back from serenity
And since the event was so blogcentric, I thought I'd better post something here immediately. The dead-tree journalists would make you wait until tomorrow to hear their opinions of the movie. Can you afford to wait that long?
Clearly not. So: it was good. I had only seen an episode or two of Firefly coming into it and had developed a favorable impression, albeit not a strong one. This was a very conventional plot, and Matt seemed to think that its scope didn't really serve the franchise. The second half did feel a bit like Whedon's usual ensemble routine was being stretched over a story that was a little too big.
But hey, I guess that's what you do when you turn a TV show into a movie. Like I said, it was good. You should go see it.
Anyway, slight spoiler behind the cut. For more, Variety has a review here, which is worth reading if you've never read anything from Variety. Which apparently I hadn't. Is the whole paper like this? How do they keep angry citizens from burning the building down? How are they going to keep me from doing it?
But the evening's most important revelation: the Doom movie features shots from a first person perspective, complete with a gun in the foreground. It's just like the videogame! After a few minutes' reflection it's clear that this effect must be a lot harder to use effectively in a movie than it is in a preview, but still — this film could be marginally more interesting than I had imagined. It's still guaranteed to be terrible, of course. But for FPS junkies, it might be kind of fun.
One quick thing: can I place a request for a moratorium on messages from beyond the grave recorded by doomed research/rescue teams? In particular I'm concerned with those that are found by homing in on a signal that's weak, but definitely there. Whedon went this route without any winks to the audience (that I noticed, anyway). It was kinda disappointing. In general there were more cliches than I expected, and fewer of them seemed to be knowing.

Comments
Tom, I'm sorry to hear you have stumbled upon the great train wreck that is Variety. At some point, the editors of Variety decided they needed to invent their own language. It's sort of like when the writers of Star Trek invented Klingon. You either have to be a total geek or complete genius to understand it, and that is the whole point of it existing. Variety, like all other Hollywood inventions, is only here to make you feel like you don't deserve to know what you're reading, let alone hold their glossy rag in your sad, un-hip little paws. Just say no to Variety, Tom. It's for your own good.
it reminds me of when MBAs really get going.
I'm with you about the homing beacon. Seems to me that even if everyone died mid-action on a planet of millions, some machines somewhere would continue running, spewing off heat signatures that would mask your weak but definitely there beacon.
I am also interested in the social mechanics of reaver life. They'd sooner eat your face than bathe, which, I would think makes difficult commanding a massive armada of pirate spaceships.
I am, however, willing to overlook these issues due to the fact that the movie was effing awesome.
me too.
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