After this summer, though, my life is completely open, and I have no idea what to do with that. 

The "original" plan, (c. 5 months ago) was to hop over to to France and Italy for a few weeks. I've been craving the sight of the Old Country (not my old country, just the old country) for some time, and that desire has only been further kindled by my area of study these past four years. The trouble, of course, is money, and that I'll have very little of it. It's important to me that I pay off my small tab of student loans as soon as humanly possible (I was imagining Morpheus as I typed that); skippin' around in Europe wouldn't have quite the same unencumbered joy about it if I had a $5,000 sword hanging over my noodle. 

A travel-mate would also be a major boon. Agent-L was originally going to be my companion, but his schedule for the fall now makes this impossible. Colonel-S (I'm using codenames, don't worry about it) is still a hopeful possibility, but I'll have to clear it with him closer to the date, and who knows what'll be on his plate months from now. Sweet-D and Major-B will also, in all likelihood, be unavailable. Might have to solo that muthafuggin continent, and it wouldn't be the worst thing in the world.

Though, I did see that movie Taken. I don't want to end up poledancing on a Belgian drug lord's boat. Let's hope I can get a travel-mate.

These things are relatively far-off, I suppose. Better concentrate on passing these courses before I get in a tizzy over my own Eurotrip-esque Eurotrip. 

I'm a student, okay? Finding time to update a public journal between ignoring my readings and rushing through my assignments takes a Herculean strength of will. I've reached down deep inside myself and pulled out just enough to provide you, dear reader, with this remarkable nugget of self-indulgence. 

I won't try to update you on everything that's been going on, but I will tell you of my impending breach into adulthood. It's the last push of for my degree, and if all goes well with the tail end of this last semester, I will proudly proclaim myself "Tom Ippen, BA" by early May. Following that, it'll be time to use my wildly applicable History Major to kick off a whirlwind career, sure to bring me non-stop excitement, intrigue, and of course fat stacks.

If you know me, you know that a  constant complaint of mine is my not taking more time to get things–anythings–down on (virtual/intangible/magic) paper. When my university career comes to an end (at least a temporary one) this spring, I'd like to kick off something ambitious, writing-wise. Maybe ambitious isn't the right word, but it'd be good to, say, pump out one blob of prose per day. It's disappointing that a goal like that is, for this fella, an ambitious one. We'll see how this plays out.

It's important to me that my writing is in at least passable form for the coming season, as that's when I'll be trying my darndest to crack into a career that doesn't have me in a cubicle editing zoning reports. Not to suggest there's anything particularly horrible about that; zoning is important, and without those reports, how would we zone? I'm just saying I don't think it's for me. I could be wrong. Sorry if you're a zoner. 

I'm losing focus. Let's end this before it spirals out of control. Thanks for stopping by.

Fellowship was a good movie.

Speaking of movies, another year of new ones is done with, and I've been keeping careful track of all the film I cram into my little noodle in 2009. RottenTomatoes has been a useful tool to keep track of the arbitrary rating I bestow on each movie I see, (you can check for yourself by looking up Tom I. on rottentomatoes.com) and I've taken all that raw data and compiled it into a sweet lil' list I call "Tom's Top 10 Movies of 2009."

All in all I saw 62 movies that were released in the last calendar year, (not all of them in the theatre) and looking at the average for the list, it must've been a pretty rotten year for movies, or at least the movies I subjected myself to. Admittedly, the list is a little embarrassing when you consider some of the choices I made. Looking back, I can't for the life of me figure out why Land of the Lost and The Proposal are on this list, while Precious and An Education I've yet to see. In moments of boredom I'd truck out to a theatre to check out whatever seemed "easy to watch." I'm not perfect, guys.

That being said, I suppose in the long run this list could change a bit. I still intend to see some of those probably good movies that eluded me before the decade turned. Most noteworthy of the unaccounted are A Single Man with Colin Firth, which I hear is mind-blowing, and the aforementioned An Education.

Enough jibba-jabba. Let's get to the point. I'll provide, in descending order, my top 10 movies of the year, with the accompanying score I gave them on Rotten Tomatoes.

Tom's Top 10 Movies of 2009 (for whom it may concern.)

10. Paranormal Activity.                         70%

            On nobody's radar, and then all of a sudden on everyone's radar, Paranormal Activity was a legitimately suspenseful, relatively sincere/credible first-person horror. The cinderella story of a budget under $11,000 creating this subtly attentive film really excited me, and I really wasn't let down. It may walk a fine line between "real" and "cheap," but I bought it, and thought the "two steps forward, one step back" pacing perfectly set up the climax, which is the closest I've been in recent memory to legitimately soiling myself.

9. The Hangover            80%                       

            I guess this one was a sleeper for most people, though it's gross would say otherwise. I (and everyone I've talked to about it) was pleasantly surprised to find it not nearly as akin to Dude, Where's My Car as expected. Zach Galafinakis' surprise perfect performance makes the movie memorable, and the very capable comedic ability of Ed Helms and Bradley Cooper bring it home. Certainly the very best comedy of it's specific type (dude-comedy? bro-comedy?) that I'd seen in a while.

8. District 9            80%

            Of all my top 10 list, this is admittedly the one I last saw longest ago. I wouldn't exactly say my memory is foggy, though, as there are some scenes in this puppy I'm not likely to ever forget. The world Neill Blomkamp created here is just incredible. Fuck James Cameron–this is universe building. Maybe that's unfair, as the world is perhaps less far-fetched, planted firmly in metaphor and social commentary as it is. Though I suppose that's what makes it remarkable: the fantastic, near-supernatural supposition shown to us through such a disturbingly recognizable lens. Though in my opinion the film breaks stride a little in the second half and becomes too focused on the singular narrative and action scenes, the story and world as a whole are brilliant.

7. Cloudy with a Chance of Meatballs            80%

            Listen, I understand that this one might surprise you. It certainly doesn't have as much to say as District 9, but it does it's own thing with confidence and masterful timing. There must be 50 of these CG family movies (often 3D, nowadays) every year, and they're all at the same level of quality: not bad, not great. And they all prioritize the entertainment they offer, usually a ratio of 70-80% aimed at children, with the scraps thrown to the adults present to keep them alive while their kids clap and scream. This one, however, is constantly hitting one of two areas; when it's not making poignant political or cultural references with a quick neo-comedic edge, (bolstered by the likes of Bill Hader, Anna Faris, and Neil Patrick Harris) it's using it's gorgeous and unique animation style–an incredible fluid and consistent one–for physical and situational comedy that doesn't miss a beat. Also: it's got Bruce Campbell.

6. Moon                        80%

            Sam Rockwell, baby. Apparently this dude can be amazing when he needs to be. A stellar contribution by the always wonderful Kevin Spacey isn't too shabby either. Performances aside, this is a very complete film. The aesthetic is closely attended in every shot, and the film fits right into that difficult but appreciated nook of a conceivable and rational yet mystifying and slightly unnatural Sci-Fi. When I walked out of the theatre, I personally qualified it as having an "industrial sci-fi" feel to it, and I stand by it. It was intelligent and thoughtful, and though perhaps predictable at times, it challenged preconceived notions of "typical" science-fiction. We need more movies like Moon.

5. In the Loop                        90%

            British comedy has hit a new high. I hadn't even heard about this film until a week ago, and rented it with a friend. I'm having trouble coming up with anything to say other than that I was completely blown away, and existing in that place between howling laughter and broken-down-scream-laugh/crying the entire time. Not many people I've talked to have heard about it, and I don't want to give anything away; what I want is for you to go and rent this movie immediately. It's a British political farce-comedy that takes place either half a decade ago, or in a semi-fictitious present day. You will die laughing. This is all you need to know. Funny is funny.

4. Up in the Air                        90%

            I'm one of those few people who really didn't care for Juno, Jason Reitman's previous film, and Up in the Air is certainly of the same ilk, but where the former felt obnoxious and over-assertive, the latter is approachable, charming, and maybe a little profound. Obviously George Clooney is more than capable at portraying a calm and confident, well-spoken man. The two leading ladies, Anna Kendrick and Vera Farmiga, both give stunning performances, and the gestalt of the trinity provides a incredibly fleshed-out discussion on isolation and personal growth. No movie I saw this year generated more post-viewing discussion on ideas of human attachment and codependence. It is also worth noting that, while on this "soulful journey of discovery", you will laugh your ass off.

3. Inglourious Basterds                        90%

            Quentin Tarantino has been making the same movie for years now, but luckily, it's a pretty solid one. This, like the others, is a film of conversations. The dialogue is great, the story is entertaining, unpredictable, and definitely unique, and the attention to detail in every single shot is, I think, the film's greatest achievement. The milk, the strudel, the devonshire cream, the champagne: these components are just as memorable and well delivered as the knives, the guns, and the scalps. The performance of Cristoph Waltz as Colonel Hans Landa is the highlight, for certain, though Brad Pitt definitely does a bang-up job and has some very memorable lines. My favourite Tarantino movie to date, this could be called a masterpiece. It could also be called "revenge porn." Both would be accurate.

2. Watchmen                        90%

            I have not read the graphic novel. I found this film artful and gorgeous from start to finish. If any one frame were turned into my desktop wallpaper it would be a marked improvement over my current stock background. There were strong performances across the board, but my particular favourites were the Comedian and (obviously) Rorschach, who's presence in modern film will undoubtedly alter the face of chaotic-good heroes yet to come. The historical fiction was a flawless construction that brought the world to a similar realm Moon did, in that it walked the tightrope between unbelievable fantasy and stifling, gloomy reality; Nixon's 4th term in the 1980s felt real. I understand that the narrative already existed before being put to the screen, but I'm not saying I love Zack Snyder, I'm saying I love this movie.

1. Fantastic Mr. Fox                        100%

            I'm a big Wes Anderson fan, but this is far and away the best film he's completed (in my humble opinion). I can't recall a single moviegoing experience where I've had a smile on my face the whole way through. The animation and voice acting brought so much life to each character that I was dreading the moment it came to an end. Every joke was a winner, every situation part of a hilarious, masterful plan, and every character flawed in the most loveable and laughable way.

Now, 100% doesn't mean it's my "perfect movie," and that all others will be measured by its greatness. I rank a few others at the same mark, There Will Be Blood, In Bruges, and Frost/Nixon to name a few from recent memory) but this year, there was only the one that really hit that sweet spot of "I want to watch you until I die."

Those ten lil' puppies made 2009 pretty good, I suppose.

April 23rd, 2009. I woke this morning in a cold sweat. It was the same dream. I dreamt that today he came, and that we were not prepared, which, at this moment, is entirely the truth. I lost my spirit in the eyes of doom.

Thankfully, in the waking world, we yet have time. Eleven days remain to train, and eleven nights to study and meditate. I am doing all that I can to prepare them, though I am beginning to fear that they cannot, regardless of their enthusiasm, hope to stand against him and survive. I have come to them too late.

It pains me when I look in their eyes and see a glimmer of hope; perhaps they feel that they will grow strong enough to defeat him, or perhaps, as I fear, they simply assume that my strength will be enough to stop him. Indeed, I sometimes find myself adrift in foolish daydreams of my own ability, but this is folly. I cannot stop him. He has become too powerful. I remember long ago, in the halcyon days of our childhood, all of our time was spent training; we tested our strength against one another, and it was I who was the strongest, the most skilled. My advantage faded with our youth, and soon our competition grew agitating and bitter. I could see our places changing, gradually, and poured my heart into defeating him every time we clashed. He did the same, and once we were evenly matched, our relationship soured, and the playful fighting of our past was dead. 

I knew that he would become stronger than I could ever hope to be; he was already more than my match, but I manipulated bitterness and dry excuses to convince myself that I still held some advantage in strength, tactics, or wisdom... after all, I was the elder. I see now how pitiful I was back then. No matter how I rationalized it, the better fighter was, beyond a shadow of a doubt, my younger brother.

His resolve to continuously improve only grew, while mine wavered, humiliated and unsure. It was at this time he traveled East, and I allowed my weary heart and body to rest. In the time he spent there, he wasted not a single moment––he was wholly devoted to his craft, he had become a master––and now he returns. I was a fool to sit idly so long, allowing my skills to deteriorate, thinking this day would never come.

I must now face my mistake. This battle between Kin is now as sure as the tide. I will face him, but what can one man do to stop this encroaching tidal wave? I have found some old strength in myself, some new, and fill the empty spaces with the light in the eyes of my family, whom I now train in a last desperate attempt to weather this storm. Though it pains us all, my brother has become too powerful. We will stop him, or we will not. Regardless, we will stand.

Every day their improvement impresses me. I can see the sparks of a once skilled man in my father. He is always so calm on the battlefield. Even in moments of true intensity and pain, his face is relaxed, as though he has already seen every outcome––the end of all things––and he is pleased. My mother is no fighter, but even she has taken up the charge I have laid upon our house. I cannot imagine how it must feel for a mother to engage her son in final combat as she must, and I pray that when the time comes she will understand what her second son has become, and do what must be done. My sister, the youngest of us, faces this challenge with remarkable tenacity and enthusiasm. She has focused her training on techniques I do not fully understand, and largely ignore. However, my brother and I are two sides of the same coin, and if her unfamiliar style surprises me, it may well have the same effect on our brother. I hope this is so. 

As I write these words, I again dare to hope that he can be thwarted; I am a fool. If I close my eyes now, I feel I can clearly see the entire encounter playing out before me. I see him there, long blonde hair thrashing in a western wind against his blood-red gi. I stand before him, robed in the white of our house, wearing the red headband I wore as a child, in training. I can hear his voice, see the flash of blue, and feel the air rush past my body as I crash into the floor. I can hear him approach, and all I can do is strain to think of my next move as his arm flares a brilliant orange fire, and I can bear no more.

I care not for what my destiny may or may not be. I will fight you, Daniel, with everything I have!

Exhibit A: Boss Fight 2

Here we see the MIDI in all its beepy, thudding glory. Dig that baseline? The distorted "guitar?" Admirable attempts at rocking your ass through a 16-bit game, wouldn't you say? But lets dig into this track a little further. This is the music that plays when you fight a "Sinistral," one of the four otherworldly deities that have come to destroy your precious world. The stakes don't get any higher for Maxim (the protagonist) in terms of boss fights, so the music's gotta get you pumped if this is to be an effective, "epic" experience for the player. WORKED ON ME!

So you haven't played the game? That's just fine–listen closley, and I bet you can even go so far as to interpret what exactly goes on in a battle between a man and a Sinistral (Sinistrals are a good 12 feet tall and decked out in imposing, decorative armour, to help paint the picture). The track begins by setting the mood. The "organ" for the first 50 seconds or so is presenting a dire, fast paced situation. Then right at the 0:55 mark, that heroic trumpet jumps in, just for a few seconds; that's the chorus of the heroes, asserting their strength against this evil tyrant they're doing everything to stop. They're fighting for their world! They've little hope, but still they struggle! And it all comes out between 0:55 and 1:01! That's them!! The response of the Sinistral is right there at 1:01, with harsh cymbal crashes and staccato organ blasts. Can't you just feel it? the weight of this titanic, evil creature, crushing down on his puny opponents? The call and response repeats again, and then we move into the superchorus, where the fight really starts to get messy.

Well, there you have it. Do you see what I see? So what if they didn't have the tech to put real orchestral scores into those little grey cartridges? These guys knew how to throw a piece of music together to convey a feeling.

Exhibit B: For the Savior

This one really gets me, guys. After defeating the Sinistrals (SPOILER ALERT) Maxim and his friends find themselves on a floating island now without it's sinister power source. As a last vengeance, the Sinistrals have set the island to crash into Maxim and Selan's (Maxim's wife) hometown, killing all of their friends along with their newborn daughter. Selan is killed in the aftermath of the fight, and dies before anything can be done. It is now up to Maxim, under the control of the player for the last time, to navigate through the fortress and disable some things ("magic crystals or something unimportant. Who cares?) to save the lives of the people below.

This is the track he gets to run around to, probably the best piece of music in the whole game; A diamond in a field of slightly smaller diamonds. You like that? I coined it just now. The sharp, blasting violin immediately sets a mood of tragic desperation. The synth keyboard with those descending triples, (at the 0:27 mark) really speak to the intensity and weight of the situation. Then, at 0:48, we get this rolling ascension into a solid blast of brass and violin (I understand that these instruments aren't actually present in the music) that becomes the chorus of the piece. Here's where we get hope, sadness, and determination all rolled up together. And all through a beeping little excuse for a synthesizer from 1995. Maxim sacrifices his own life to save many (NEVER been done before, I know) but it's because of this track that I still remember the scene as it was laid out 14 years ago.