Guess
what everybody? It’s October once again, which means it’s time for the 13 Nerdy Nights of Horror once again, dabbling into some of this year’s
horror films and give recognition to a few horror films of the past. So to
start things off, we’re going to be looking at a horror comedy musical that is
celebrating its 40th anniversary as a cult classic, “The Rocky
Horror Picture Show.”
Based
on the Broadway musical “The Rocky Horror Show” by Richard O’Brian, the film
tells of a couple, Brad and Janet, who seek shelter during a stormy night in
November, and find a castle. What they soon realize is that the castle is owned
by Dr. Frank N. Furter, a mad scientist from Transexual Transylvania, who allows
them to stay overnight, on the evening he brings to life his ultimate
experiment, known as Rocky.
I’ve
talked about this film in a brief summary earlier this year in my Top 10
Broadway Musical Movies, and I still hold to what I said: This is by far one of
the strangest films that anyone could possibly make. I mean, at first it feels like something made to challenge the Hollywood system, all the while playing tribute to science
fiction flicks and B movies prior to its release. If you were to tell anybody the synopsis without any knowledge of what it's about, they would think you're crazy. Hell, even the soundtrack
alone gives off that vibe of “What the fuck?”
Upon
its original release, the film was bomb that came and
went, but within time gained possibly the biggest cult following of all time. The
following is so big that even shows like “The Simpsons” and “The Drew Carey
Show” have made references to it. Whenever movie theaters show midnight
screenings of it, you’ll see people dress up as the characters, the audiences
makes snarky commentary (most of which are necessities to say), all kinds of
shit that would make you either annoyed by people who are disrupting the movie
or look back in shock at where you are right now. In fact, the only other film
to have a cult following similar to it is Tommy Wiseau’s “The Room”…but that’s
another story.
So
what is it about this film that makes it so treasured by people with every
passing generation? I mean, when you really look at the film on its own…it really
isn’t that good of a movie. For one, it feels dated, there are plot points that
come out of nowhere, characters do things that are completely left field and
inconsistent, it has some repetitive scenes…but in a bizarre way, it works.
Though that does tend to raise a big question: why is it okay for this film to
have such senseless chaos, yet NOT okay when other films afterwards do it? In my
eyes, I feel like it has something to do with how far off from reality it is and sticks to it. This film never tries to bring itself down to a more realistic tone, and just ends up getting crazier and crazier without any apologies. The film makers were passionately daring to make something that defies all possible logic and
normal reasoning you’d see in the typical play or movie that you can’t help but
respect and appreciate what they did to make this happen. That, and this was
the film that sky-rocketed the careers of Tim Curry and Susan Sarandon, and
look where it got them down the line.
Overall,
what else can be said about “The Rocky Horror Picture Show” that hasn’t been
said already? It’s a film that has essentially defined the term “cult classic,”
and it’s kept its crown for forty years at this point. Is it for everyone?
Probably not. But if you haven’t seen it and you feel like giving it an
optimistic chance, then I’d say go for it. Whether you watch the film at home
with a few friends, or you go out to one of its midnight screenings at a movie
that plays it, there’s a chance that it will leave some kind of an impression
on you. Give it a watch and see what you think.
For
the past few years now, Johnny Depp has really been slipping in his career.
After starring in films like “Dark Shadows,” “Mordecai,” “The Lone Ranger,” and
“Transcendence,” all of which sucked, it seemed like it was a matter of time
before he hit rock bottom and be completely unable to bounce back. Well, much to everyone’s
surprise, Depp returns to the big screen once again with his new film, “Black
Mass.”
The
film is based on the true story of James Whitey Bulger, a mob boss who, over
the course of ten years, made an alliance with the FBI to take out those who he
deems as a threat. Because of his actions, John Connolly, his ally, has
to keep covering his tracks in order to secure the alliance, and keep
everything intact.
Just
going to cut to the chase, this is easily Johnny Depp’s best performance in
years! His portrayal as Whitey Bulger is both fascinating and ugly to watch,
with that wooden tooth and those soul piercing eyes. It’s really uncomfortable
to watch, but it’s even harder to turn away from. If I had to be honest here, I
would definitely say this performance is worthy of an Oscar nod. Joel Edgerton
plays John Connolly, and he really showcases his stuff pretty damn well too.
While he does try to put full dedication into his job, he does struggle with
maintaining that connection with Whitey, even to the farthest limits. Same can
be said with Bennedict Cumberbatch, who plays Whitey’s brother, Billy. While
they are brothers, Billy does his best to keep out of Whitey’s affairs and vice
versa, especially since Billy is the mayor of Boston and his reputation is on
the line. Also, it was really funny to hear Bennedict Cumberbatch do a Boston
accent. Other performances from Dakota Johnson, Adam Scott, Kevin Bacon, Jesse
Plemons, and many others also give fantastic performances. Great cast, great
acting.
Now
does the film have faults? Sadly, it does. With a film based on a true story,
there is a plot here, but not much story. I can point out memorable moments
from the film, but I never got the feeling of when it was going from act 1 to 2
to 3. For a film that takes place within the span of ten years, it felt like a
lot of it was cut out to be a two-hour film. Unlike a lot of films I’ve seen
where it could have been cut down (*cough*The Hobbit*cough*), this one felt
like it needed more stuff added. That, and it also had some predictable scenarios,
mostly when Whitey’s about to murder somebody. If they only did this once or
twice in the film, I could forgive it for that, but they do it at least three
times. It just felt a bit repetitive.
The
film was directed by Scott Cooper, the same director behind “Out of the
Furnace.” While I do think this is a big step up from “Out of the Furnace,” I
feel like Cooper needs a bit more time to perfect his craft and deliver a film
that really shines above the rest. Hopefully, that day will come within the
future.
Overall,
“Black Mass” was a pretty intense mob film. While it does have its issues, the performances
and dialogue manage to really make up for it. Hell, go and see the film just
for Johnny Depp’s performance alone…you have no idea how long it’s been for me
to say something like that.
The 1950's and 1960's seemed like the
perfect times to grow up, in terms of music culture. A lot of the
greatest musicians came out of those two decades, one of them being
the Brian Wilson. For those who don't know, Brian Wilson is best
known for being one of the original members of the Beach Boys,
writing and performing their songs, with their most famous album
being “Pet Sounds.” What everybody knows about Wilson is from his
performing life, but a lot of the stuff that happened in his personal
life is a different and much darker story than you would imagine.
Luckily for those curious, that story is brought to us in the
bio-pic, “Love & Mercy.”
“Love & Mercy” depicts
Wilson's life in two separate era's: In the 1960's, he suffers a
panic attack and decides to resign from touring and work on “Pet
Sounds,” which he believes will be the greatest album ever made. In
the 1980's, Brian meets his second wife, Melinda, who helps him
break away from the pharmacological and legal thrall of Eugene Landy.
Wilson didn't have much to input
during the film's making, but he has said that the film was both
factual and very tough to watch. After seeing the film myself, I can
definitely see why he would say the latter. “Love & Mercy” is
an emotionally intense film to sit through, but it's handled in the
best possible way. Not only is this one of the best films of the
year, it's one of the best musician bio-pics I've ever seen. The
film's director, Bill Pohlad, and writers, Michael Alan Lerner and
Oren Moverman, really knew how to handle such a work of history such
as this one. It could have easily been a story that started out with
the times in the 60's and then finish with the 80's, but this one
cuts back and forth between the two. They show us Brian's decent into
madness with trying to make an album at its most perfect, all the
while showing him find love and feel happy again.
Paul Giamatti plays Eugene Landy,
Brian's abusive therapist. Giamatti really gave a really chilling
performance, showing us the kind of cold and bitter man Landy was,
over-medicating and manipulating Brian to work on albums that way
they both stay in business. It shows just how despicable he was and
Giamatti was the perfect actor to handle that. Elizabeth Banks as
Melinda was another performance that was handled with excellence. The
chemistry she has with Brian onscreen, it's genuine and not at all like
Banks is performing. You only see Melinda and her concerns for what
happens to Brian the more she's with him. It feels like Banks might
be a strong contender for Best Supporting Actress, but I doubt the
Oscars are going to nominate her. If they do, I hope she walks away
with the trophy, because she deserves it.
However, the two that I most
definitely hope get nominated are the two that play Brian Wilson.
Paul Dano and John Cusack give the best performances of their careers that are deserving of Oscar nominations. Much like with Banks
as Melinda, I did buy that Cusack was Brian Wilson in the 80's with
his confused and broken down presence, and that Dano was Wilson in
the 60's with his ambition and conflicted mindset of hearing voices
in his head. It was infectiously good to watch the two work off of
others around them, and I don't care who gets the Supporting or
Leading nomination, as long as they get nominated at the Oscars for
their performances.
When I first saw this film back in
June, after suffering through the mediocrity that was “Jurassic
World,” I didn't really know what this film was about or even see a
trailer for it prior. It was just one of those gambles that I made
and luckily landed on the right color. I highly, highly, HIGHLY
recommend seeing this movie if you haven't. If you're a Beach Boys
fan, there is no reason to say “no” to watching this. If you
missed your chance to see this in theaters, don't miss your chance to
watch it on home video.
Last year, I put “The Fault in Our
Stars” on my list of favorite films of 2014. And why not? The film
had fantastic acting, strong direction, and solid writing behind it.
Based on the book by John Green, the script was written by Scott
Neustadter and Michael H. Weber, the duo behind the scripts for “The
Spectacular Now” and “(500) Days of Summer,” the latter of
which is my all time favorite film. Romantic dramas seem to really be
their specialty at this point, as they always have such interesting
and witty stuff for their characters to say in each scene. So you can
imagine that I was excited to see their newest film, based on another
John Green novel, “Paper Towns.”
“Paper Towns” tells the story of
Quentin Jacobson, a high schooler always fascinated by his neighbor,
Margo Roth Spiegelman. After she takes him to get revenge on her
friends after finding out her boyfriend cheated on her, Margo
vanishes the next day, so Quentin and his friends go on a journey to
find her as their last adventure before high school ends.
How is the film? Well, I think it's
pretty damn good. I didn't like it as much as “The Fault in Our
Stars,” but it was still something I greatly enjoyed watching. The direction by Jake Schreier is
done very well, and really lets the audience be engrossed in the
interactions between characters.
Speaking of which, the cast does a
fantastic job in this film. Nat Wolff as Quentin does a fantastic
job, also marking his second performance in a John Green adaptation
after playing Isaac in “The Fault in Our Stars.” I'd dare even
say that this is his best performance as an actor, and it really
shows his growth as since working on “The Naked Brothers
Band.” He's awkward, but soon builds his confidence and
determination with finding Margo, showing a sense of growth as a
character throughout the film. Austin Abrams and Justice Smith as the
best friends, Ben and Radar, also give out great performances, being
supportive, growing in confidence, and don't stick to being
stereotypes. The chemistry between these three is probably the best
part about the film, because you do buy that these guys are long-time
friends, especially during the scene where they sing the “Pokemon”
theme song.
Halston Sage and Jaz Sinclair as the
friends' love interests, Lacey and Angela, do have some really strong
scenes in the film. They have enduring moments, but at the same time
have very funny moments as well. Originally in the book, Angela had a
smaller part, but for the the film's sake, they wrote more stuff with
her involved, which turned out pretty nicely. Cara Delevingne
gives a great performance as Margo, playing a very ambitious
character who essentially becomes just as mysterious as the journeys she
takes part in. I think Delevingne is a great actress here, and I hope
she does give out her best as the Enchantress in "Suicide
Squad."
Now
with all that said, what didn't I like about the film? Well, the only
complaint that I do have with the film is the chemistry between
Quentin and Margo. Don't get me wrong, it's not bad, far from it...it
just didn't feel as strong as the friendship between Quentin, Radar,
and Ben. I get that it's the intention of the story, the mystery of
Margo, but I would have liked a couple more scenes between the two
before the disappearance happens. After hearing that the film had to
be rushed while filming in North Carolina, it definitely feels like that in some parts. If they took their time a
little bit more, then it probably would have turned out a little more
even. But I'm no producer, so what do I know?
Aside
from that, "Paper
Towns" is still a really damn good film that I highly recommend
watching when you get the chance. The characters are likable, the
dialogue is great, and the acting is solid. If you liked "The
Fault in Our Stars,"then there's a chance you'll enjoy this one.
I've said it before and I'll say it
again: Jake Gyllenhaal is one of the finest actors of our generation.
Last year, he starred in “Nightcrawler,” a thriller about a man
making a living off filming crimes and accidents on the streets of
L.A. The year before in “Prisoners,” he played a detective trying
to help two couples try and find their daughters. Those two films
showcased Gyllenhaal at his finest, and you become fully engrossed in
those two characters, and yet the Academy didn't nominate him for
either performance, which is criminal. Gyllenhaal more than deserved
a nomination, and yet he gets shelved aside for other performances
that you look at and question how THAT got a nomination, yet he
didn't. And from how things are looking here, it'll take a miracle
for the academy to give him the long overdue nomination for his
newest film, “Southpaw.”
The film tells of famous light
heavy-weight boxer, Billy Hope, who's life spirals out of control
after his wife is shot and killed during his conflict with
smack talking boxer, Miguel “Magic” Escobar. With his home,
fortune, title, and daughter taken from him, he finds employment from
former boxer, Titus “Tick” Wills, who trains him to get his life
back on track.
For a story about a boxer's comeback
after his fall from grace, Antoine Fuqua directs it to its peak. The
boxing matches are handles very strongly, adding so much grit and
intense flare to it, yet it flows in a way that feels natural. I also
love how he used the shaky cam technique right, having it used for
P.O.V. shots and making us see through the dizzy fatigue that the
fighters have in their line of sight. Major props to Mauro Fiore for
his excellent work as Fuqua's go-to cinematographer.
Jake Gyllenhaal, once again, gives it
his all in this film. His performance as a man who struggles with
pulling his life back together is heartfelt and fantastic with each
passing second. I also loved how they didn't make his character sink
to an even deeper low, when he hunts down his wife's murderer, and
sees that he has a family of his own. That scene, while it doesn't
last long, is still very effective. It may not be as good as his
performance in “Nightcrawler,” but it's still one that I would
definitely say is worth a Best Actor nomination. Oona Laurence as his
daughter, Leila, was equally as touching, and I'm hoping she gets a
nomination for Best Supporting Actress, especially at her age. She
goes through that emotional point in her life, blaming her dad for
all of the bad things that happened, which is normal for kids to do
that. The scenes with her and Gyllenhaal are very touching and the
most emotional part of the film and easily the best acted.
I also give props to Forest Whitaker
as Tick, another performance in the film that's worth an Oscar
nomination for Best Supporting Actor. Sure, he's the Mickey Goldmill
of the film, but Whitaker handles it in such a graceful and dignified
way, that it stands out as its own thing. And as the film goes on, he
and Gyllenhaal start to grow on each other, learn how the other
thinks and how they can put a proper fighting strategy into play for
the greater good. Miguel Gomez as Magic was another great highlight
of the film, playing a character that we love to hate. He's a
smart-ass you want to see get punched in the face, and to our
satisfaction, he does. Other cast members like Naomi Harris, Rachel
McAdams, 50 Cent, Skylan Brooks, Beau Knapp, Victor Oritz, and Clare
Foley, are all very enjoyable onscreen.
The script was written by Kurt Sutter,
best known as the creator of “Sons of
Anarchy.” For his first feature film, he pulled through and gave us
one of the best boxer films in a while. And from the looks of it, it
looks like “Creed” has some competition.
Lastly, I want to talk about the
incredible score composed by James Horner. His skills really set the
mood and allowed the music to be apart of the atmosphere in the film,
something he was always best at. It's sad that he died earlier this
year, but thankfully his legacy will live on, no matter what. This
was truly his swan song of a musical score. Rest in peace, good sir.
Overall, “Southpaw” is one of my
favorite films of the year, and while I know it won't happen after
the reception this film received, I'm still going to cross my fingers
for this film to get nominated for it's performances. It's intense,
it's heartfelt, and it's both physically and emotionally brutal.
In 1990, Nick Park introduced the
world to the claymation duo of Wallace & Gromit, in their Oscar
nominated debut, “A Grand Day Out.” It caught on quick, garnering
much love from critics and audiences alike, and because of their
success, the two returned in two new shorts, “The Wrong Trausers”
and “A Close Shave.” In the latter short, we had more characters
introduced, one of which was Shaun the Sheep. Starting off as a
supporting character in the short, Shaun's popularity with the masses
grew with each passing year, and in 2007 was given his own TV show.
It featured Shaun as the leader of a flock of sheep on a farm and
their many shenanigans. Simple, but it works.
With how successful the show was doing
on BBC, surely it must have been enough to garner a movie, right?
Luckily, it did. Earlier this year in February, “Shaun the Sheep
Movie” was released in the UK, and recently made it's way to
audiences world wide.
In the film, Shaun becomes tired of
the usual day to day schedule, so he comes up with a plan to have the
farmer sleep in his trailer and let the flock have a rule free day.
However, when the farmer's trailer rolls into the city and he loses
his memory, it's up to Shaun and the gang to find him, all the while
being chased by animal control.
One of the key elements that both the
show and movie has is that there isn't any dialogue. My friend, Noah,
says that the types of films that he loves to make are visual films,
where you can put it on mute and still understand what's going on
perfectly. That's what “Shaun the Sheep” is: a visual film.
Speaking of which, the animation is spectacular to look at. It's
always a treat to see a stop-motion animated film on the big screen,
especially from Aardman studios. The design is recognizable, the
sight gags are hilarious, and the interactions between characters are
very genuine.
I think the only complaint I have with
the film is that there wasn't as much done with the villain, A.
Trumper of animal control. Not that he was a bad villain, but I just
felt like there should have been a bit more with him. Aside from
that, there isn't anything else in the film that I didn't like.
Overall, “Shaun the Sheep Movie”
is a very likable film to sit back and relax to. It's not the kind of
film that's trying to be deeper than it is, it's just a film that
does it's job right. It's entertaining, it's funny, and it's great to
look at. Not much to say on this one, except go and give it a watch.
So after the Sony hacking back last
Christmas, Marvel and Sony have come to a deal to let Spiderman be
allowed into MCU, and another reboot is planned to be released in
July of 2017. Honestly, I'm not looking forward to the new film...at
all. Not because they canceled on “The Amazing Spiderman 3” and
“The Sinister Six,” or the fact that Spiderman will be played by
another actor instead of Andrew Garfield (although, those reasons are
up there). No, I'm not looking forward to the new movie because the
script is being written by the guys who wrote and directed
“Vacation.”
For those who don't know, “Vacation”
is the fifth film in the “Nation Lampoon's Vacation” series,
about the Griswold family and their vacation time going horribly
wrong in almost every way. The first and third film hold up
especially well today, thanks to John Hughes style of writing and the
likable charm that Chevy Chase brought to the screen as Clark
Griswold. The rest are kind of “meh”...but when you compare them
to this recent installment, they're fucking masterpieces.
In “Vacation,” we follow a grown
up Rusty Griswold, who works as an airplane pilot and is married with
two boys. When it comes time for their vacation, instead of going to
the log cabin they usually go to, Rusty decides to take them to
Walley World, just like in the original film. Along the way,
shenanigans happen...or in this case, “shit-nanigans.”
You remember last year how unbearable
“Sex Tape” was? This film is actually worse on
almost every level! The jokes in this film-oh wait, THERE ARE NO
JOKES! All this film consists of is one awkward moment after
another, with the cast reacting to it in either an overactive way and/or
completely unrealistic way! The film also makes meta-jokes,
referencing the original film and trying to poke fun at itself. But
where it was done in “22 Jump Street” and it worked, this film
does it just because? There's a line in the film saying, “some
may not remember the original vacation, but the new one will stand on
its own”...no it won't, don't lie to me, movie.
Ed Helms as Rusty Griswold was so damn
obnoxious, he actually gave me a headache. From the minute we see
him, you know exactly how the humor's going to play out, with him as
a bumbling idiot who is also a complete windbag. I could have seen
this work well as a supporting character, and see Jason Sudekis do it
better, but then I would feel bad for Jason Sudekis being in this
movie. I like Ed Helms fine, but as the leading man, he just doesn't
have that charm to him. I feel sorriest for Christina Applegate as
his wife, Debby. Throughout the entire film, she has that look on
her face that spells out“Why am I here? Please, somebody shoot me!”
I mean, I would have that look too if I was told to do an obstacle
course puking, swim in sewage, and pretend to care about three such
aggravating people for an hour and forty minutes.
Leslie Mann is in the film, playing
Audrey Griswold, with Chris Hemsworth playing her husband, Stone. The
so-called “highlights” of their scenes consist of their sexual
passion (referencing faucets), a lot, Hemsworth keeping Mann from
getting a job, and a pointless scene where Hemsworth checks up on
Helms and Applegate, while he has a huge boner. Okay movie, you need
to learn something here: boners aren't funny. They're not. There can
be reactions to said boner, those are funny. But, if the main joke is
for some guy to walk in and out of a scene with a hard on, that's not
actual humor. Which, by the way, YOU NEED TO LEARN!!
And if knowing that Chris Hemsworth is
in the film wasn't insulting enough, we have surprise cameos from
other talented people who apparently don't care about dignity!
Keagan-Michael Key and Regina Hall play the Griswold's neighbors,
with Key having a playful/psychotic relationship with his son, and
Hall being an uptight bitch who complains about people not liking her
photos on Instagram. Okay, first off, I don't think anybody would
give a shit if one person didn't like a photo on social media...okay,
maybe SOME people, but not everyone! And two...how do you put
Keagan-Michael Key in a movie and not have him be funny?! Seriously,
how do you screw something like that up?!
In another string of cameos, we have a
scene at the Four Corners, where Michael Pena, Nick Kroll, and
Kaitlin Olsen play cops from each different state. Oh, and Tim
Heidecker's there too, which begs another question: why the fuck is
that unfunny talentless hack still getting work?! But it doesn't
matter anyway, since the scene is unfunny.
Hell, not even Chevy Chase and Beverly
D'Angelo, who reprise their roles as Clark and Ellen Griswold were
funny. They're only there for a short amount of time, but come
on! This is the third sequel Chevy Chase has appeared in, where it's
a complete insult to its predecessors (the other two being “Hot Tub
Time Machine 2” and “Caddyshack 2”). I feel like he
did this film for the same reason he did those other films: money
was involved.
The only moment in this entire film
that made me laugh was with Charlie Day. He plays a river rafting
guide who's fiance breaks up with him, so he tries to kill himself
during the raft trip. Day knows how to make anything
worthwhile...it's just too bad the scene was ruined, when they show
that he survived falling off a waterfall...way to ruin the only
moment of comedy you had, you bastards.
The film also shoehorns in a villain,
played by Ron Livingstone, who only appears twice in the entire film.
Why? No reason. He's supposed to be Rusty's rival, as this sort of
bachelor pilot, but there's no build-up to this at all! He shows up
once in the beginning, then appears at the end for no other reason
than to pad the film out for another five minutes!
Skyler Gisondo plays the eldest
Griswold son, James, who is such a spineless dork that it's insulting. He makes Greg Heffley from “Diary of a Wimpy
Kid” look like James Dean for God's sake! That, and he also gets
bullied by his hellspawn of a little brother. And when I say
“hellspawn,” I mean that in the harshest way possible. Steele
Stebbins as Kevin Griswold was the worst thing about this movie, and
is without a doubt the worst child character I have ever seen in a
movie. He constantly, CONSTANTLY bullies his brother, ruining his
stuff, invading his privacy, and just insulting him without context.
In a scene where the family is cracking jokes to lighten up the mood,
he ruins it by just saying “James is a piece of shit,” as bluntly
as anyone could. That, and he also makes death threats to him, saying
he was going to shoot him if he got his hands on his uncle's guns,
and also tried to suffocate him...TWICE!! And the audience thought
this was funny? ARE YOU PEOPLE MENTAL?!!
However, the most
insulting thing about this movie, was the dedication at the end, to
Harold Ramis, the director of the first “National Lampoon's
Vacation.” To the makers of this film, John Daley and Jonathan
Goldstein, what did Harold Ramis ever do to you? Did he not tip you
when you valet parked his car or something? Harold Ramis would never
want to be associated with a film that was this mean-spirited, this
childish, and this forced, no matter how much you try to pay him.
This was the most painful experience
of a film that I've had in a movie theater this summer, and I thought
it couldn't get any worse than “Hot Pursuit!” I severely wanted
to walk out on this film, but in the back of my head, I knew I was
going to have to finish it one way or another, so I figured it was
best to just get it done and over with, and never have to come back
to it. I thought I was in a nightmare, looking at the audience
laughing at every sad attempt at humor. I wanted to give this film a chance. I
was really hoping two of the writers of “Cloudy with a Chance of
Meatballs 2” and the “Horrible Bosses” films would give out
something decent as directors. Then again, even someone like
Robert Zemeckis has a “Mars Needs Moms” under his belt. But even
with all that, the film does have some good to it, like...the seat I
was in was comfy. Okay, there isn't anything good.
