Playoff preview?

I've neglected to make a Cubs post for almost three weeks now, and they've been a pretty eventful three weeks, so let's try and recap some of what's been happening. Firstly, the Cubs sit at 62-44, having struggled out of the gate after the All-Star break (they're 5-6 since then). Really, I don't think the slump quite warranted the panic that was ensuing from some fans, but it didn't help that the Brewers had gotten read hot during the same period of time, and actually spent a day tied with the Cubs for first. While the Cubs are still 1st in the NL in runs, BA and OBP, their bats--most notably Derrek Lee (.245 avg, 2 HR), and Aramis Ramirez (.156 avg., 1 HR)--have been relatively quiet since the break. That trend may now be turning around in a big way, however, as the Cubs have won their last two in the form of a come from behind 9-6 win over the Marlins, and a 6-4 victory at Milwaukee, the latter being the first loss for C.C. Sabathia as a Brewer.

Kerry Wood has been on the DL with a lingering blister issue. The fact that its not one of his recurring structural issues in his arm is obviously very good news, although, in a way, the fact that its a rather mundane injury makes me as a fan even more anxious for him to get back on the field. Roughly at the same time of Wood's injury, Carlos Marmol started a stretch in which he got absolutely rocked, and is currently looking at a 6.35 ERA for July (it was bad in June as well, after his ERA was under 2.00 in both April and May). Pinella's use of Marmol has been truly baffling at times, and is one of the few things I feel can be raised as a major complaint in regards to his managing. Marmol's on pace for almost 90 innings on the year. Yes, it's a fact that sometimes when you're in a pennant race and your team has a chance to win in just about every game, you have to keep running your best guys out there. There have been times, however, when Pinella has used Marmol in a game on no days rest when the Cubs have a lead of at least 4 or 5 runs and when there are other, more rested pitchers in the bullpen. Not everyone in the bullpen is lights out, but overall its good enough such that Lou should be able to feel that he can go to someone else in that situation. Lou does seem to put a lot of trust in Chad Gaudin, and his ERA is an excellent 1.69 since joining the Cubs, so its possible that his presence in the 'pen will give Marmol a break as we come down the stretch.

Jeff Samardzija made his major league debut last Friday against the Marlins, and then went two more innings on Sunday--a game that followed a 12 inning loss that wore down the bullpen--to get his first major league save. He already has 5 strikeouts in 4 innings and looks as if he has absolutely filthy stuff. He was throwing at 97 right out of the gate on Friday. Down the road he could have all the makings of a great back-end bullpen guy, although he may eventually be a starter as was his role in the minors.

As I mentioned earlier, the Cubs beat the Brewers last night 6-4, and in doing so took the first of four games at Miller Park in what is a crucial series. The Cubs currently hold a two game lead and therefore can guarantee that they'll remain first after this series is over with one more win. Tonight is going to be one of the best pitching matchups of the year: Carlos Zambrano vs. Ben Sheets.

Tale of the tape:

	W	L	ERA	WHIP	K
Carlos Zambrano	11	4	2.96	1.24	87
Ben Sheets	10	3	2.87	1.13	115

As per normal, all stats come from Baseball Reference.

The Dark Knight

The Dark Knight (****)

The Dark Knight is the best superhero movie ever made, surpassing its already excellent predecessor Batman Begins in just about every way. Its a movie that will be foremost remembered (with good reason) as Heath Ledger's final, and maybe best, performance before his death due to an accidental overdose. Ledger's performance, however, while every bit deserving of the attention its received, is but one aspect of a film that is all-around amazing and features great performances from just about everyone in its ensemble cast. As he did with Batman Begins, director Christopher Nolan uses on-location filming in Chicago to create a fantastic vision of Gotham City, dark and imposing enough to provide a suitable backdrop for Batman's crime fighting, but less abstract and expressionist than Tim Burton's Gotham. The story, however, is what really drives the film. With the origin story already told, Christopher Nolan, and his brother and co-writer Johnathan utilize Batman's ultimate nemesis and the ultimate tragic figure of Batman lore, and weave them into one deeply resonant storyline that reflects everything that Batman's always been about, while also exploring brand new facets of Batman's world.

After we catch a brief glimpse of the Joker during a heist of a mob-controlled bank, our first good look at the Joker comes when he shows up at a meeting of the same mobsters that he just stole from. The composition of the scene isn't all that dissimilar from the scene in which Jack Nicholson first appears as the Joker in Tim Burton's Batman and eventually burns a guy down to a charred skeleton with his variation on a novelty hand buzzer. When Heath Ledger enters as the Joker in The Dark Knight, he does his own "magic trick" of sorts that still has a bit of the macabre, "the joke's on you buddy!" sort of feeling that encapsulates what the Joker is all about, but at the same time is much more jarring and much more disturbing in its realism. As with the Jack Nicholson scene, one of the gangsters gathers around the table points out the obvious and says, "You're crazy." In Tim Burton's movie, Nicholson retorts with "Haven't you ever heard of the healing power of laughter? (cackles)." In Nolan's Dark Knight, the Joker give a harsh glare and replies "No, I'm not," in a voice that seems as though he's trying to convince himself of that fact as much as he's declaring it to anyone else. This scene is probably the best example of the genius of Heath Leger's performance. He keeps just enough of the essence of the Joker there, but gives him a whole new depth that isn't really in the comics at all.'

Even though two of the Joker's big trademarks are his cackling laugh and his incessant disturbingly black comedy, a lot of what Leger does in his performance is more subtle and non-verbal. When he crashes Bruce Wayne's party and spots Rachel Dawes (now played by Maggie Gyllinhall, who is a big step up from Katie Holmes) he remarks "Why hello beautiful!" and starts awkwardly parting his messy, matted hair and feeling his tongue around his mouth. The image of this is far creepier than any weird joke the Joker could've told in the scene. I don't think its hyperbole to say that Ledger's joker is going to be remembered the same way Anthony Hopkins is for Hannibal Lecter or, the other Joker, Jack Nicholson for what he did in The Shining.

To focus only on the Joker, though, is to ignore the rest of the performances, all of which are pretty much exactly what I'd want them to be. Aaron Eckhart's towheaded Harvey Dent doesn't really resemble how he's usually portrayed in the comics, but he plays the character with a hard to describe combination of a sort of stoic resolve but with a boyish charm on top of it that makes the tragic turn of the character that much more powerful when it happens, even though you're already expecting it if you're already indoctrinated in Batman lore. In their script, Nolan and his brother give him some powerful lines that make the character both more endearing and more meaningful than the over-the-top campy portrayal by Tommy Lee Jones in the god-awful Batman Forever. While a lot of the Joker's scenes were distributed liberally as the movie was being promoted, the studio did a damn good job of keeping the specifics of Harvey Dent's fate tightly under wraps, and as his part of the film's climax plays out his character is shockingly brutal in the best possible way.

Batman himself is more introspective in this second leg of the series, and actually has to be propped up by Alfred, (again played by Michael Caine) as the relative order he brought to the city begins to deteriorate as the Joker wreaks havoc. The idea of "escalation" between Batman and the Rogue's Gallery that he inspires originally brought up by Jim Gordon at the end of Begins continues in Dark Knight in full force. The movie also plays with the idea of a fatalism existing between Batman and the Joker, because Batman can never kill the Joker because of who he's trying to be and the Joker can never be reformed or controlled.

Even if you don't care about extracting big ideas from a superhero movie and just want to watch a superhero do superhero type stuff, you'll likely still find the The Dark Knight near perfect. The benefit of the on-location filming in Chicago is once again obvious to see, and the action sequences trump the best of those in Batman Begins. This is a masterpiece of the genre.

Hellboy II

Hellboy II (***1/2)

Writing this just over 24 hours before I plan on seeing The Dark Knight [yeah, it took me a while get around to finishing it], its sort of difficult to constrain my fanboyish hype long enough to think about any other movie, except in terms of how much less badass I'm anticipating it being in comparison to The Dark Knight. Nevertheless, I did see Hellboy II last weekend, and even though the timing of its release means its pretty much destined to be overshadowed, its a very good comic book movie in its own right. Like the original Hellboy film--which wasn't perfect and had some pacing and plothole issues, but was a movie that I nevertheless felt was underrated--the sequel was helmed by Guillermo Del Toro, who (very much deservedly) gained mainstream praise for his dark fantasy epic Pan's Labyrinth. Visually, this film is much closer to what Del Toro did in Pan's, and dark, fantastical, brooding atmosphere is one of its strongest points.

If you didn't see the first Hellboy movie and aren't familiar with the premise, here's the Cliff's Notes version: There's a secret government agency called the Bureau for Paranormal Research and Defense (BPRD) that gets called in any time something shows up that looks too much like something out of an H.P. Lovecraft book for the normal feds to deal with. Its agents include Hellboy. a demon that was summoned through a portal into our world by Nazis during World War II, Abe Sapien, a "mer-man" type guy who can intuit stuff about people and objects by waving his hands around, and Liz, who can set stuff on fire though not always control it that well. This second iteration expands greatly upon the mythos of the series, introducing an entire underworld of elves, trolls, and other races that you may have encountered with your World of Warcraft character. As I said earlier, the visuals are the film's strength, and there are no better visuals in the film than the throne room of the elves, which kind of looks like Lothlorien from Lord of the Rings if it was crammed entirely within a sewer. There's also a troll market hidden away underneath a New York City bridge, that Roger Ebert beats me to the punch in comparing to Mos Eisley from the first Star Wars.

The villain is the prince of the elves, who's been alive for as long as mankind has existed and is pissed off at our penchant for clearing down forests to make way for strip malls. His plan for revenge involves the Golden Army, a legion of mechanical warriors created for his father the king thousands of years ago before the elves were exiled to the forest. The story of the army's creation is told in the form of a bedtime story that was told to Hellboy growing up and represented through stop motion animation with old world-looking wooden puppets. Back in the present, the prince is attempting to collect all the pieces of the crown that allows its bearer to command the Golden Army which have been scattered between the human and elven worlds as part of the truce that ended the war in ancient times.

Plots like that of Hellboy II are pretty much a dime a dozen in the realms of fantasy and science fiction. Aside from the visuals, what sets this movie apart is its wit, which is no more readily apparent in Ron Pearlman's performance as Hellboy. The appeal of Hellboy as a character is that he's not the stoic, emotionless figure you'd expect an otherworldly being to be, but rather a grumpy blue-collar guy who doesn't like work because it cuts into his drinking time. Ron Perlman encapsulates this perfectly. The voice of Abe has been switched from David Hyde Pearce to Doug Jones (who does the rest of Abe), which is fine with me because Jones seems much more into the part, whereas I imagine David Hyde Pierce opining about how he wishes Frasier didn't get canceled while in the recording studio. Abe has more to do in this movie, and seems more like a character on equal footing with Hellboy, rather than the bumbling sidekick. Added to the cast is an odd German scientist, voiced in the most stereotypical and exaggerated of accents possible by Seth McFarlane for Family Guy fame. The character is a little too cartoony, but does provide a great foil for Hellboy for some great comic relief.

As I said, Hellboy II's plot is somewhat derivative, and the ending may be something you see coming from midway through the movie, but the charm of Hellboy as a character is still there. Add to it Guillermo Del Toro's more Pan Labyirinth-esque visuals and some actually decent, not hit-you-over-the-head obvious social commentary, and you have a pretty good comic book movie. It's just not The Dark Knight.

This is a Sneaking Mission

Disclaimer: While I'm not going to walk through the entire plot of the game, this is probably going to have spoilers.

Despite the fact that I have Aeris and Kilik in the title image for this blog, I haven't really discussed video games at all here. I figure Metal Gear Solid 4, which I got about two weeks ago along with a Playstation 3 (the first system I've owned from this generation) is as good an opportunity as any to change that fact. There's a lot to talk about with regard to MGS4, party because there's a lot packed into the same, and party because the game has gotten a near preposterous amount of hype (IGN broke out the rarely seen 10.0 for the game, although they 10'd Grand Theft Auto 4 as well, so maybe their standards are just lower now), a lot of which I believe is deserved, though perhaps not all of it. While the game in many ways should be considered the new benchmark for what a video game can be, I certainly don't see it as having achieved perfection, and really, I'm not even 100% convinced yet that this is the best game of the series from purely a gameplay perspective.

It's impossible to explain what the Metal Gear Solid series is all about to someone who has never played it mainly because, well, its sometimes near-impossible to explain everything that's going on, period. And while MGS4 eventually more or less ties up most of the loose ends, there's still more a few moments throughout the game that'll have you saying "yeahbuhwhaa?" I've always found the basic premise interesting, and now that the 4th game in the series deals heavily with PMCs (like the real-life and somewhat infamous Blackwater) it seems a little more poignant now. Anyway, the overarching story of Metal Gear Solid, which stretches from the mid '60s to the near future, concerns the Patriots, the Illuminati like organization that controls all of world affairs through a complex system of AIs. MGS4 finally reveals who the Patriots are and how they came to be, and for the most part explains how the previously disjointed installments of the series are actually all interconnected. There's still a lot of heavy-handed melodrama, and sometimes the not-all-that-clever symbolism (expect to see the Garden of Eden alluded to in some way about a hundred times) gets out of control, but on the whole from a story perspective MGS4 is a satisfying conclusion.

A big reason why the story can succeed, despite a script that's less than stellar at times, is how amazing well done the presentation of the story is. Every cutscene in the game uses the in-game engine and they all look absolutely gorgeous. At any point during a cutscene, pressing up on the D-Pad and moving the analog around will allow you to zoom in anywhere. You zoom in on any characters face as they're speaking, and it will barely affect your suspension of disbelief. The textures still look almost flawless, characters each have their own mannerisms which don't look jerky or fake at all, and there's none of the weird Uncanny Valley stuff that happens sometimes. A criticism of the MGS series has always been that there are too many cutscenes and too often (I would certainly agree for MGS2, not as much for MGS3), and while MGS4 certainly has a lot as well, they're presented in a way such that they're not a chore to sit through at all. My only complaint would be that the cutscenes are pretty heavily back-loaded towards the last 3 of the 5 acts of the game. In the first two acts, the game seems to miss an opportunity to delve more into the circumstances surrounding the local militias, which you encounter fighting the Patriot-controlled PMC grounds. While in the final three acts, even though the story is compelling, the gameplay seems to take too much of a complete back seat.

Elaborating on that point, the first two acts of the game feel very open and unconstrained. It seems like there's always one way to approach a particular situation, be it tranquilizing enemies on sight, or avoiding contact with them all together, or creating some sort of a distraction. The open environments reminded me a lot of the jungles of Metal Gear Solid 3, a game that I had a ridiculous amount of fun playing. The Middle Eastern village and South American base that comprise the settings for the first two acts of MGS4 give the same degree of freedom in terms of how you can plan your route to your destination, only they're even more interactive and detailed. The settings are no less detailed in acts 3, 4, and, 5, but they feel much more on rails and, as I mentioned, they are much more overwhelmed by cutscenes. Act 3 puts you in a European city which is gorgeous to look at, but that you aren't necessarily able to explore because you're tasked with following one particular target. After that sequence there's a whole lot of story, a boss fight, and a chase sequence and that's the entire act. Act 4 returns you to a familiar locale from a previous installment of the series, but, other than another boss fight, pits you only against purely robotic enemies that you're actually rewarded for killing. Act 5 finally, is just sort of a big grand finale that throws the kitchen sink at you but, again, is very on-rails and is extremely short. The way these last 3 acts are set up is the one thing that really bothers me about MGS4.

Even with these fairly minor complaints, MGS4 is a landmark achievement for the PS3 and for Kojima Productions. Thus far I've played through it all the way once on Naked Normal and I'm about 3/4 of the way through a play through on Solid Normal (yeah, the difficulty names are weird). I don't anticipate tiring of playing it any time in the near future.

[Venture Brothers] What Goes Down, Must Come Up

Season 3, Episode 7: What Goes Down, Must Come Up

This is why I watch The Venture Bros. If you read through my reviews of season 3, you'll see that I haven't really disliked any of the episodes thus far, but still it seemed as if there was a certain je ne sais crois missing. I think this episode provided exactly what the season needed. As I said in the "Dr. Quymn" review, I appreciate that they're letting all of the characters grow and not letting them stay stagnant, but at the same time I feel like when they focused a lot of their efforts on this it detracted from the humor. This episode was absolutely hilarious through and through. Jefferson Twilight notably had some incredibly lines.

The episode was also one of the best of the show's many examples of deconstructing the mythos of cold-war era Johnny Quest type adventure shows. In this episode we're treated to a flashback of children on a field trip to see Jonas Venture's underground fallout shelter, only to have MUTHER, the scorned housewife of an A.I. release poison gas throughout the facility, leading to Jonas, The Action Man, Kano, and Colonel Gentlemen promptly rushing to action to save themselves and no one else. Just fantastic.

Episode rating: Like getting a free invisible mom

Favorite bits\random thoughts:

-Pretty much everything Jefferson Twilight said over the course of the episode was brilliant. "Aw man, now I got blue balls in my blood eye!" "They weren't taken by Blackulas, although I can't rule out Caucasian vampires." The entire running gag of Jefferson's lack of usefulness for the Order's particular situation was hilarious.

-There were some more music video references, with the guy in the Captain America-ish getup running through the sewer being coming straight out of this Prodigy video.

-Peter White sitting with a John 3:16 sign in one hand and a margarita in the other
as he's convinced that nuclear annihilation is imminent was kind of out of nowhere but made me laugh for some reason.

-MUTHER being referred to as "some Atari bitch," lol.

Rich Harden

Its been a little while since I posted about the Cubs, but there's no better time to start again than right now. Just a couple of days removed from the Brewers' acquisition of C. C. Sabathia from the Indians, the Cubs made a 6 player trade to nab Rich Harden from the A's. The complete trade is as follows:

A's Trade:

Rich Harden
Chad Gaudin

Cubs Trade:

Matt Murton
Sean Gallagher
Eric Patterson
(Single-A catcher) Josh Donaldson

Harden this year is 5-1 with a 2.34 ERA in 13 starts, which would put him 2nd in the AL in ERA behind teammate Justin Duchsherer were it not for the fact that he's just under the innings pitched requirement to qualify. The biggest concern with him has been injuries, as he's missed some time this year, and made only 13 combined starts in 2006 and 2007. Chad Gaudin has been used as a long reliever and spot starter and has a 3.59 ERA himself. The inclusion of Gaudin is nice as it sort of negates Gallagher's departure in the sense that the Cubs still have some depth if Harden or someone else gets injured.

Getting a pitcher like Rich Harden in a pennant race is a good thing, period, but what makes this truly a great trade is that, although they gave up four players, for the most part its not going to weaken the Cubs MLB club in other areas this season nor should it hinder the farm system much in the future. Obviously, Sean Gallagher is the biggest loss. Even though he was about to head back to the bullpen with the return from the DL of Carlos Zambrano and the emergence of Sean Marshall, he's had several good starts this year. It's possible that he develops into a very good pitcher, but really his is the only loss that really has you wondering "what if we're giving up more than we think?" Matt Murton is 26. He may turn into a viable everyday player in Oakland, but he's not going to get leaps and bounds better than what he is now. He can hit some home runs and he plays hard, but he's somewhat of a liability in the outfield, and doesn't really have the massive power numbers that you'd expect from a starting corner outfielder on a contending team. Murton's been the odd man out in the Cubs' outfield plans for a while now, and you'll recall he started the year in AAA Iowa. Eric Patterson is much younger than Murton and still has time to develop, but during his time in the majors, he has yet to show much evidence that he would be much better than his brother Corey who is currently wasting away on the bench with the Reds.

A playoff rotation of Zambrano/Harden/Dempster (with the added off days that they put in last year--which I hate--a 3-man rotation is really all you'll need) could be incredibly fearsome. This isn't even a "rent-a-player" type of situation, as Harden's contract has a club option for 2009. This is one of the best trades that Jim Hendry has made.

The Cubs beat the Reds at home last night in the opener of the series. They're coming off of a road trip that was shaky, as most of their road play has been to this point, but ended with the Cubs taking 2 out of 3 from the Cardinals at Busch.

[Venture Brothers] Doctor Quymn, Medicine Woman

Season 3 Episode 6: Doctor Quymn, Medicine Woman

Wow. A very hormone filled Venture Brothers this week. Even Dean almost got himself some, and from twins no less! Season 3 has definitely made a much more concerted effort than the last two season of furthering the development of the characters. As Dean says to Hank, "You're not used to be about 'Go Team Venture!", now you're all "Go Team... Boobies!" The kids are growing up, although who knows when the next time will be when they accidentally die and get reverted back to their 16th birthday again. This episode had some so-so parts but also some absolutely classic lines.

Episode rating: Like having a Quicktime of your minty fresh entrance on your Livejournal, even if you raided the wrong place

Favorite bits\random thoughts:

-The aforementioned "Go team boobies!" line, probably the single funniest thing from this season so far.

-Brock, Hank, and Dean teaching a gorilla to box on Dr. Venture's orders, then the monkey
subsequently fighting the "wereodile" at the end.

-I wasn't entirely sure what they were going for with the more-than-a-little-bit disturbing stuff between Ginnie, Dr. Quymn's bodyguard, and Brock. That was just odd. Although Dean yelling "The both of yous got jungle fever!" was amazing.

[Venture Brothers] The Buddy System

Season 3, Episode 5: The Buddy System

A pretty fantastic episode and maybe my favorite from this season. It took place entirely on the Venture compound, and it reminded me a lot of the yard sale episode from the first season. This season's had much more of a main overarching storyline than either of the last two. With Sargent Hatred now apparently done arching Venture, I kind of hope we get an episode that's just sort of self-contained and off the wall nuts like "Escape from the House of Mummies" from last season. Not that these episodes haven't been enjoyable, but I think its time for a reprieve from the storyline they've been working with.

Episode rating: Like a trip to Brisby World

Favorite bits/random thoughts:

-The Order of the Triad's safety song. Radon!

-Brock trying to hire the moppets to beat up the annoying teenage kid, only to realize that they're "pretty creepy"

I forget what else because I've had this saved as a draft for a week and forgot to finish it, but just take my word for it that this was a good episode.