The marching band walk Teague refers to would be rolling your feet - step down gently on your heel and as you put more of your weight on the foot try to smoothly roll forward onto the ball of the foot. You also want to bend your knees so they can take up any of the remaining jolt. The less springiness you have in your rig to counteract any bumps and jolts, the more you have to do it yourself.

So you want to practice daily between now and the shoot, both to get a feel for the type of movement but also because unless you're one of the Crossfit guys we have here, walking in a maintained half-crouch will destroy your legs after about 20 minutes. If you are one of the CF guys I'd give it thirty without practice.

My agreement with the second point is precisely why I disagree with the first. But YMMV.

Anyway, I agree that XMFC is the best and my favorite of the series, and its non-reliance on Wolverine is probably a large part of why.

He asked. 

I was just bored. When a franchise movie just plods along and bores me, that's when I walk away. It might have been exacerbated, again, by how very not boring its immediate predecessor was. Huge drop in storytelling quality, massive potential in the FIRST CLASS reboot wasted, since we'll probably never revisit those iterations of the characters.

It's a similar problem as I had with INTO DARKNESS. We rebooted the entire franchise and can do anything, so we're going to just go ahead and go back to doing the same shit we did before. I feel like I could just watch the first two X-MEN movies on a loop and get about as much out of it as this franchise has to offer me anymore.

I agree with Doc entirely on this matter. This movie made me want to give up entirely on the series, including just not bothering with any more commentaries on it. But apparently we'll have to so I can explain how you're all crazy.

NOTHING HAPPENS IN THIS MOVIE.

It's not the worst of the series -- X3 and Origins have made a huge buffer zone for it -- but man, after FIRST CLASS, what a waste of time.

EDIT: Actually, one thing Doc hasn't mentioned is how any time there was any tension between two characters that could have been even remotely interesting if it were a running thread in the film, it was solved immediately by a single conversation in the very next scene they were in together.

OH MAN AFTER TEN YEARS MAGNETO AND XAVIER HAVE TO WORK TOGETHER BUT THEY HATE AND DISTRUST EACH OTHER HOW oh Magneto yells a bit and then they're over it yeah okay

I hate to say it but it doesn't sound like this guy was ever your friend. Based on the way you've told the story, the only surprising part about his behavior is that you're surprised by it, given that he's seemingly been this way all along, to the point you've fallen out multiple times.

Actually that's totally plausible in the sort of evangelical mindset underlying the film. Killing is fine, when it's bad people and they started it. Extramarital sex, never. A guy like Eli would pride himself on how he keeps his lust in check, especially compared to the benighted sinners he passes on the road.

I'd trim a few lines but otherwise much better all around.

Definitely companion pieces, both about love and relationships, though they approach the topic from different directions.

I would venture to say that HER is a more "legitimate" piece of sci-fi, as it's projecting a recognizable future to wrestle with the present, while ETERNAL SUNSHINE is more fantasy, just making up a premise to get at an emotional (and timeless) truth, and could just have easily been about magic spells as a piece of fictitious technology.

It took me two viewings to really fall all the way in love with HER, personally, so might be worth revisiting a little bit down the line after some digestion time, Teague.

...the answer is still no.

Cuaron in particular -- and now I'm wishing this had come up during the episode -- is most concerned with the experience and possibilities of cinema. All the choices he made in making GRAVITY were with the goal of creating that experience for the audience. If you don't watch it in an environment designed for that experience, you simply will not get that experience. There is nothing he or any filmmaker can do about it.

It's like the difference between going to Disney World and watching a home movie of your trip to Disney World. You can capture the gist of the experience and even enjoy the home movies on their own merits, but they aren't and can't be the same as the experience of actually going.

A return to old school effects would entail a return to filmmakers making decisions early and committing to them. Good luck with that. 

BEHOLD