My Thoughts on: Furious 7 (2015)

Believe it or not, Furious 7 is only the second film I’ve seen in the entire Fast & Furious series (Hobbs & Shaw, being a spin-off, technically doesn’t count). I didn’t pay the series any mind until my senior year of college, when I got to see Fast Five at a screening that was free for college students. I was nearly hooked into the series then, but the stress of finishing my degree distracted me enough that I forgot about the series all over again (Paul Walker’s tragic death in 2013 did not help). That’s how things stayed until just recently, when I watched Hobbs & Shaw, remembered that the duo had appeared (more or less) in several Fast & Furious films prior to the spin-off, and decided to find out what I was missing.

And that’s basically how i found myself watching Furious 7 for the first time ever last night. By rights, I should have watched Fast & Furious 6 first, since that’s where we meet Owen Shaw (and without him we never would’ve met Deckard Shaw). But…I was really impatient to get to Jason Statham’s involvement in the series, so I skipped ahead.

To put it mildly, Furious 7 is an insane film, with stunts that make Fast Five look tame in comparison. I’m still trying to work out how a crew of street racers and thieves got involved in international espionage (that IS what this is, right?), but thankfully the story is so over the top that it just works. The plot largely revolves around Dom seeking revenge on Deckard Shaw for killing Han and nearly killing himself, Mia, Brian, and their young son Jack. Deckard, for his part, wants revenge on the crew for nearly killing his brother Owen. Jason Statham fits into the story perfectly, and I really believe that adding him in raises the story to a whole different level.

I also have to say, that while I love all of the stunts in this film, I do understand why people are saying the franchise is seriously pushing the limits of believability (and I haven’t even seen Fate of the Furious yet). Case in point, that entire sequence where the expensive supercar flies/drops/jumps between skyscrapers in Abu Dhabi. It looks really cool but at the exact same time there’s a voice in the back of my head saying “Yea, right, like that could totally ever happen.” Fortunately, I love crazy action scenes, so I don’t let it bother me too much.

No review would be complete without addressing how the film bids farewell to Paul Walker. I remember when the news of his death came out, and at the time I legitimately thought that was the end of this film. After all, Brian is so important to the story, how could you possibly go on without him? Well, they found a way, and it’s one of the best character send-offs I’ve ever seen that doesn’t involve outright killing the character off. The digital effects are so good, if I hadn’t read some trivia that reveals where and how some of the footage was manipulated, I probably wouldn’t have known which scenes were and which scenes weren’t (except for the beach scene and the ending of course). And that ending…I can’t imagine a more fitting end than having Brian drive off into the sunset (in an all-white car no less). I freely admit I was crying when the credits finally rolled.

Furious 7 is really fun to watch, and I may or may not be kicking myself for not seeing it in theaters. Let me know what you think about Furious 7 in the comments below and have a great day!

See also:

My Thoughts on: Fast Five (2011)

My Thoughts on: The Fate of the Furious (2017)

My Thoughts on: Fast & Furious Presents: Hobbs & Shaw (2019)

Film Reviews

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James Newton Howard scoring King Kong (2005)

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One movie and film score that I am slowly growing to appreciate is the 2005 remake of King Kong, which was scored by James Newton Howard. As much as I love the original King Kong (which everyone should see at least once), I have to admit this remake is better than most.

I found, some time ago, a wonderful video that gives some insight into how the score was put together, and it’s available here below.

Unlike some of the videos I’ve found, this video isn’t just a look into the recording studio, it also gives a brief overview of what has to be done to get the score made. James Newton Howard and those of his team essentially lay out the process from composing and blocking out the themes to getting it recorded, to having the sound mixed into a final arrangement.

I wish this video talked more about the score’s themes, but I did learn one cool thing from this video. At one point, during the recording process, the orchestra reached 100 decibels, that’s how loud they were playing. You also get a clear look at “the board” that most, if not all film composers, use during the recording process. This is a board that lists every single cue that appears in the score, and the marks next to it indicate where the cue is in the recording process, up until the cue has been finalized and approved. This is an easy way to look and see how much of the score remains to be worked on.

I hope you like watching this behind the scenes look at James Newton Howard working on King Kong. Let me know your thoughts on the film and its score in the comments below and have a great day!

James Newton Howard talks Atlantis: The Lost Empire (2001)

James Newton Howard talks Signs (2002)

James Newton Howard talks The Village (2004)

Film Composer Interviews A-H

Film Composer Interviews K-Z

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My Thoughts on: Fast & Furious Presents: Hobbs & Shaw (2019)

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*warning, minor spoilers for Hobbs & Shaw below

I’ve literally been waiting all summer to check this movie out. I initially wasn’t on board with it at all (even though I’ve only seen Fast Five, I still didn’t think Fast & Furious needed a spin-off), but then I saw the first trailer and I was all in. As the title implies, Hobbs & Shaw sees Luke Hobbs (Dwayne “the Rock” Johnson) and Deckard Shaw (Jason Statham) forced to team up to save the world from a dangerous super-virus. Oh, and there’s also Shaw’s sister Hattie (Vanessa Kirby) in the mix, not to mention a genetically-enhanced super soldier (Idris Elba), the latter also being after the virus.

Overall, I really did enjoy Hobbs & Shaw. As I suspected, the film is mostly an over-the-top action flick, with Hobbs and Shaw at the center of it all. There are fights, explosions, just enough plot to satisfy my brain, and of course, the undeniable chemistry between Johnson and Statham that makes it all work. Seriously, how were these two not paired in a movie sooner? (Yes, I know about them being in that Fast & Furious movie together, but that’s beside the point). I found it hysterically funny to watch these two square up to each other, they’re both alpha males who are definitely not used to working with anyone, let alone another alpha. On that basis alone, I look forward to the sequel that was obviously being set up at the end of the film.

While highly enjoyable, Hobbs & Shaw is far from perfect. For example, I loved most of the last act that was set on Samoa, once the action got going anyway. But am I the only one who thought the family scene didn’t quiet work? The feeling didn’t last long, since the film almost never slows down the action, but still, that part could’ve been done better. The final fight scene itself was insane (even if it did strain my suspension of disbelief just slightly). I know this is a movie and all, but you can’t seriously tell me that Hobbs and Shaw went through all of THAT (just in the finale alone), without having serious health issues immediately afterward. Maybe I’m nitpicking but that bothered me a little. Oh, and speaking of the finale, I found the slow-motion punch shots to be really unnecessary. I *think* I get what they were going for, but it really does come across as silly.

Can’t finish a review of this film without talking about Idris Elba; he was fantastic! Any scene he’s in, I loved. Honestly, I wish we could’ve gotten more of his character, or at least more time for his character to develop, I think he had the ability to be quite nuanced if we could’ve learned more about him. (Also, I love his motorcycle).

Oh, one last thought. Without giving too much away (hopefully), I think I know who that mysterious voice at the end belongs to. If you think you know too, please don’t say anything in the comments, for now let’s just keep it to ourselves, we’ll find out soon enough if the theory is correct. (And on one further point, I’m very glad I made sure to watch Game of Thrones when the season aired, or a certain line would have royally pissed me off.)

Let me know what you think about Hobbs & Shaw in the comments below and have a great day!

See also:

My Thoughts on: Fast Five (2011)

My Thoughts on: Furious 7 (2015)

My Thoughts on: The Fate of the Furious (2017)

Film Reviews

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Check out the YouTube channel (and consider hitting the subscribe button)

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SpaceCamp “The Launch” (1986)

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John Williams has done so many film scores over the years that it’s no surprise some have fallen through the cracks. One example is his score for the 1986 film SpaceCamp, which in my opinion is one of his more underrated scores mostly because very few seem to know it exists.

For those who don’t know, SpaceCamp is a space adventure film that follows a group of misfit kids at (you guessed it) Space Camp. The adventure revolves around an incident that leads to the kids and their instructor being trapped in the Space Shuttle when it’s suddenly forced to launch (I’m oversimplifying but that is in essence what happens). The shuttle launch scene is one of the big moments of the film, and I wanted to talk about the way John Williams scores this moment (cue starts around 1:17 and stops around 2:25).

The first thing to note is that there is no music whatsoever before the cue in question starts. The only major background sound comes from the rumble of the booster. As the second booster is ignited to initiate launch, the background noise “crescendos” as the launch system activates, with the music beginning the moment the shuttle lifts off the pad.

Listen carefully to the music as the shuttle lifts off, because I think what Williams is doing here is brilliant. This is a layered situation, and the music reflects it perfectly. On the one hand, now that the shuttle has launched, it’s important for the launch to go perfectly so it can reach orbit. But on the other hand, the shuttle has launched with a bunch of kids on board and there’s a general feeling of “oh my God what did we just do?” Williams reflects both sentiments in this single cue: it starts with what I can only describe as a “moody” trumpet fanfare (well, fanfare is admittedly a stretch but I can’t think of a better word) as liftoff commences. It’s the type of music you’d expect to hear when a space shuttle launches, because it’s admittedly an awe-inspiring sight. But the normally triumphant music is almost immediately dampened by a minor-sounding intrusion (after the line “My God, we have liftoff”) that reminds us that, while beautiful, this launch shouldn’t be happening.

This is one of my favorite musical moments in the entire film, and I love how Williams funnels several conflicting emotions into a single cue. I’ll conclude with a bit of bonus trivia: Max (the littlest kid in the shuttle) is played by Joaquin Phoenix (credited here as Leaf Phoenix) in only his 2nd film appearance.

Let me know what you think about SpaceCamp (and the launch scene and its music) in the comments below and have a great day!

See also:

Film Soundtracks A-W

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The Twilight Zone S2 E4: A Thing About Machines

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When I started reviewing episodes of The Twilight Zone, I mentioned that my favorite episodes were those that showed some rotten person getting their comeuppance. The season 2 episode “A Thing About Machines” is a prime example of this trope, as well as being a really fun episode to watch.

The premise is simple: Bartlett Finchley is a snobby critic with a peculiar eccentricity, that being he hates, despises, and loathes any and all types of machinery. More than that, Finchley is convinced that the machines in his home are out to get him. It sounds crazy, but this is The Twilight Zone, so we know better. I should also say that Richard Haydn does a great job as the arrogant Finchley, proclaiming his dominance over machines until almost the end of the story.

It’s interesting how Rod Serling and company chose to play this episode out. Given the premise involves machines “rising up” against a human, it would have been easy to present this story in more of a horror style, playing up the victim’s increasing fear and terror. Instead, the story first makes Finchley so unlikable, that you feel inclined to cheer when the machine revolution begins in force.

And really, the way Finchley acts, he brought it all on himself. His hatred of machines is so extreme it borders on the absurd. For example, note Finchley’s reaction at the end of the introductory scene when his clock begins chiming the hour. The clock isn’t doing anything wrong, clocks are supposed to chime the hour, but Finchley’s reaction is to command it to stop, and then SMASH it when it continues to chime. That reaction is not only unreasonable, it’s practically insane, and it makes you wonder just how “together” Finchley was before this episode takes place.

The plot device of the machines rising up one by one is pretty well done: the phone rings when it’s not connected, the television randomly switches on, the clock rings when it’s not supposed to, the typewriter types with nobody at the table, and those machines that are capable of sound have one message in common: Get out of here Finchley! As if that weren’t enough, things step up a notch further when other, more random objects come in for the attack. My particular favorite is when Finchley’s electric razor literally comes snaking down the stairs and rises up to attack (if you look close, you can se the wire manipulating the razor). As with all of The Twilight Zone episodes of this type, things build to a climax where Finchley does indeed “get out”…permanently.

I don’t say this often, but given the subject matter this is one episode of The Twilight Zone that I wouldn’t mind seeing a modern remake of. Given how the technology all around us has increased tenfold from fifty years ago, it would be most interesting to see a retelling of this story by someone who’s surrounded by iPhones, smart TVs, computers everywhere. Hopefully the rebooted series that’s on CBS All-Access will run with this idea in a future episode.

Overall, “A Thing About Machines” is a good example of what makes The Twilight Zone so enjoyable to watch. Let me know your thoughts regarding “A Thing About Machines” in the comments below and have a great day!

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TV Reviews

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My Thoughts on: The Italian Job (2003)

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I’ve been told for years that The Italian Job is a film that I should see, and last night I finally got around to seeing it. First thing I have to say is, I am so glad I did, because The Italian Job is a great movie! It does show its age here and there (the dated technology, the fact that the film has opening credits) but overall it holds up pretty well for a film that’s 16 years old.

If you’re not familiar, The Italian Job is loosely (very loosely) based on the 1969 film of the same name, and follows a tight-knit group of thieves as they seek vengeance after a gold heist in Venice goes sideways. The film stars Mark Wahlberg, Donald Sutherland, Charlize Theron, Edward Norton, and Jason Statham (who has actual hair on his head, that’s how old this movie is!) It’s an all-star cast, and I admit I had a lot of fun watching the different characters interact, particularly Jason Statham as Rob. Honestly, any film that has Statham in it, I’m probably going to like (it’s partly his accent, accents are my weakness).

Actually, this movie reminded me more than once of Ocean’s 11 (2001) and I don’t mean that in a bad way. You have to admit they are somewhat similar: an all-star cast playing rogues and thieves out for righteous vengeance (admittedly that’s closer to Ocean’s 13 (2007) but I digress), the insanely detailed planning of the heist, last minute twists that “change the plan but it STILL works out,” and the biggest similarity: the humor, which is there in spades. Though, while similar, the two films are not identical, as I think The Italian Job is much darker in tone than any of the Ocean’s 11/12/13 films (especially that part at the beginning).

Part of the reason I picked up this film at all is because of the MINI Cooper chase that the film is known for. I’d heard from somewhere that this was regarded as one of the best car chase scenes ever filmed, and whoever said it is right. The entire sequence is phenomenal, and I may never look at those cars the same way again. It’s tense, but fun, and it’s great to see them running circles around their nemesis.

Last, but not least, I need to talk about Edward Norton. If I hadn’t read beforehand that Norton didn’t want to be in the film, I think I still would’ve figured it out. Norton’s attitude stands out throughout the entire film, and not in a good way. Granted, I believe he’s meant to be playing an asshole character, but the way he does it is a complete turn-off. You can just tell, from his snark to the look on his face, he does not want to be there, and he doesn’t care who knows it.

Actually one final thought: how is it that this film has never gotten a sequel? After the film, I read about ‘The Brazilian Job,’ a would-be sequel that never got off the ground, but even with that film failing I find it hard to believe that no one in Hollywood has come up with a sequel. With that cast, I would be more than happy to watch a sequel follow their continuing adventures. Well, I’m sure if we wait a few more years someone will come up with the idea to reboot the film into a franchise. And truthfully, as long as they find a way to put Jason Statham into it, I wouldn’t mind all that much.

If you haven’t seen The Italian Job, go see it. It’s an older heist film now, but it still holds up and is very entertaining. I feel a little bad that I put off seeing this film for so long, however it was totally worth the wait.

Let me know what you think about The Italian Job in the comments below and have a great day!

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Film Reviews

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My Thoughts on: Castle in the Sky (1986)

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The 1986 film Castle in the Sky (Tenkū no Shiro Rapyuta) holds a very special place in my heart. Not only is it the very first Studio Ghibli film, it is also, so far as I can remember, the very first film by Hayao Miyazaki that I ever saw. I saw it on TV in the early 2000s (2003 I think), and it was played up as a really big deal. I remember being spellbound then, and ever since I’ve been in love with this story.

Like all of Miyazaki’s films that I’ve seen, Castle in the Sky takes place in a world not unlike our own, but with one major difference. In this world, there’s a huge floating city named Laputa that lies hidden somewhere up in the sky. Long ago, Laputa was the center of an incredibly advanced civilization, but hundreds of years ago…it vanished. The story centers around several groups and individuals who are all searching for Laputa, each with their own motives for doing so.

Pazu, a young orphan boy, is searching for Laputa to prove to his fellow townspeople that the floating city isn’t a myth.
Sheeta, a young orphan girl, ends up searching for the city because she wants to learn what happened to make everyone abandon it.
The Dola Gang, a roguish-yet-lovable band of pirates are looking to plunder Laputa’s worldly treasures and make themselves filthy rich.
And Muska (voiced in the English dub by Mark Hamill), seeks Laputa for the power he believes it can give him.

Castle in the Sky is an interesting study on the best and worst aspects of humanity. On the one hand, we have Pazu and Sheeta, who only want to explore Laputa, and don’t really want to “do” anything with it. The Dola Gang are something of a middle ground, in that robbing the city of its treasures isn’t really the right thing to do, but then again they’re just doing what pirates do (and it’s implied that they’ll retire from their thieving ways if they succeed).

And then there’s Muska, who represents the very worst of humanity. Muska, who like Sheeta is descended from Laputa’s long-lost royal line, is obsessed with getting to the floating city and turning it into his own personal kingdom and weapon of war. He believes that since Laputa once dominated the world, there’s no reason why it shouldn’t do so again, with himself as its king. Of all the characters who make it to Laputa, I think Muska is the only one who bothers with its technological secrets, most of which have been nearly buried underneath a forest of roots and plant life in the centuries since the residents returned to Earth. In fact, Muska is so obsessed with wielding advanced technological power and being king that he completely misses the point of why the city was abandoned in the first place. Sheeta tries to explain it to him: the city was abandoned because its residents realized that humanity doesn’t belong in the sky. All the advanced power in the world doesn’t mean a thing if you aren’t connected to the world, to which all things belong.

Speaking of Laputa, the city is one of my favorite parts of the film. It’s so well drawn that, even though most of it has long since fallen into ruin, you can still conceive of how it must have looked in its prime. I also like the idea that the floating city is home to wildlife that you wouldn’t find on Earth (at least I think that’s what those creatures are meant to be). It’s literally like a whole different world up there.

If you haven’t seen Castle in the Sky yet, I highly recommend it, it’s a classic story that doesn’t show its age in the slightest.

Let me know what you think about Castle in the Sky in the comments below and have a great day!

My Neighbor Totoro (1988): One of My All Time Favorite Cartoons Blogathon

Animated Film Reviews

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The Twilight Zone S1 E28: A Nice Place to Visit

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When it comes to the original run of The Twilight Zone, I have many episodes that I consider to be my favorites. But if I had to pick just one episode to go back and watch for the first time all over again, it would have to be the season 1 episode “A Nice Place to Visit.” Not only is it a well done episode, I also feel like it has the most memorable “wham” line in the entire series (feel free to correct me if you feel otherwise). But I suppose I’m getting ahead of myself, so let’s take a look at the episode.

“A Nice Place to Visit” is notable for starting off with a bang, literally, as the lead character, a hardened thief named Rocky Valentine gets shot and killed while fleeing a robbery. Soon after, Rocky meets Pip (Sebastian Cabot), who introduces himself as Rocky’s “guide” to this strange, new world he finds himself in. Larry Blyden is quite convincing as the hardened-beyond-redemption Rocky, playing the character in just such a way that you can’t feel any sympathy for him.

And where exactly is Rocky? Well, it takes the gangster some time to work it out, but he eventually does realize he’s not on Earth anymore (though you’d think being accompanied by a mysterious figure dressed in white would’ve been a big clue, but then again Rocky’s not that smart). Rocky then decides that since he’s dead and not burning up in flames, well then he must be in Heaven! You really can’t blame Rocky for jumping to this conclusion, as the gangster has found himself in very plush surroundings: he’s in the penthouse of a posh hotel and casino, he has beautiful girls waiting on him hand and foot, a brand new car to drive whenever he wants, and he always has the best luck at the gaming tables. It’s an absolute Paradise for someone like Rocky…or is it?

See, if you pay attention, there are clues seeded from the beginning that indicate Rocky isn’t where he thinks he is. For example, observe how Pip interacts with Rocky, particularly when he’s trying on his new clothes. While his “guide” is full of flattery, he’s not exactly sincere in his compliments. And then there’s the fact that no one else is in “Heaven” with Rocky. You don’t need a Masters in Theology to know that Heaven isn’t meant to be an empty place. There’s also the telling look at Rocky’s “file” in the Hall of Records (during the gangster’s brief doubts that he’s ended up in the correct place), where it’s revealed that Rocky had quite the sinful life, with no redeeming moments whatsoever. I would be remiss if I didn’t mention how wonderful Sebastian Cabot is in his role as Pip throughout the episode. The way he plays the character, you can tell he’s more than happy to guide Rocky throughout his “domain” but he’s also visibly holding quite a deal back (as we’ll see shortly).

The biggest clue of all to what’s going on can be found in Rocky’s unnatural luck. What seemed to be a heavenly blessing is actually a curse, because try as he might Rocky can’t stop winning, no matter what game he plays! That might not sound so bad, but think about it: imagine you’re playing a game and all you do is win, time after time for DAYS at a time. That would get boring wouldn’t it? Well, after a month in “Heaven” that’s exactly what happens to Rocky; the gangster is bored out of his skull because he’s getting everything he ever wanted with absolutely no risk involved, an intolerable situation for someone like Rocky, who’s thrived on risk his whole life. Rocky can’t stand being in a place, no matter how nice, where there isn’t any risk to him.

As a result of this boredom, while Rocky still believes he’s in Heaven, he finally decides he’s in the wrong place after all, and asks to go to “the other place (Hell).” And that’s when it happens, that’s when Pip delivers the immortal line that turns everything you thought you knew about this story on its head:

“Heaven? Whatever gave you the idea you were in Heaven, Mr. Valentine? This is the other place!“

How I wish I could go back and relive the first time I heard that line over again, because it really is a game changer. The idea that such a nice place could really be “the other place,” it really blew my mind. I think of all the series’ twists, this is the one that hides itself the best, right until the end anyway. Of course, in hindsight, given The Twilight Zone’s known history of unexpected twists, maybe a lot of people saw it coming after all. Regardless of whether you expected it or not, Rocky’s reaction to finding out where he’s been all this time is priceless. It’s amazing how quickly you want to leave when you find out your “Paradise” is actually a gilded cage in the middle of Hell itself.

Let me know what you think of “A Nice Place to Visit” in the comments below and have a great day!

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The Twilight Zone S5 E25: The Masks

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The Twilight Zone is noted for telling stories about a wide variety of characters, many of whom end up suffering a twisted punishment through bizarre means. “The Masks,” another 5th season episode, is an exemplar of this particular story-type. The story is set in New Orleans in the home of Jason Foster, a ridiculously wealthy, and notably blunt old man who is also dying. In any other story, you might think Jason was the one fixing to get what’s coming to him, but that thought disappears the moment you meet his relatives, who are all the very definition of “pieces of work.”

Let’s see now, there’s Emily, Jason’s daughter, who is an eternal hypochondriac (and unwitting hypocrite), always believing she is on death’s door suffering from some malady. There’s Wilfred, Emily’s husband, who only cares about money. And next to those two are the grown children Wilfred Jr., who apparently used to like torturing small animals if Jason is to be believed, and then there’s Paula. Paula is an interesting case because at first her only “sin” appears to be that she’s obsessed with her own appearance. Don’t let her fool you; later in the story she goes into a tirade about the miserable time she’s having waiting for her grandfather to die. In short, there’s little to no redeeming value in any of Jason’s kin, and the dying millionaire knows it.

Instead of simply cutting them out of the will, however, Jason decides to inflict his own punishment, perfect for the Twilight Zone. Since it is the night of Mardi Gras, everyone in the family must wear masks. But these aren’t any ordinary party masks. These are grotesque, disturbing things to look at. I often find myself wondering what color those masks were (since the episode was filmed in black and white it’s impossible to say for certain), since the colors might have added to their disturbing nature. But I digress…

You’ll also note Jason says they were made “by an old Cajun” which should be a big clue to the audience that something supernatural will happen eventually if you put them on. But Jason includes a fool-proof catch: if anyone in the family refuses to wear the masks, then all any of them will get from his estate is train fare back home. Jason knows full well his relatives are far too greedy to pass up on his fortune. So they all put the masks on (even Jason, he wears a death’s head), and they wait for midnight, when Jason says the masks can come off.

This next part is, for me, the saddest part of the episode, because as midnight approaches all of Jason’s family beg him to let them take the masks off, saying how stupid this is and how they can’t bear it. Jason then turns to them all and says:

“Have you all had your say?….is there nothing else you have to say to me?”

Having read between the lines, I’m convinced that Jason is giving his family one final chance to show him that they have at least one redeeming quality about them. If just one of them had shown some spark of caring, I really think Jason would have called it all off and let them take the masks off. But the chance is wasted on these people, and as midnight strikes, Jason finally passes away. And I don’t think it’s a coincidence he died at the stroke of midnight either. Earlier in the episode, Jason mentions that there’s a “ritual” to the wearing of the masks. While he describes it in some detail, I think he leaves a crucial detail out. I suspect, that for the ritual to take full effect, someone has to wear the death’s head and sacrifice their life at midnight. It makes sense if you think about it, most stories involving magic will tell you that powerful magic requires some form of sacrifice. And since Jason was dying anyway, it follows that he would choose a relatively quick death over suffering who knows how much longer. And if he can punish his relatives at the same time…so much the better.

And what a punishment! The reveal of what the masks have done make this one of my favorite episodes to this very day. And to those who might say “Well can’t they just get plastic surgery to fix their faces?” That’s just it, they can’t! You see, going for surgery would mean revealing their problems and flaws for all the world to see. And you saw how they all act, they’d never be able to do that. So they’re stuck with their punishment for the rest of their lives.

Let me know what you think about “The Masks” in the comments below and have a great day!

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The Twilight Zone S5 E27: Sounds and Silences

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The Twilight Zone is memorable, and rightly so, for creating an anthology full of memorable stories, nearly of which have a shocking twist at the end. For me personally, the reason I love this series so much is because Rod Serling proved to be a master of “watch this obnoxious individual get what’s coming to him.”

“Sounds and Silences,” produced late in the 5th and final season, is one such episode. The episode details the demise of Roswell G. Flemington, owner of a model ship company, and described by Serling himself as “two hundred and twenty pounds of gristle, lung tissue and sound decibels.” He’s not the worst character to get his comeuppance on this show, but he comes awfully close through sheer obnoxiousness.

Flemington is a man obsessed with the Navy, to the point that his company office is modeled after the interior of a ship’s cabin. That, in and of itself, wouldn’t be so bad, except Flemington is also obsessed with noise. I’m not just talking about blaring records as loud as he can (which he does throughout the episode), I’m talking about slamming doors, stamping feet, and yelling whenever he talks. One harried staff member mutters aloud that “someday all of that noise is going to come back and bite him” and boy does it ever!

The downward spiral begins when Flemington’s wife of 20 years finally has enough and decides to leave him. The one part of this episode that I find difficult to accept is that a man like Flemington was able to find a wife at all! I absolutely love the scene where she tells Roswell off and proceeds to inform him, in no uncertain terms, that their marriage is over. This is also the scene that completely destroys any final scrap of sympathy you might have for this character, as Flemington describes, in sneering detail, how he had to put up with a hypochondriac mother and THAT is why he’s so obsessed with noise. You might feel bad for him, were it not for the fact that the man is clearly talking down to his soon-to-be-ex-wife. It’s made plain that this guy deserves everything he’s about to get.

It’s after Flemington’s wife leaves that the fun really starts. I have to imagine the sound people had a lot of fun with this episode, when they had to simulate Flemington hearing noises louder than they actually are. It’s slightly surreal, hearing all of the sound effects, but it goes a long way toward showing how Flemington is rapidly losing his grip on reality. In fact, the conclusion comes not long afterward, when Flemington, having convinced himself that all of this is “mind over matter” finds he cannot hear at all.

Now, I have two thoughts on the ending of this episode. On the one hand, it’s implied that Roswell simply took “mind over matter” too far and accidentally made himself deaf. On the other hand, when you spend day after day listening to records at ear-splitting decibel levels…really, he was bound to lose his hearing sooner or later. In either case, this is one of the most suitable punishments presented in the show. Flemington, a man obsessed with noise, is now forced to live in a world with none at all.

Let me know what you think about “Sounds and Silences” in the comments below and have a great day! From now on, I’ll be working in reviews of my favorite Twilight Zone episodes, so I really hope you enjoy them.

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