100 Bullets began as a comic with a schtick: Mysterious wrinkly secret Agent Graves hand delivers a suitcase to a hapless lowlife containing a gun, 100 untraceable bullets, and the missive to “do with it what you will” in seeking vengeance . It was pure pulp and Brian Azzarello’s scripts paired with Eduardo Rissso’s art were a credit to the genre. However, as the series progressed, the pulp short stories of earlier issues were woven together into a sprawling crime saga. Here are our picks for the best issues of the landmark series.
Even as the series morphed in to a transcontinental epic, it remains a story about nasty criminals doing nasty things. In this issue, Cole “The Wolf” Burns returns to his girlfriend and attempts to sync up his brief stint out of the crime world with his return to his place as an enforcer of the minutemen. It doesn’t work out, nor does the heist told analogous to Cole’s story. What makes this particular issue great is two fold. First, the rare occurrence of a female character’s refusal to tolerate her criminally deviant man is small moment but important. Second, we just love the heist storyline in this issue that involves a crew of bubbling criminals who don animal masks to stick up a bar. It’s nigh impossible to close the issue without acknowledging that Cole Burns is one of the coolest motherfucker’s in fiction.
2)#37 On Accidental Purpose
In another issue during the run that focused on a single character, Dizzy “the Girl” Cordova returns to Chicago, unsure of her path with Mr. Shepard and seeks a connection to her past. In one of the more emotionally wrenching issues, Dizzy realizes that for better or worse, she’s moved beyond the settled-down girls from her old crew and what was left of her unreliable family. There mastery in Azzarello’s dialogue in this issue, which we personally felt was a little hokey in Dizzy’s first arc(also the first arc of the series), deserves as much attention as Risso’s art.
3) #50 Pray for Reign
100 Bullets as a series is one of the greatest for many reasons and the selections on this list were made not only for their individual superlativeness but because they showcase a characteristic of the storytelling that sets the comic as a whole apart. In this case, Pray for Reign displays the masterful ability of Azzarello to tell several stories not only at once, but in the span of 22 pages. We are dropped into a scene very similar to that in Reservoir Dogs: A caper has gone very badly and the crew of assorted scumbags meets at a bar to wait for the shit to continue to hit the fan. One criminal then tells a story of one of the most influential crimes in history that occurred hundreds of years ago. The story, of course, is the crux of the current saga and the teller turns out to be one of the last minutemen. It is a perfect bookend to the end of the first half of the series and the start of the next. As always, how about that art?
4)#21 Sell Fish & Out to Sea
In which the introduction of one of our favorite characters Jack “The Monster” Daw occurs. Seriously, 100 Bullets has some of the most memorable character introductions in any comic that we’ve read. For a series in which the art is like 90% Cheshire smiles, it never gets less chilling to see hulking Jack’s evil grin shine through the darkness at some poor sap. We’ve had some depressing victims of Grave’s little game, but is anything more tragic than knowing you are the one that ruined your own life? Jack Daw’s addiction to both heroin and his own destruction remains one of our favorite story lines right up until issue 100.
5) #26 Mr. Branch Tells All
This issue is all about the art, as several guest artists like Jim Lee and Lee Bermejo contribute pages, though happily, none equal Risso’s perfect command of the content. 100 Bullets loves showcasing some impossibly endowed ladies, but this is one issue that we can say is straight up sexy in its dark colors and in the flawless form of Echo Memoria. Plus, we are gifted with some major exposition as Branch ties together the workings of Agent Graves and The Trust.
6)#95 Chapter Seven: Ducks
Relationships between brothers are explored throughout the run of the series, often in one-shot characters but also in several of the series main players. The most memorable is probably that between Remi and Ronnie Rome. These two exemplify begrudging familial love as both believe that they are the better man and son and equally plagued in having a brother like the other. In this issue we see Ronnie Rome dutifully attempt to visit his brother in the hospital, but like most who have relations with a minutemen, he is ultimately done in by his devotion to his brother. When Victor laughs at the demise of the Rome brothers, we see the tragedy of this story: these minutemen are truly tainted and irredeemable men.
7)#58 Coda Smoke
This here issue ranks high just because it is the pinnacle shocking moment in a series full of them. In one of the more tragic accidental shootings, Dizzy is triggered to eliminate her friend and mentor as always, part of the larger scheme of the series. In a shot that will ring through the rest of the story, the fate of Mr. Shepard is settled at a gas station in the middle of nowhere.
8) #55 Wylie Runs the Voodoo Down
Something else mindblowingly good in 100 Bullets? It is an epic saga that takes place across America (with occasional stops in Mexico and Europe) and each local is rendered near flawlessly. From the mood to the colors to the architecture, everything feels so real you can almost taste it. This is particularly notable in series where 90% of the action happens in bars…and each bar is completely unique and looks like it just belongs in wherever it is set! We wanted to make sure we highlighted these accomplishments on our list and this issue ultimately beat out a Benito-focused story in Atlantic City and any of the ones set in Miami just because it focuses on our main dude Wylie “Point Man” Times. New Orleans at its best.
9) #100 A House of Graves
If we ever had to give evidence that 100 Bullets needed its own television series, we toss any tv executive a copy of this last issue, because hot damn is this an ending of legendary status. This is not actually one that I can even discuss without going through the 99 issues that came before it because it is faithful to what demands to be called a saga. Dynasties end, killers retire their guns, and monsters live. For every finale that let you down, there will always be this issue of 100 Bullets.
10) #27 Idol Chatter
Wed’ like to point out that the issues on this list were ranked in no particular order…except for this one. This is it, the masterpiece in our not-so-humble opinion. The tragic story (and there are many in this series) of young love turning into old regret and vengeance. It is perhaps one of the best moments where it is explicitly and deftly shown that revenge doesn’t heal loss and that love can’t be rekindled at the end of a smoking barrel. We are given history, intrigue, mystery and sex in this strange one-off issue, as maybe the least sports literate of us exclaim in shock and realization at the ending. And we’re so grateful that it happened. RIP Marilyn, RIP # 13.
What do you think? “What about MILO? Or Meghan?” you scream. Hey, we had to edit it down somehow! Let us know what your favorite issues were and if they made the list!
It’s time for another year to come to a close, and if you’re human you’re probably doing a little reflecting this week. You might also be reflecting if you’re a robot, and that’s part of your programming for some reason. Either way, you might be feeling a little twinge of nostalgia, and for that, you have us, and our first ever annual list of Nostalgic Holiday films.
Sub-Cultured’s First Annual Official Nostalgic Holiday Films List (For Nostalgia)
Holiday Film Favorites we can (Mostly) Agree On
1. Babes in Toyland (With Laurel and Hardy): We tried watching the Drew Barrymore/Keanu Reeves version of this film and the internet rebelled by shutting down our twitch account temporarily. We will take that as a sign to stick with the real classics.
2. Rudolph the Red-nosed Reindeer (claymation): Doesn’t the abominable snowman get kicked in the *ahem* snowballs in this movie? Maybe don’t kick an abominable snowman in the snowballs. I feel like that’s the moral here.
3. A Christmas Story: TBS feels that we should all marathon this movie for twenty four hours at least once a year. TBS is probably on to something.
Jen’s Made For TV Skating Spectacular
Disney Fantasy on Ice: Technically this is my sister’s pick, but I always watched it with her so I’m stealing it. Disney used to put together skating specials every year and this one had a story line and an actual red-headed Ariel and it’s basically ’90s perfection so if you can find it in full, let me know.
The Santa Clause: presented without comment and without justification. It’s that good.
Kaitlyn’s Favorite Sequel
Beauty and the Beast, The Enchanted Christmas: Much like Fern Gully, this movie comes equipped with a villain voiced by Tim Curry, and an important lesson about the environment. Or about your family at holiday time. Either way, it’s underrated.
Tushar’s Eclectic Holidays of Yore
Trading Places makes me long for days past because it takes place in Philly. Go makes me harken back to college when I first watched it, and reminds me of other old-school holiday gatherings where it was viewed as a less-than-wholesome Christmas film. And ROCKY IV. It does not get more ‘nostalgia’ than that.”
Leia’s Crying Corner
Fucking Frosty the Snowman gives me Frosty tears.
Home Alone makes me cry when his groceries break his bags or or when he looks at his family photos.
Sam’s (Semi-specific) Classics
1. It’s a Wonderful Life
2. Love Actually
3. Miracle on 42nd St. (1947) This version is important mostly because I still have a huge crush on Maureen O’Hara.
4. Christmas Carol with John Barrymore, and it’s important that it’s the one with John Barrymore, so that it’s not this Jim Carrey bullshit.
5. Die Hard, the one with Bruce Willis. You know the one.
Colby’s Begrudging Holiday Spirit Which Conflicts with Sam’s Negativity.
Jim Carrey’s The Grinch Who Stole Christmas. My neice watched that everyday for months, then we had to have it on 24/7 while she was here for the holidays.
Max’s Almost Classics
Auntie Mame, and my usual: the Peanuts special. But not the one everyone always thinks of. The other one– It’s Christmastime Again, Charlie Brown.
Mia’s Easy to Find but Hard to Obtain Choice
Mia picked Mickey’s Once Upon a Christmas, pointing out that it’s pretty easy to find online for purchase but kind of hard to find if you want to watch it. Also you have to know exactly what you’re looking for otherwise you’ll end up with a bunch of Disney movies that aren’t this one. Those ones are lame and we’re ignoring them.
Let us know what movies transport you back through time during the holidays–the weirder the better!
Telltale has been busy! They recently wrapped up Walking Dead Season 2, launched Game of Thrones, and now they’re announcing a partnership with Mojang to create a new episodic, story driven game called Minecraft: Story Mode.
Yes that’s right, the company behind The Wolf Among Us is bringing story to Minecraft. Or more accurately, dragging Minecraft into their story framework. Details are few and far between, but it’s not intended to be “an “official” story for Steve, or explaining the world of Minecraft in detail.” Beyond that, all we really know is that it’s coming out next year to Xbox consoles, Playstation consoles, PC, Mac, iOS, and Android.
Thought the press release itself is kind of a nothing read because of how sparse it is, they created a nifty little interactive game for it, which you can play here. Pretty cool!
What do you guys want to see in a Minecraft story, if anything at all?
It’s been over a month since Disney’s first Marvel property adaptation of Big Hero Six directed by Don Hall and Chris Williams entered theaters and thus far domestically in the US it has made around $186,474,712 dollars. For a film that cost $165 million for production budget it made back the money and a nice lump of $21 more million dollars stateside. These aren’t Frozen numbers at all and some probably would consider this borderline but it’s definitely not a flop, and it’s definitely not terrible. I was finally was able to see it last Saturday, and for me, it’s a suitable franchise launcher but it’s admittedly not perfect. So let’s go through the motions shall we?! (WARNING SPOILERS AHEAD)
The world in which it was set was gorgeous, populated, and looked intricate and lush, a sharp contrast to Frozen‘s backgrounds and environments which seemed flat, and unfinished. The animators weren’t kidding with this one, or rather, they were given much more time to finish their work and the cinematography was much, much better. Lighting effects, shadow (is that scatter effects? Particle effects?) and people’s elasticity were all far better than Frozen. Hiro (Ryan Potter), and Tadashi (Daniel Henney) were in general pretty great characters and I liked their designs. I could tell they were mixed race according to their names and designs, particularly Tadashi. The “team” of Wasabi (Damon Wayans Jr), Honey Lemon (Genesis Rodriguez), GoGo (Jamie Chung) and Fred (T.J. Miller) were likewise extremely likable if not underwritten (more on that later). Baymax (Scott Adsit) was of course a scene stealer and what people in our audience most reacted to, aside from Mochi the cat.
I liked the situational humor vignettes with Baymex in between the action, I liked the personalities of all the cast. Aunt Cass was extremely funny and also a minor scene stealer. The action; pretty good too. It’s fun and relatively safe. It’s not without it’s problems however.
I won’t say “bad” because in general the film was solid; but ultimately the writing and some choices did hurt it. I think the film fell to quite a few cliches (rainy funeral, sleazy CEOS) and had many elements that other films like The Iron Giant and The Incredibles (Hmmm Brad Bird) have already tackled and already did better.
RACE AND REPRESENTATION
First, while beautiful, the fictional San Frantokyo is questionable at best, it seemed like “Let’s make it Japanese but….not too Japanese” which is an attitude that is generally applied to the entire film. The original comic, which admittedly is pretty awful and racist, was set in Japan (for the most part) and did feature an entirely Japanese and Ainu (a native Japanese people) cast. For their version Disney racebent all the main characters into a Half-Japanese, Half-white main lead, an African-American, an average white guy, supposedly Korean (not Japanese) and implied Latin-American. This kind of diversity is awesome, but it almost felt like the wrong movie to do it for. It’s Japanese themed but no one in the film is 100% Japanese. Aside from the moderator at the battle bot ring I don’t think any other Asian characters, Japanese or otherwise were given speaking roles? Did the cop at the police station have to be white? Granted the crowd scenes are very diverse and hip but it’s still somewhat suspect. That’s kind of…eh.
I understand why they did however, because American tastes and I can’t complain about the diversity it does provide for the Western market, it just feels a bit erasing when Western media is particularly not very serving to Asian characters to begin with, particularly male leads. Hiro nevertheless is one of the few Asian-American male leads in any Western movie, like, ever since forever and probably not again for a while. That fact is really disappointing
Having Aunt Cass be from their white side of the family (but apparently not because her last name is Hamada too!) while innocuous wasn’t particularly needed; they could have easily made her Japanese and not have changed a thing script or personality wise. The person I was with, most likely because of Aunt Cass, did not realize Hiro and Tadashi were mixed because of this. Honey Lemon while I figured she was Latin-American due to her accent, she is pretty white passing so they could have easily snuck in a line to make it clear that she’s not white or not fully, at least. She’s loads better than her comic iteration in how they treated her, however. I will give them kudos for cleaning up a pretty problematic comic into something digestible.
REUSING CHARACTER MESHES
To me it was pretty clear that Aunt Cass’s head mesh was a variant of Rapunzel/Anna/Elsa and their mother of some kind as was Honey Lemon’s though hers was less so. Honey Lemon was rather controversial, her design was criticized for looking quite like the last three princesses and while her design is safe and does look a lot better and different on film (she’s tanner, with darker/oranger hair and willowy looking on the verge of extremely stylized in film), she’s still pretty “typical” and definitely of the mold. Surprisingly Aunt Cass I think is much more of a copy-paste and the oddest of choices GoGo also seems to have a lot of her mesh based on Elsa’s face. There are times when it was clear they worked on all of these ladies further, but I couldn’t help but seeing a lot of similarities and I feel they need to give these base face meshes and that style a rest.
I really enjoyed the “nerdy” team of Tadashi’s classmates and their role in forming the team, and I loved it when they stopped him and Baymax from literally going villain. But in general they were there to advance Hiro’s plot and the whole “team” film is a bit of a misnomer. It is Hiro’s film, and did that well, to the expense of the rest of the team.They’re not particularly round characters. The character we find most about is Fred, the slacker white dude who slums it and watches everyone do science because he loves it and, as we learn, he can afford to. We see them at Tadashi’s funeral, we see them leaving messages for Hiro, we see them picking Hiro up in the car. What we don’t see for any of them were their own independent struggles with Tadashi’s passing or any particular narrative struggles or insecurities of their own that they overcome by the end of the film. They had no independent narrative arc outside of helping Hiro besides Fred finally becoming the fire breathing dragon like he always wanted to be. Helping Hiro is a good main narrative, but they could have had more to it. GoGo could have a chip on her shoulder for a reason. Honey Lemon feels like no one takes her seriously because she’s girly (etc). Compare the character growth you see in Dash and Violet in The Incredibles to the growth for the team in Big Hero Six and it becomes pretty clear they’re lacking.
This could have been easily fixed a little with a short scene showing them struggling with their schoolwork or independent projects following Tadashi’s death. GoGo is uninspired and can’t work, Wasabi starts becoming messy or disorganized, Honey Lemon starts making rather scary compounds, Fred just doesn’t show up anymore. Something to show that they were affected and despite moving on (unlike Hiro) as they are shown as doing, they too have their share of problems. Had they been able to pull off full character arcs for all the characters, it would have been really good writing and probably a richer viewing experience. Disney is confusing personality and quirks with character. They ran into this problem with Anna and Elsa, and they ran into it again here.
THE BAD GUYS AND THE DAMAGE THEY MAKE
I was iffy on the bad guys. There are only two options, the person who went with me guessed wrong, I guessed right. I admit since I work at a library I was spoiled by a picture book but it was pretty easy to see where it was going. I would have liked more choice or red herrings and more sense of danger and immediacy. I really wish there was just a bit more to the plot. How? Not sure. But let’s take a stab; The world of Big Hero Six seems like it’s pretty comfortable with pretty advanced technology, are other superheroes already a thing? Or is them suiting up highly irregular? Judging by Fred it’s irregular. But technology is pretty advanced.
I think rewriting the island experiment with Abigail as causing much more damage (a la Evangelion’s finding Adam at the South Pole; the experiment already was an obvious nod to Yui Ikari to me) to the entire area about ten years prior, and have Hiro and Tadashi’s parents being involved as scientists on the top secret project and dying in that incident might have been a way to help the film’s plot. This would explain the adoption by Aunt Cass and some of San Frantokyo’s current infrastructure. The swallow symbol could then have been more mysteriously ubiquitous in Hiro and Tadashi’s life and a further mystery to unravel when it starts appearing again. I think if the recorded footage showed the Hamadas helping shut the experiment down as best they can to save Abigail at the cost of their own lives (possibly activating her sleep stasis mode) it could have immediately threaded everything together and gave Hiro an additional personal connection to what he was viewing.
I noticed that the movie also lacked some response from the city regarding this creepy dude with a wave of nanobots destroying a lot of property while he chased Hiro and the gang, which was conveniently lacking a lot of cars and pedestrians. A little more reaction from the city around them would have done wonders, although I will admit the action in that scene was far better animated and “shot” than anything in Frozen was. Also when the large building was being sucked up, some shots of civilians responding in horror would have been nice to see. You really can’t skimp on these reaction shots!
I almost want to say they shouldn’t have killed Tadashi?! I understand it produced an awesome example of how adolescents deal with grief gives weight to Tadashi being recorded (and thus living on) and having his name on Baymex’s chip, but in a way it felt excessive particularly with their parents having already died and with the Abigail narrative feeling like an incomplete juxtaposition to something. I think I’d have preferred the explosion leaving Tadashi in a coma (one of the few times the coma trope I think could work) instead and possibly have him lose a leg. Having Tadashi there but “gone” and showing no signs of waking up (and Baymax unable to help him) could be just as hard on Hiro with more or less the same reaction as seen in the final product. Pulling Abigail out of the dimension could have offered a great parallel “coming out of it” moment as well if you wanted to be sentimental. A wheelchair bound Tadashi being outfitted by GoGo and the others during the credits with super wheels etc would have been amazing and also a great example of visible disability on film. He could also have been their “gadget guy” in future films too.
I feel there was just a lost opportunity there regarding his character and this is coming from a guy who killed an adolescent in his own film script to send his friend, the lead, a boy a little younger than Hiro, reeling. Perhaps my total dislike of him dying is exactly what they intended. They succeeded in creating a character we do care about and don’t actually want to see dead, which is somewhat the point. It was rather melodramatic, nevertheless, and I think I heard some snickering between gasps when it occurred. I do think a gentler less…fatal approach could have really worked.
I know. I know. That’s a lot to ask for when it comes to a children’s film. This makes me seem like I didn’t enjoy it much, but I did. I just wish there was more. I’m curious to see what the sequels will be like! I think this go around while they got the technical stuff much better, the writing is what still needed a few more drafts in order to be really great.
As is Big Hero Six was about a C+ to a B-. I think the script could have had a few more drafts to really be….super…..(groan). I anticipate sequel or serialized sequel material where everyone can grow and get additional narratives!
Whether it’s Klingon, Elvish, or Gallifreyan, fictional languages are firmly cemented in nerd culture. Learning to read, write, and speak these languages is a huge undertaking, but can be incredibly rewarding.
When Game of Thrones was developed for television, linguist David J. Peterson was hired to create the language of Dothraki. That means Dothraki has grammar, pronunciation, and cultural ties, just like real languages. The amount of thought and depth that Dothraki has is simply impressive, especially since a small number of scenes involve extensive Dothraki dialogue.
If the Dothraki that appeared in the show wasn’t enough, now you can learn exactly what Daenerys and Drogo were saying. Living Language has created Living Langauge Dothraki, a complete language course written by David J. Peterson himself. The course includes a written and audio component. The booklet explains basic pronunciation and grammatical structure as well as cultural notes, while the audio disc includes every Dothraki word or phrase inside the booklet. In addition, the booklet includes dialogue practice and exercises. There is also a website with even more content, flashcards, and games, and even an iOS app to take your practice on-the-go.
As someone who has studied a language before, I found the course to be surprisingly robust. It is clear that each phrase, word, and syllable was carefully considered by Peterson, and the effort is evident in this course. Although Dothraki is a fictional language, the course treats it the same as a real language, going much further than simply offering vocabulary terms. In fact, the Dothraki displayed in the television adaption is not indicative of how much Peterson developed to reach the few phrases in the show; Dothraki is a complete language. If you wanted to gain a conversational understanding of Dothraki, Living Language Dothraki could definitely make that goal a reality.
Simply put, I was sincerely impressed by the quality and extensiveness of Living Language Dothraki. I would highly recommend the course to any fan of Game of Thrones or A Song of Ice and Fire, especially those who love to immerse themselves in the world.
Disclaimer: I received a copy of Living Language Dothraki by winning a Twitter contest from Game of Thrones. All thoughts are my own.
Love stories, ammiright? I mean how many times can we tell the same series of events over and over and over again? Boy and girl meet. Boy and girl do stuff that’s biologically totally normally but socially complicated and weird. Boy and girl either end up happily ever after, or they don’t. Pass.
Yeah right. From the beginning of time until the inevitable zombie apocalypse (about which there have already ALSO been love stories written…), we humans will continue to write tales about love, lust, and everything that gets mixed up in between. But sometimes one of us gets it beautifully, painfully, wonderfully perfect. One of those times was Jason Robert Brown’s The Last Five Years; a time-twisting musical Brown wrote about his own love story, which culminated in divorce and sadness (and, as a result of her depiction in the musical, a lawsuit with his now ex-wife). Last week, an official trailer came out for the movie version of The Last Five Years, and between S-C staff writer Sam and I we’ve watched it about fifty times since its release.
From Page to Stage
BUT! Some of you nerds may be interjecting. “The Last Five Years’ only lasted off-Broadway for two months! How could you be excited? Well, nerds, calm down. I’ve seen that production. I know why it managed to open in March and close in May. I also saw a re-staging in Baltimore a few years back, directed with tongue so firmly in cheek that I wanted to claw my eyes out. But good luck taking the soundtrack away from me, or getting me to listen to it without singing along.
There are only two actors in the entire play–Jamie, Brown’s stage persona, and the object* of his affection, Cathy. The story is told in two different directions simultaneously: Cathy starts from the end and works backwards while Jamie starts from the beginning, and they swap off in a series of solos. The only song they technically share is the proposal scene in the very middle, which is a heartbreaking song called “The Next Ten Minutes”. The soundtrack is beautiful from start to finish with one glaring exception–“The Schmuel Song”– which I personally find grating and obnoxious but perhaps that’s because I’ve never seen it staged interestingly**. This is one story where knowing the end doesn’t ruin the journey in the least. The fact that Jamie’s exuberant declarations of something new in his first song are matched by Cathy’s lamentations of something ending sets you up for heartbreak from the very first note. It sort of makes you wonder why we ever fall in love in the first place, when normally there aren’t even masterfully crafted violin sections helping illustrate how each step made us feel along the way.
And From Stage to Screen
The movie should be able to fix many of the problems that The Last Five Years runs into on stage, which typically include a lack of other live bodies. For two people who apparently fall into and out of love based heavily on what society tells them they SHOULD be doing, a cast of two does not illustrate that society plays any part at all. The small cast also makes it an attractive play for community theatres, who, in my experience, use little to no set or lighting design–and what they do use is frequently very literal in an otherwise subtle show. The movie already looks like a labor of love on the parts of Anna Kendrick and Jeremy Jordan, who star as the lovers doomed from the start. Jordan even personally assured me that my fears about Schmuel are baseless, by responding to one of my cranky tweets on the matter.
— Jeremy Jordan (@JeremyMJordan) September 19, 2014
Kendrick has done some super nerdy tweeting of her own on the matter of the film, as seen below in this conversation about musical keys:
My co-writer Sam’s reaction is summed up as follows: “The trailer opens the same way as the soundtrack: ‘Jamie is over and Jamie is gone.’ As Anna Kendrick sung those seven words and the music trickled into the background I couldn’t help but feel a sense of calm. Cathy’s opener ‘I’m Still Hurting’ is easily one of the most heartbreaking songs in a musical about relationships. The trailer couldn’t have been a better way to exhibit the always beautiful voice of Miss Kendrick and the sultry sounds of Jeremy Jordan. Here’s the thing, I’m still scared that one of my favorite musicals could be an awful film. But for right now, in this moment, everything hurts, and oddly enough, everything is okay.” It’s that complexity of pain and happiness that makes The Last Five Years so habit forming–and the trailer highlights just a few of the best songs in the show. I think the film format, and some expanded dialogue, will do this musical good. Gaps will be filled in where before there was only conjecture, and for a musical that asks so many complex questions about love and loss, we don’t need any added inquiries.
Another reaction I’ve gotten is from my younger sister, who was attracted to the trailer by her total fan-boner for Jeremy Jordan.*** She is not unfamiliar with the musical, having grown up in a house with,well, me, but the actors were definitely the main draw for her . “My first impression of the trailer was to scream, because I had waited long enough for a trailer and release date–but I’m really just looking forward to seeing how well they did a movie with essentially a two person cast. I’m really looking forward to seeing Jeremy Jordan’s chemistry with Anna Kendrick, which will have to drive the movie.” The first day that the trailer was live, she sent me a series of screengrabs in an email titled “3 of the many reasons Jeremy Jordan’s going to be amazing”. This was my favorite from among her selections:
I think my work here is done.
The Last Five Years comes out, somewhat cruelly, on Valentine’s Day 2015.
*I use “object” here very deliberately
**Fellow Sub-Cultured writer Sam firmly disagrees with this assessment as he loves The Schmuel Song, but you know. This isn’t his article. So…
***when he tweeted at me she threatened never to speak with me again. Also she might have more than just a fan-boner for him.