to show that history without telling it.  Even more impressive is that she never takes over a scene when she isn't required, and her scenes at Skyfall are just tremendous.  M is trying to come to terms with her failings as a leader throughout, but Dench not only allows M to deal with these failings but also reinforce why she was the only leader who could have shaped Bond into who he is and trust him unconditionally.     In his third outing as James Bond, Daniel Craig has fully ingrained himself into the legendary spy.  He was a blunt instrument in Casino Royale and a vengeful warrior in Quantum of Solace, but in Skyfall, the spy life has taken its toll on him.  Craig has only been Bond in three films, but he carries a sense of torrid history not seen in any of the previous Bond actors.  He doubts himself and his superiors, but he knows that the mission is most important and strives to overcome his doubts.  What he sees in Silva is his own possible future, while a reference to Skyfall and his eventual return to his family's estate hints at his tortured past.  Bond is a man who is coming to terms with the loss his past contains while learning to appreciate the future M gave him, all the while containing the wit and class the character has had for the past 50 years.  His delivery of the one-liners still needs a little work, but that's a minor quibble compared to how fantastic Craig is as Bond, reinforcing his place as the second-best Bond, and arguably giving Connery competition as the best Bond ever.     The music has always been important in a Bond film, and Thomas Newman's score is a perfect blend of classicism and progressivism.  The James Bond Theme is prevalent as it should be, but some of the more progressive touches are welcome.  There are moments when the music becomes a cousin to the works of Brian Eno, focusing on ambient overtones from electronic instruments.  The balance between past and future is expertly captured by Newman's score, but the microcosm is at its finest with the theme song sung by Adele.  It's as if Shirley Bassey has been properly updated for the 21st century, which may be the highest compliment any Bond theme song could receive, and it stays in the head and gets into your soul.     A special note must be made about the cinematography by Roger Deakins.  His work in Skyfall elevates the film into a visual work of art.  He's worked consistently with the Coen Brothers, and he loves to play with colors.  Just look at the vivid yellows of Turkey, the blues of Shanghai, the reds and browns of Macau, and the greys and stone-like tones of the United Kingdom.  It is a master class in color-focused cinematography, and the framing is a perfect mix of grand and personal.  Deakins' work on Skyfall is nothing short of legendary.     Sam Mendes was the biggest wild card in the film as the director.  Winning an Academy Award for his directorial debut, American Beauty, Mendes is known as a dramatic director with no experience with action scenes, and some of his works have been considered pretentious.  However, Skyfall has no pretentions - Mendes makes sure it is the event film it is meant to be.  He structures the film as a traditional Bond film - a three-act work with a prologue and epilogue - and the film is the second-longest film in the series, but it is wonderfully paced, never overstaying its welcome nor having an overabundance of action or drama.  Everything feels necessary, allowing the audience to become fully invested in the film.  He knows how to work with the actors, and he understands what will make the biggest impacts.  The series has had classy directors before, but no one as unique as Mendes, and his artful eye does wonders for the film and the series.     Skyfall is a traditional Bond film with significant depth, heart, and soul.  It has the expert tension of From Russia With Love, the fun of Goldfinger and The Spy Who Loved Me, and the emotional consequences of On Her Majesty's Secret Service and Casino Royale.  It pays homage to the series' history while looking and moving forward, and it presents a story about the importance of history and the understanding that one may be defined by his or her past but is not controlled by it.  Skyfall is the closest a Bond film has ever come to being an art film, and it sits alongside the best in the series and the best in the genre. Movie Rating: 9.5/10 A somewhat underutilized Bond girl is a minor gripe to what may be one of the most thrilling action films since the turn of the century. Film Rating: 9/10 A Bond film that acts as a successful commentary on the effects of individual history with superb music and visuals that match the themes. Bond Film Rating: 10/10 Another classic that stands alongside From Russia With Love, Goldfinger, On Her Majesty's Secret Service, The Spy Who Loved Me, Goldeneye, and Casino Royale.

Bond Rating: 9.5/10 Although the delivery of some of the one-liners still needs a little work, Daniel Craig not only reinforces how effective he is as Bond, but he also arguably matches Connery's status as the greatest Bond.

My Workout For Saturday January 11

I earned 111 points for my workout on Fitocracy!

Running (treadmill) +16 pts

0:05:00 || 0.3 mi || 1 % (+16 pts)

Cycling (stationary) +79 pts

0:07:30 || 2 mi || 7 % (+49 pts)

0:06:20 || 1.5 mi || 5 % (+30 pts)

Chin-Up +8 pts

12 reps || assisted || 145 lb (+2 pts)

8 reps || assisted || 130 lb (+2 pts)

7 reps || assisted || 130 lb (+2 pts)

4 reps || assisted || 115 lb (+2 pts)

Dips - Triceps Version +8 pts

12 reps || assisted || 145 lb (+2 pts)

12 reps || assisted || 130 lb (+2 pts)

4 reps || assisted || 115 lb (+2 pts)

5 reps || assisted || 115 lb (+2 pts)

Think you can beat me, or want to comment?

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