Boy howdy, folks! It’s the last episode of 2011, and once again our pal Bobby Beirley joins ‘monkey & the Cap’n (oh god, we sound like a porny morning drive-time show) to run through our favorite comics of the week, argue about Dark Knight Rises, and a little thing we like to call: The best damn comics of the year. And oh, yeah…we say some pretty awful stuff (again).
So get your listen on already! Stick around here or pull it on down via iTunes.
2011 was a year centered firmly on both endings and beginnings, returns to greatness, nostalgic looks back, and terrifying looks forward. The year gave us stories centered on stars and filmakers of the past, the first silent film of the new millennium, and treatises on life, death, mental illness, and the end of the world.
I don’t know what you guys are doing reading all those phoney top ten lists over there, what with their overpraise of films in which women shit in bathroom sinks.
A shame, that – after all, this, mine, is the authoritative tome that Scholars will look back on and shower with statuses of validity upon as the definitive list. “Yeah, you know what, The Artist wasn’t a lot more than a nice movie, Sparkle was totally right,” they’ll say a thousand years from now. And I shall smile down on them from Future Heaven, which is just like regular Heaven but with astronaut food, hover boards, and a hilarious robot that is actually pretty good at Stand-Up.
Anyway, here are the ten best motion pictures of the year:
Concert films are tricky beasts. Not only do you have to make hard decisions in how the performances are shot, especially when you have a stage full of performers to showcase, but there’s also the question of how much behind-the-scenes and backstage footage to show. For Glee: The Concert Movie there’s the added challenge when dealing with characters from a popular television show as to whether you allow the actors to be themselves or stay in character throughout the entire performance.
With footage taken from the concert in East Rutherford, New Jersey, during the group’s Glee Live! In Concert! tour the movie includes 24 songs (including several numbers chosen just for the concert series) performed by the Glee cast as well as backstage moments with the show’s cast (in character). Sprinkled throughout the movie are short interviews and mini-documentaries of selected Glee fans.
Teenage Mutant Ninja Turtles co-creator and founder of Heavy Metal magazine Kevin Eastman is selling off the contents of his entire studio to help raise money for the Hero Initiative (a not-for-profit organization dedicated to helping comic book creators, writers and artists in need). Very, very cool. Click here if you want to bid, but you better have some money to burn as the bidding is already up to $6,400.
I’m not sure if writer/director Aaron Harvey is attempting to give us nothing more than B-movie along the lines of 2 Days in the Valley or (God help us) Smokin’ Aces or if he aspires to something more like early Tarantino. Whatever his intentions, what Catch .44 delivers is a trio of attractive actresses, short skirts, a couple loving butt shots, and a movie not nearly as smart as it wants to be.
Our story begins with a theft of a drug shipment gone wrong. Our would be robbers are a trio of women working for a local drug trafficker (Bruce Willis). After the opening shootout the movie resets to the beginning of the night as Tes (Malin Akerman), Kara (Nikki Reed), and Dawn (Deborah Ann Woll) while away the hours together before their job goes horribly wrong.
Tes is the leader of the pack, or “the smart one.” A waitress in a seedy strip club who gets kicks by stealing customers wallets, she takes the job as a drug runner as much out of boredom as anything else.