Tag Archives: Gal Gadot

The Good Bits: June 2017

June was a big month for me. I got engagement photos taken, a new car, and finally finished the (very) rough draft of my sci-fi/fantasy novel. And, of course, there was a ton of new music and movies to experience along the way.


Mutoid Man, War Moans (Sargent House)

mutoid man

Mutoid Man’s debut album Bleeder was one of my favorite albums of 2015. I even gave it a full write-up on this blog before I started The Good Bits. On their sophomore LP, Mutoid Man stick with what they know: riffs for days and catchy hooks. But War Moans is the farthest thing from a rehash of the band’s first album: it’s familiar, but still exciting and a complete blast to listen to. Imagine if you went to a party where you didn’t really know the hosts, but by the end of the night you end up being best pals. Now imagine getting invited back to another party by those same hosts; you know them well going in this time, and that makes for an even better night.

Like its predecessor, the songs are short and punchy, making the album very easy to listen to in one go. It’s long enough that you get your money’s worth, but short enough that you’ll want to give it another go-around as soon as you’re done with it. “Kiss of Death” is where I’d start if I had to pick one song. It’s groovy and has a great chorus that’s made to be belted at the top or your lungs or mouthed quietly as you make your commute. “Afterlife” is another killer one, but my favorite is the final track “Bandages”. It’s slow and slightly more melodic than the other songs and has a dramatic built-up, making it the perfect concluding song for the album. Even if you’re not really a metal fan, the catchy vocals and overall “crack-a-beer-and-have-fun” tone will make a nice addition to your summer party playlists or car rides.


Anathema, The Optimist (Kscope)


I have tried to get into Anathema two or three times, but for some reason I never got sucked in the way I expected to be given the heaping amount of praise the band has received from prog rock/metal fans. Maybe I didn’t start with the right album or maybe I needed to let it grow on me. Either way, I love The Optimist, the band’s latest album. I can’t speak for how it compares to the rest of their discography, but I do know that I’ve had “Springfield” stuck in my head for at least a week.

I should clarify that this album isn’t particularly metal. The Optimist has its heavier parts sure, but the album has much more in common with alternative and post-rock than it does metal. The songs aren’t particularly long and there’s lots of piano and synth driven passages that are quiet and slow, creating a somber but beautiful atmosphere that hangs over the album. Some of the album’s high points feature Lee Daniels on vocals, most prominently on the gorgeous “Endless Ways” and the aforementioned “Springfield”. The album’s concept is interesting too and adds another layer to the atmosphere. It’s based on the album art from their sixth album and follows the narrative of what might have happened to the person on the cover. It’s not something you have to pay attention to enjoy the album, but it’s a neat backdrop all the same.

In the end, The Optimist‘s melancholic but gorgeous atmosphere is what wins the day for me. An album that can graze several of my emotions at once and make me unsure if I want to be happy or if I want to bawl my eyes out deserves recognition. If you’re a fan of prog, Porcupine Tree/Steven Wilson, or other “metal-bands-gone-soft”, I highly recommend checking out The Optimist. If you’re a fan of alternative music or you want something calming but atmospheric, I highly recommend the The Optimist. If you’re not into either of those things, well, I still highly recommend The Optimist.



Elder, Reflections of a Floating World (Stickman)


Elder is another band that I’ve tried to get into before without much success. I gave 2015’s well-praised Lore one listen, but it didn’t really stick with me. So I gave the band’s latest a shot instead: Reflection of a Floating World. I’ll tell you right off the bad that I love the album art. I know I don’t talk about that much but a lot of doom/stoner bands tend to have awesome album art, and Reflections is one of them. And then there’s the album of course: six riff packed tracks that are sprawling in length but focused in purpose.

Doom and stoner metal albums sometimes have a tendency to get boring, especially when they contain songs that average ten minutes in length. But Elder manage to sidestep the boredom factor and actually end up being kind of relaxing. Seriously, I really enjoyed listening to this album while writing, though I’m sure part of that has to do with the minimal vocals on the album. That’s not to say the band are lacking in punch; many of the songs feature crunchy riffs and solid drum beats that will make you want to hit that imaginary snare drum real hard. But the band also display progressive and psychedelic tendencies in their songs. It’s evocative of Black Sabbath and Pink Floyd, focusing equally on hard-driving riffs and mystical, effects driven passages. I’m glad I was able to finally get into these guys, and I’ll be giving the rest of their discography another look.



Wonder Woman 


If you know me or have kept up with my blog you know I’m a staunch defender of the DC Film Universe. Batman v Superman was one of my favorite movies of 2016 and, yeah, I liked the much maligned Suicide Squad as well. But the fact remains that there was a lot riding on Wonder Woman, from the hope of a true blue hit for DC to giving the most famous female superhero ever a worthy big screen debut. Luckily for everyone, Wonder Woman succeeds on every level, delivering an origin story that doesn’t feel like it’s just going through the motions, but instead bursts into the room ready to make a statement and that statement is “Gal Gadot can and will kick your ass.”

The film keeps it light on references to the other DCEU films, apart from a few scenes that bookend the movie, and focuses instead on the backstory of the stoic Diana who joined the fray at the end of Batman v Superman. It’s a slightly lighter affair than the preceding DC Films, but not by as wide of a margin as some would think. Certainly the film is brighter, more colorful, and more humorous than its predecessors, but tonally it’s basically a war film with mythological workings in the background. And yeah, you’ll find more laughs in here than Man of Steel or BvS, and those are all welcome, but I believe Wonder Woman was always meant to contrast with the other films, presenting a Diana as a beacon of hope in one of humanity’s darkest times (World War I for the record), a hero out of greek mythology, a whole world away from the modern day where heroes like Superman and Batman are respectively shunned or consider mankind doomed.

Wonder Woman is indeed Gadot’s moment in the sun as she bashes and slashes her way through some stylish action scenes reminiscent of Captain America: The First Avenger, and her arc is satisfying if not slightly predictable. I was afraid the film would make Chris Pine’s Steve Trevor look weak in order to make Diana comparatively stronger, but he’s shown to be a capable and funny character who not only cares for his newfound companion, but never loses sight of his goal to help end the war. The best scene in the film is when Diana steps out into No Man’s Land by herself, deflecting bullets and charging into battle. It’s a great action scene to be sure, but it was also very emotional to finally see Wonder Woman on the big screen in all her glory. It’s a scene destined to become iconic in a film that many will be talking about even after Justice League comes out.



Baby Driver

baby driver

Nowadays, the importance of a movie’s rating on Rotten Tomatoes is given too much credit. Obviously, it’s an aggregate website, so if many critics are saying the film is that good, then the film is certainly worth checking out. But all too often I find people simply point at the RT score in answer to the question “Is this movie good, how and why?” That’s partly why I don’t give review scores on here. I want to actually talk about why the film is good, not just tack on a number. But to the point: Baby Driver, a heist/action/comedy film from Edgar Wright (Shaun of the Dead), is one of the best reviewed movies this year, and that big fat “Certified Fresh” symbol is popping up so often next to its name that it might as well be part of the film title. However, I am happy to report that Baby Driver actually is really damn good, so if RT is your God Emperor when it comes to movies, know that it will serve you well this time around.

Your first reaction to hearing that Ansel Elgort stars in the title role will either be “Who?” or “Ugh, the guy in the Divergent/A Fault in Our Stars movies?” Fear not, for Elgort shows some exemplary acting chops that make him a unique, sympathetic, but fully capable action star. Without giving too much away, the titular character Baby is a getaway driver for a heist mastermind played by Kevin Spacey. Other cast members include Jamie Foxx, Jon Hamm, Eiza González, and Lily James. By now, that collection of names is probably more than enough to get your attention, but as soon as the opening heist scene is finished, you’re going to be completely hooked.

Two of the film’s biggest hooks are its car stunts and soundtrack. All the car stunts are done without CGI or green screen, so if you’re a practical effects or car aficionado, you’re going to have a lot to sink you teeth into. The soundtrack is killer, but its implementation and effect on the film’s action is at the core of the experience. Remember the Queen scene from Shaun of the Dead where all the music is synchronized with the editing and action? That’s what it’s like for practically every action scene in Baby Driver, and it really does keep you that much more invested in the film as cars drift around corners and characters shoot at each other. This is one of the best action movies of the year thus far, so if you find multiple friends posting on Facebook screaming about how good Baby Driver is, know that it’s worth it.


Currently Reading:

Abhorsen by Garth Nix


I intended to be done with this by now but, honestly, I’ve so busy writing that I haven’t had as much time to read. Mind you, that’s a good problem to have, but I’ve got about a hundred pages left, and I’m ready to finish this trilogy.


Currently Watching:

Sons of Anarchy Season 4

It took forever to watch SOA season 3, but we (Lizzy and I) have been moving through this season at a steady pace. Things are starting to pick up with the overarching storyline and, so far, I’m enjoying this season more than its predecessor. Yeah, yeah, I know I’m far behind and that the show is over. Sue me.


Rick and Morty Season 2

I’m not sure what more needs to be said here other than FUCK YEAH TINY RICK!


Currently Gaming:

Mass Effect: Andromeda (Xbox One)

Gaming has taken a back seat as well thanks to my writing progress, but I think I’m maybe halfway through the main story now?


Middle-Earth: Shadow of Mordor (Xbox One)

I have at least five games that I’m “actively playing” and I need to beat something before I even think about new games. This one is probably the most manageable (and probably the most fun).


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The Good Bits: March 2016

Anthrax, For All Kings (Megaforce)


Anthrax’s 2011 effort Worship Music was really fucking good. Part of why it was so good is because no one really expected it to be. Between its troubled production and the fact that Anthrax have always gotten the short end of the stick compared to the other Big Four bands, it shouldn’t have been as good as it was. Yet, here we are in 2016 with a follow-up album that fans were hoping would be as good as the band’s triumphant comeback. Surprise: it is.

I’ve had a solid month to listen to this album several times and what continues to strike me is how the tone of the album is so consistent, but sidesteps repetition. Usually with thrash metal, you know what you’re getting into before the album even starts. But Anthrax have never felt the need to always play fast and shreddy, so there’s more variety than you’d normally expect. Take for example “Blood Eagle Wings”, which is the longest and slowest track on the album, but also one of the best with superb lyrics and trudging riffs. But then at the end of the album we have “Zero Tolerance”, the thrash metal equivalent of having a middle finger being rapidly shoved in your face.  If you’re one of those metal fans who considers the Big Four old and tired, For All Kings ought to make you rethink that stance.


Amon Amarth, Jomsviking (Metal Blade)


Amon Amarth is one of those bands you can always count on for being consistently good. While some albums may edge out others slightly and they haven’t really changed up their sound much over the years, the band has never really bombed with a release. With that said, Jomsviking is one of the band’s best releases yet. This concept album centered on (what else?) vikings may sound like a retread for the band, but fans old and new will likely be surprised by just how damn good they are ten albums into their career.

I always appreciate when metal bands realize you can have melody in your music while also screaming about cleaving people in half, and Amon Amarth continue that trend on Jomsviking. They don’t break any new ground here apart from including guest vocals from the fantastic Doro Pesch, but they don’t really need to. You ought to know what you’re getting into when you pick up a new Amon Amarth album, and if you don’t, just give the opening track “First Kill” a listen and you’ll get a good sense of the rest of the album. Chalk this one up to another fine release worthy of being played in Valhalla itself.



Kingsman: The Secret Service (Colin Firth, Taron Edgerton)
(Director: Matthew Vaughn)


Kingsman is one of those movies that you didn’t give a shit about when you saw the previews but then your friends started talking about how good it was. So you finally go see it for yourself and, surprise, it’s that good. What starts off looking like an over the top James Bond-esque spy film ends up feeling more like X-Men right before it goes balls to the wall insane. The plot is along the lines of what you’d expect: Taron Edgerton is recruited by Colin Firth to join a group of secret agents all named after Knights of the Round Table who are intent on stopping a tech savvy villain (Samuel L. Jackson) from taking over the world.

Vaughn has a knack for making characters appear alive and vibrant onscreen, so the whole cast is enjoyable, especially Colin Firth simply because he’s Colin fucking Firth. Also, Jackson, at age sixty-seven, somehow makes himself thirty years younger in his quirky villain role. And now I finally understand why Edgerton is such a favorite for young Han Solo. This guy has great screen presence and moves from a rough-around-the-edges kid to a clean-cut gentleman with ease. Did I mention already that this film ends up going balls to the wall nuts? I can’t remember the last time a movie had me cackling with glee during the whole third act as each ridiculous sequence was followed by something even more ridiculous.


Batman v Superman: Dawn of Justice (Ben Affleck, Henry Cavill, Gal Gadot)
(Director: Zack Snyder)


By now, you’ve probably noticed that while critics have mercilessly assaulted this film, fan response has been more mixed to good. This is because the majority of critics are paid to write masturbatory pieces of fluff they call reviews and, nowadays, most of that fluff is taken up by superhero movies. And they’re sick of them, dammit. Enough of this damn CGI spectacle bullshit! Get back to making real movies, Hollywood! My point is, if you’re going to trust anyone’s opinion on Batman v Superman, go see it and form your own. But while you’re here, I’ll let you know what I think of it.

Let’s address some bullet points first: Ben Affleck is great as Batman, they didn’t fuck up Wonder Woman, the titular fight was great and was the perfect length, and I’m hyped as shit for future DC movies. No, the movie is not perfect by any means, mostly because it also needs to fast track a shared universe and so weird shit happens on occasion. And, yes people might find it too dark compared to Marvel, but at this point comparing the two is almost pointless. You can’t criticize the movie by saying “They’re just trying to copy Marvel” then complain that they aren’t doing it like Marvel does. It’s a different style, one that will polarize many, but it’s what they’ve settled on. But goddamn, I practically squealed when I saw this shot. Maybe my enjoyment of the movie was born out of the fact that it took so long to see the three core members of the Justice League on the big screen together, but is that so wrong? I had a great time watching it, and you may too if you give it a shot.



Outlander by Diana Galbadon


I have a lot to say about Outlander, more than I thought I would before I picked it up. Being a fan of historical fiction, it’s been on my reading list a long time and I bumped it up the queue after the television adaptation premiered. Once I finally delved in, the results were not what I expected, though not necessarily in a bad way. More just in a purely baffling way. If that sounds confusing, I’ll try to sort it out in a condensed version of the rant I’ve given to anyone who’d listen.

The overall story is very good. The romance is strong and a lot of time is taken to flesh out the two leads, Claire Randall (the first-person narrator) and Jamie Fraser a.k.a. God’s gift to women. The history is weaved well into the narrative and the depiction of the Scottish Highlands is very vivid (though she sometimes gives Scotland a little too much of the spotlight). That said, some of Galbadon’s writing just flummoxes me. She often writes sentences that read something like “I managed to negotiate the offended digit” as opposed to “I mended the broken finger.” It’s one thing to have a sentence like that every now and again, but when it’s happening throughout the whole book it makes me wonder if Galbadon had a thesaurus next to her the whole so she’d know how to make Claire sound more British. There are also a few (not many but a few) scenes in the book where I had absolutely no idea what was going on. One scene in particular towards the end of the book involved Jamie fighting a fever and Claire trying to help him by…cutting his chest with a dagger? There’s obviously more context to it than that, but it was still easily the most bizarre scene in the book, which is saying something when your lead character starts the story by falling through a giant rock.

Don’t get me wrong. I enjoyed Outlander and I’m glad I finally got around to reading it. The second book in the series is on my reading list for sure, but I’m not exactly clamoring for it like I usually am with series of this nature. Here’s hoping the next volume is bigger and better.


The Ocean at the End of the Lane by Neil Gaiman


I’m a firm believer that, when it comes to telling stories, sometimes things don’t always need to be explained. Sometimes things just are. While I’m all for writers tying up all loose ends with razor precision, I’m also for writers who just let things be. This is why I feel that Neil Gaiman is such a special writer and why The Ocean at the End of the Lane is a special, little novel. Really, it’s short enough that many could probably finish it in one sitting (I took just under two weeks). Don’t be fooled though; there is plenty of depth in the story, more so than you’d expected from being under 200 pages.

I don’t want to say too much about the plot save that it’s about a middle-aged man revisiting his hometown and reminiscing about a peculiar instance from his childhood. Everything else is best experienced by knowing only as much as the inner flap tells you. This book is about many things: it’s about myth, it’s about embracing the strange, but most of it all it’s about childhood. And I don’t just mean in a “life used to be so simple” kind of way. If anything, it mulls over the difficulties that a seven-year-old may face, the attempt to recollect memories of events that were too large for a child’s mind to fully comprehend, and coming to terms with how strange the world is and that we’re all just small, moving pieces inside that strangeness. Gaiman fans will love it. If you check your disbelief at the door, you will too.


Currently Reading:

Dune by Frank Herbert


You know those moments you have when you watch a movie, read a book, or play a video game held in high regard and you wonder “What took me so long?” That’s how I felt within fifty pages of this book. More on this later.

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