<n>These are my notes to remember what I watched and kinda what I thought about it. I've recently transferred my reviews to IMDb and made <a href="http://www.imdb.com/user/ur1323291/ratings">the list</a> of around 1600 ratings publicly available. I've included the individual ratings with my notes for each movie. These ratings are not absolutely comparable to each other---I rate the film on how well it suited me for the <i>genre</i> and my mood and. let's be honest, level of intoxication. YMMV. Also, I make no attempt to avoid <b>spoilers</b>.</n> <dl dt_class="field"> Bo Burnham: Inside (2021) --- <a href="https://www.imdb.com/title/tt14544192/">9/10</a> <div>This is a one-man show about the Internet and culture and loneliness and depression and, perhaps, life during COVID. Bo Burnham stars as a version of himself who's been working alone in an attic---often in his underwear---on his special for over a year. He yo-yos through emotions and toys with different skits, some of which are quite meta. At one point, he plays a typical game reviewer who's playing a game that lets him control Bo Burnham in the attic. In another song, he derides a "White Woman's Instagram". He records a reaction video to his too-short rendition of "Unpaid Intern", then reacts to the reaction video and reacts to his reaction to his reaction video. "How the World Works" is a pitch-perfect and Sesame Street-ready song for children, but the second verse, performed by "Socky", is much darker and more accurate. Even frothy and poppy songs like "FaceTime with my Mom" are written and performed really well. He really seems to be channelling Weird Al more in the first half---a tendency he ironically notes in one skit---but I also hear shades of Jonathan Coulton (e.g. in "That Funny Feeling", where he accompanies himself on the acoustic guitar). There are dozens of carefully crafted, spliced, and edited individual bits that include songs, short skits, silent equipment setup. Each of these contributes to the whole, each is exquisitely hand-crafted, with an artisan's attention to detail. He plays with everything, from his flowing hair and beard---which he frequently films as very much the long-suffering Jesus we know from paintings---to his penchant for depression and loneliness and stage-fright. This is a character he's playing, a version of Bo Burnham for this special, but it's brilliant. He did everything himself, probably learning a lot along the way. It took over a year (supposedly). It critiques and explains and parodies the Internet and modern culture. It's hard to know what truth it tells about Burnham itself. It doesn't really matter. What is undeniable is that this is a work of art, a work of genius. If Warhol was a genius for Monroe or Campbell's, then Burnham has earned the epithet for creating <i>Inside</i>.</div> Mortal Engines (2018) --- <a href="https://www.imdb.com/title/tt1571234/">5/10</a> <div>As with <i>MIB</i>, the backstory and universe are interesting. Similarly, the dialogue and plot are absolutely hackneyed and predictable. There is almost no character development; the characters are placed into the story without any preamble and we're expected to identify with them immediately. Why should I care about Hester (Hera Hilmar)? OH, because she's a cool grrrrl. What about Tom (Robert Sheehan)? He's a rascal who's late to work and stems, apparently, from the lower classes (this is made painfully obvious through an interaction with a titled man of the same age). What about Anna Fang (Jihae)? She's the cool asian woman. Remember Michelle Yeoh in other movies that had character development? Like that. This story is set over a millennium in our future, long after humanity had mutually assured its own destruction with so-called quantum weapons. The humans of the future scavenge "old tech"---being seemingly incapable of producing their own---and repurpose it to power their "traction cities". These are mechanized cities of various sizes that are capable of being moved on large caterpillar tracks. We are led to believe that there are many more of them, but we only see two: London and a small Bavarian city that London "ingests". London, however, has a whole mechanism for ingesting other cities, so it seems clear that this is how it's been sustaining and growing itself for some time. The chief engineer of London Thaddeus Valentine (Hugo Weaving) understands that this way of life is not sustainable---they will starve out on the plains of Europe. Therefore, he will do what westerners always do: take what belongs to other people and justify it with self-serving moralizing. He wants to rebuild one of the quantum weapons that started this whole mess and use it to break down the giant wall that the east erected to protect itself. This is a bit too on-the-nose, I would say, but I would imagine that these broad and unsubtle sweeps come from the YA fiction on which this film is based, where that kind of reference is considered "clever world-building". Despite their dependence on old tech coupled with a general dearth of industrial capacity, Valentine has seemingly no compunction about destroying vast swaths of what is left. He destroys an entire oil-drilling platform just to release Shrike (Stephen Lang), who, in turn, has no compunctions about destroying an entire floating city in order to get to Hester. I'm not even going to bother detailing the plot points that undergird this whole mess because it doesn't matter. This film felt very much like it was telling you things without drawing you in. The visuals were spectacular, as expected, but they felt so empty---just kind of happening on screen, like in <i>Transformers</i>, <i>Fast and Furious XX</i>, <i>Batman vs. Superman</i>, or even some of the Marvel movies. It had interminable sequences of things crashing into each other and flying in exquisitely and painstakingly accurately rendered glory---and much of it felt overblown and unneeded. They would often have to pause this over-the-top action in completely unrealistic ways in order to have moments of pathos between characters (e.g. when Shrike finally releases Hester from her bond). London manages to destroy much of the eastern wall, but Tom and Hester stop Thaddeus before he can drive London into what remains. The Chinese and Indians let bygones be bygones and invite in the now-homeless Londoners---who were so recently cheering their opponent's no-longer-so-imminent destruction from their luxurious and now-destroyed parapets.</div> Universal Soldier: Day of Reckoning (2012) --- <a href="https://www.imdb.com/title/tt1659343/">8/10</a> <div>This was a more interesting movie than I had any right to expect. It had enough of a touch of Cronenberg/Lynch to it that made it much more surreal than a sequel to an action-adventure movie usually is. The director, cinematographer, editor, and set designer did well with the material they had. Hell, at one point, Luc Devereaux (Jean Claude Van Damme) looked just like Brando's Kurtz in <i>Apocalypse Now</i>. I could almost swear that was intentional. The trip up a placid, heavily gladed river in the last scene, along with the silent universal soldiers everywhere---in the boat, in the water---proved to me that that was exactly the look they were going for. There were long sections of the film without dialogue or even action bits, moving forward on exposition and "showing, not telling." The fight scenes were quite good, well-choreographed. The chase scene was very well-filmed, but went on for a bit too long. Otherwise, I overall approved of the shot choice, angles, lighting, sets, etc. It was somewhat bare-bones, but also not overdone. There was no need for advanced CGI and hundreds of millions of dollars to tell a convincing story of super-soldiers. The story starts with a stark and bare-bones rendering of a home invasion. Luc Deveraux has his henchmen beat John (Scott Adkins) severely before executing his wife and child. John awakes nine months later from a coma. He speaks to agent Gorman of the FBI, who afterwards activates super-soldier Magnus (Andrei Arlovski) to sweep through and eliminate a bunch of super-soldiers. It's honestly hard to figure out what the point is here, but Magnus ends up at the "boss" in the last room, who is Andrew Scott (Dolph Lundgren). Scott injects Magnus with a drug that frees him from being controlled by the government. He joins the rogue army of super-soldiers led by Devereaux and Scott. Things get a little sketchy as John tries to patch together what is real and what he remembers from implanted memories. There also appear to be multiple versions of him, which explains why some people remember him doing things he could never have done (he's apparently only three weeks old). He finds out he's only three weeks old in Devereaux's rogue super-soldier compound---also a pretty good set, made with practical effects and lights, rather than a CGI orgy---when Devereaux's scientists offer to remove the fake memories of his wife and son. Here, we see a subtlety about identity, where John would rather retain the "fake" memories, which are real to him. The mental conflict drives him mad and he rampages through the compound, taking people out in one short fight-scene after another---until he reaches Scott, who's the first boss level. They smash each other around and Scott loses relatively quickly, with Lundgren just hamming it up. Next up is Devereaux, with Van Damme bald and painted like Baron Samedi. Seeing both that clones of John will never stop coming and that John is a worthy successor, Devereaux submits. In the epilogue, John kills Gorman and replaces him with a super-soldier clone who nods to John in submission before returning to the FBI. Van Damme actually played this pretty straight and well. They're all super-soldiers and are much more resistant to damage than mere mortals. They can fight through the pain and damage---e.g. from knives, swords, kicks, and even bullet flesh-wounds---and the fight choreography cleverly incorporates this. When John's fingers are chopped off, they regrow over time. In fact, we first see that Magnus's toes had regrown, so we know that super-soldiers can do that. All without a line of dialogue or explanation. Honestly, that's a lot more subtlety in storytelling than much more well-funded and well-received movies have.</div> The Office (US): S06--s07 (2010--2011) --- <a href="https://www.imdb.com/title/tt0386676/">9/10</a> <div>Season Six starts with Jim (John Krasinski) and Pam's (Jenna Fischer) marriage and the birth of their baby Cecelia. Though they continue to be their characters for the next couple of seasons, their baby makes them into parents who are utterly unaware that no-one else really cares about their baby. Just like real life, I guess. Erin (Ellie Kemper) and Andy (Ed Helms) start to drift toward each other, but it takes forever and never really works out correctly. Instead, Erin turns toward Gabe, who at least knows how to ask her out. This relationship would blossom, then wither on the vine over the course of the next two seasons. By the end of season seven, Erin is 100% sure she wants Andy and actually asks him out, but he demurs---although he immediately regrets it. They stay in limbo. Jim is promoted to co-manager, with him taking care of day-to-day details and Michael handling big-picture stuff. This works out great for Michael, but seems inefficient for Dunder Mifflin. Speaking of which, Dunder Mifflin is in trouble and is likely to declare bankruptcy. Sabre Corporation (a printer company) takes them over, led by Jo Bennet (Kathy Bates), who has a more direct managerial style. She thinks the idea of co-managers is bullshit. Michael and Jim fight for the sales position (because of commissions), but Michael ends up back as the manager, convinced he's won. Scranton survives because they manage to outdo everyone else on sales, but David Wallace and all other Dunder Mifflin executives are let go. In a power move---and because he wasn't considered for a management position---Dwight buys the office park and starts to lay down the law as the new landlord, cutting back services everywhere. Andy discovers faulty printers, Michael gets out ahead of the bad press, for which Jo rewards him by bringing Holly back, replacing Toby, who's on extended jury duty for the Scranton Strangler case. Michael and Holly work through getting back into a relationship, then barrel forward to an engagement and, finally, to moving to Colorado so that she can better take care of her parents. Angela gets engaged to her State Senator boyfriend (Oscar and Ryan are both sure that he's gay). With Michael on his way out, Sabre sends his replacement in the form of Deangelo Vickers (Will Ferrell). This is a typically nuanced Ferrell characters, much like Michael Scott---sometimes he's straight-up logical and sensible and much more of the time, he's just slightly off, but in a way that's actually believable. He and Michael work together transitionally for a few days and then he's finally in the driver's seat by himself. Michael's last day is poignant, especially his goodbye with Jim. <iq>We'll say goodbye over lunch tomorrow.</iq> It doesn't take long before Vickers has to back up a boast that he can do the Jordan dunk by showing everyone on the hoop in the warehouse. Vickers dunks and hangs off of the hoop, pulling the whole thing down on himself. After a brief reappearance in a hospital gown where he tells what sounds like an incomprehensible bar joke, he's escorted off and we find out that he fell into a coma soon after. Everything is actually running smoothly at the office, without Michael or Deangelo in charge. Jo calls to ask Jim to be acting manager and he declines, thinking that she'll just let it keep coasting like it is. Then Dwight's phone rings. Dwight is now acting manager. Dwight goes mad with power and, long story short, ends up discharging a firearm near Andy's ear, rendering him temporarily deaf and also ending his term as acting manager. Jo selects the person on staff with the most seniority to replace him. Say hello to acting manager Creed Bratton. Jo also elects Toby, Gabe, and Jim to a committee to find another manager. They go through a rogue's gallery of candidates, including James Spader, Jim Carrey, Will Arnett, Warren Buffet, Ricky Gervais (as David Brent, of course), and Ray Romano. Kelly, Dwight, Andy, and Darryl also interview for the position. It is all pretty disastrous, with Gabe torpedoing himself by insulting Kelly, who rats out his behavior vis-á-vis Erin to Jo, who sends him back to Florida. Kelly slips in on the committee and takes up Dwight's bribe, as does Toby. Jim puts his foot down. We end the season with Michael gone and a few attempts at replacing him having backfired spectacularly.</div> The Climb (2019) --- <a href="https://www.imdb.com/title/tt8637440/">7/10</a> <div>This is the story of the way the lives of two men who are good friends with each other---but one of whom is not really that great of a friend---intertwine over the years. The acting and direction were quite good. It was a low-key film of some average people's lives. <b>I'm Sorry</b>---The movie starts on a cycling climb outside of Marseilles, in France. Mike (Michael Angelo Covino) is a cyclist and has invited his friend Kyle (Kyle Marvin) on a ride up a hill with him. The hill is key because Mike reveals to Kyle that he has slept with and continues to sleep with his fiancé---from before Kyle even knew her. The climb allows Mike to stay out of Kyle's clutches until they can reconcile. Mike chases down a 2CV that annoyed him and the driver ends up kicking his ass for him. In the hospital later, Kyle's fiancé checks in on Mike and they end up kissing. Kyle catches them. <b>Let Go</b>---The next scene is the funeral of Mike's wife (Kyle's former fiancé). Kyle and Mike don't really reconcile, but they do talk. <b>Thanks</b>---Thanksgiving at Kyle's house with his family, which is a little toxic and controlling, but not excessively or unusually so. Kyle is there with Marissa, his former high-school sweetheart and freshly minted fiancé. The family doesn't exactly approve, but they accept. Kyle's mom reveals that she's invited Mike to Christmas dinner. Mike shows up completely plastered and gets a lesson from Kyle's mom on not being selfish. He passes out in the living room through the coffee table. <b>It's Broken</b>---Out of pity, Kyle invites Mike along on his New Year's ski trip with Marissa. Marissa isn't exactly over the moon about it. She's teaching Kyle to ski (he's a snowboarder) and Mike wants to take him on a black-diamond run. Mike goes alone and breaks his arm, ruining the day. He continues to ruin it by roping Kyle into playing Jägermeister drinking games. Kyle passes out before Marissa can take advantage of him. She goes downstairs and ends up drinking with, and sleeping with, Mike, instead. <b>Stop It</b>---Kyle's bachelor party is in an ice-fishing hut. In a repeat of the first scene, Mike reveals to Kyle that he slept with Marissa. He goes on to tell Kyle that she's not right for him, that he should leave her because he's too good for her. Somewhere in that speech, though, Kyle fell through the ice and Mike rescues him. <b>Grow Up</b>---Kyle has cut Mike off, but Mike crashes his wedding anyway, yelling that Kyle shouldn't go through with it. Kyle's family is visibly supportive. Marissa reveals that she's pregnant, whereupon the priest calls the wedding off until after the birth of the child. <b>Fine</b>---Kyle, Marissa, and their son Otis visit Mike at his new job at a bicycle/coffee shop. Marissa tells Mike that Kyle misses him. Several years later, Mike helps Kyle move out after his divorce. He's only moving a few houses down the street. The three of them go for a ride, with Mike encouraging Otis to take off his training wheels.</div> French Exit (2020) --- <a href="https://www.imdb.com/title/tt10279362/">9/10</a> <div>This was an absolutely delightful film from beginning to end. It's as if someone extracted the neat bits from a Wes Anderson movie and pressed all of the overly quirky and self-aware bits out of it. I enjoyed the hell out of this story, the dialogue, the performances---Michelle Pfeiffer, of course, stands out---and the pacing. Frances Price (Michelle Pfeiffer) lives with her son Malcolm (Lucas Hedges)in sumptuous luxury in a giant apartment in Manhattan. Her husband died a dozen years ago. The money from their marriage has run out. She is forced to sell all of her belongings and furnishings before everything is reclaimed by the estate at the end of the year. A good friend Joan (Susan Coyne) offers Frances her apartment in Paris. Malcolm is quite shiftless, but in an unoffensive way. He will have to leave his fiancé Susan (Imogen Poots). Frances and Malcolm and Small Frank (the cat) take a transatlantic cruise to Europe. Malcolm takes up with the ship's clairvoyant Madeleine (Danielle Macdonald), who sees some thing in the cat and can also, apparently, detect when old ladies will die. Frances boldly sneaks through customs with a bag full of cash and a tranquilized cat. They set up a relatively innocuous existence in Paris, making the acquaintance of Mme Reynaud (Valerie Mahaffey), who's a bit lonely but means well. Small Frank runs away and Frances is devastated. She's convinced that her husband's soul lives in that cat. Frances and Malcolm hire a private investigator Julius (Isaach De Bankolé) to find Madeleine, so that she can contact the cat. In the context of this film, this all makes sense. Julius finds her, they hold a séance, and voila! Small Frank is talking through the candle on the table. No-one present is surprised one bit. Frances's plan is to kill herself once the money runs out. She's burning through her cash heedlessly. Is she doing it on purpose? Or does she not know what money is worth? It's unclear. Frances writes a postcard to Joan, telling of her plan, but doesn't expect it to be delivered. Because she tips €100, the postcard is delivered. Joan arrives soon after, to save her friend. Because Malcolm called Susan early one morning, she and her fiancé Tom (Daniel di Tomasso) arrive on the doorstep as well. Now everyone is living in the same apartment---France, Malcolm, Joan, Julius, Madeleine, Mme Reynaud, Susan, and Tom---working their way through their various issues. Frances gives away the last of her money to some homeless people in the park she can see from her window, contacts Small Frank one last time with Madeleine, then disappears into the streets of Paris in the wee hours.</div> Lupin S02 (2021) --- <a href="https://www.imdb.com/title/tt2531336/episodes?season=2&ref_=tt_eps_sn_2">8/10</a> <div>This season starts with Lupin (Omar Sy) hot on the trail of Léonard (Adama Niane), the man who'd kidnapped his son Raoul (Etan Simon) at the end of season 1. Youssef (Soufiane Guerrab) and Lupin give chase in an appropriated car. Youssef knows that Assane is Lupin and Lupin knows that Youssef knows. They end up driving to a castle---this mixes parts of the plots of two stories from the Lupin pantheon---where he confronts Léonard. He locks Youssef in the car, but not before Youssef can call for backup. Lupin throws Léonard out of a window, but not before he lights the car on fire where he's stashed Raoul. Lupin is devastated and then arrested. He finds out that Youssef had released Raoul, is massively relieved, and then escapes custody to rescue Raoul again. He takes Raoul back to Claire (Ludivine Sagnier), but is walking into a trap. Claire warns him off at the last minute and he makes a daring escape. Assane's nemesis Hubert Pellegrini (Hervé Pierre) has started working with an international banker named Courbet (Stefan Crepon) and plans to siphon off the large part of his daughter Juliette's (Clotilde Hesme) charity auction's earnings. Assane has his own plan to seduce Juliette, but not for money. Instead, he wants her to talk to her mother to learn what Hubert did to Lupin's father decades ago (detailed in season 1). Lupin steals a famous Picasso for her, then returns it just as cleverly. Juliette convinces her mother to talk to the police, who arrest Hubert. Hubert is soon released---he's rich and powerful---and gets on Assane's partner Benjamin's (Antoine Gouy) trail, forcing him to leave his shop and to abandon everything he owns. Hubert also has Léonard killed in Lupin's apartment, framing him for his murder. Benjamin and Assane are on the run, but they have anticipated every step of the way, with one hideout after another---things they've planned since they were two reckless teenagers, learning about the catacombs under Paris. Youssef finds evidence of his boss, police commisioner Dumont's (Vincent Garanger) involvement with Hubert, as well as more evidence of Assane's father Babakar's (Fargass Assandé) framing and betrayal by Hubert. Hubert's world is starting to unravel, but he doesn't know it yet. He thinks that he, along with Courbet, will be able to steal millions from the charity. Unbeknownst to Hubert, Courbet is a plant, working with Benjamin and Assane. Coulbert siphons the money away into his and Assane and Benjamin's accounts instead (they are thieves, after all). Assane sneaks into Hubert's box and forces a confession from him (recording it, of course). Youssef and his compatriots---Laugier (Vincent Londez) and Belkacem (Shirine Boutella)---find and arrest Dumont, letting Assane go. He crashes the stage and accuses Hubert publicly of all of his crimes. The police get the confession and arrest Hubert. Assane escapes in the tumult, disguised as a fireman (an outfit he'd stashed in the opera house for just such an occasion). Assane is made by a group of young people and is forced to flee the police, first on foot, then by boat. He bids adieu to Claire and Raoul and vanishes into the night. Watched it in French with English subtitles.</div> Kim's Convenience S05 (2021) --- <a href="https://www.imdb.com/title/tt5912064/">8/10</a> <div>Appa (Paul Sun-Hyung Lee) and Umma (Jean Yoon) are learning to cope with her MS diagnosis. The hardest part is penetrating daughter Janet's (Andrea Bang) massive shield of self-regard in order to tell her. She's so busy telling everyone else what to do that she almost misses the news. Janet's character is written quite well---I think it's an ironic take, but I can't be sure. She's a terrible, narcissistic person. Gerald (Ben Beauchemin) is a bit better, but he, too, defaults to thinking he has nothing to learn from anyone (that he already knows everything) and spends his time teaching Appa life lessons (instead of the other way around). This whole season is like a hate note to generation Y or Z or both. Some of it is almost a bit over the top, but maybe that's because I don't understand how those generations tick. The show where Kimchi (Andrew Phung) gets in trouble for prioritizing a meeting over consoling a co-worker on a crying jag is nearly impossible to process. A huge theme is lying to impress other people. Umma and Appa lie about living in a certain neighborhood in order to be able to use the tennis courts there. That seems kind of harmless, though, compared to how casually Janet lies big for the same reason: to impress just pretty much anyone---not even friends. Like when she lies about her upbringing to her photography class students. Even worse, though, she completely made up her resumé, then called it "embellishing" even when she was totally called on it by a potential employer. Jung (Simu Liu) and Kimchee are actually pretty good and seem positively normal, compared to Janet and her cohort. Shannon (Nicole Power) is zany and also pretty self-centered, but sweeter somehow. She and Jung break up by the end of the season.</div> Austin Powers: The Spy Who Shagged Me (1999) --- <a href="https://www.imdb.com/title/tt0145660/">6/10</a> <div>Austin Powers (Mike Meyers) is back in his second movie. This time, his honeymoon is cut short because his wife Vanessa Kensington (Elizabeth Hurley) is revealed to be a fembot controlled by Doctor Evil (Mike Meyers). Powers kills his robot wife, mourning only briefly before remembering that he can now shag all he wants. This movie is not deep. Dr. Evil is presented with his 1/8-sized clone, whom he brands Mini-Me (Verne Troyer) and "adopts" to be closer to him than his son, Scott (Seth Green), who is revealed to have been the product of Evil's pairing with Frau Farbassina (Mindy Sterling) when he'd traveled back in time (later in the film). She is number 3 in the organization. Number 2 (Robert Wagner/Rob Lowe) tries to convince Dr. Evil that having bought Starbucks is going to get them a shit-ton of money, but Evil is distracted by more convoluted plans for world dominance. Also, he doesn't seem to understand that 1 billion is 1000 million. He settles on a plan to travel back in time to steal Powers's mojo. MOD also has a time machine---a Volkswagen Beetle colored in groovy, rainbow colors---and Powers goes back in time to the late 60s as well. There, he meets Mustafa (Will Ferrell) and Ivana Humpalot (Kristen Johnston) and Robin Spitz-Swallows (Gia Carides) as well as Felicity Shagwell (Heather Graham), a top CIA agent. Dr. Evil's new Scottish henchman Fat Bastard (Michael Meyers) is also in the 60s. Powers thwarts Evil's plan to use a space laser to extort the planet. There are a lot of broad jokes and broad humor, but it's amusing enough. It's funny that they have to kill Mustafa to prevent him from revealing the local of Evil's volcano lair when Evil has carved a giant bust of himself into the mountain. It's funny that Evil doesn't know that trillions are even bigger than billions. It was amusing enough, but it wasn't cohesive or funny enough to really be worth two hours. The sets were fun. The cameos were fun: Elvis Costello, Jerry Springer, Rebecca Romijn, Woody Harrelson, Tim Robbins, Willie Nelson, Fred Willard. I gave it an extra star because it spawned so many memes.</div> Heart Condition (1990) --- <a href="https://www.imdb.com/title/tt0099750/">5/10</a> <div>I didn't finish watching this, but began with morbid fascination, mostly based on the cast and the description on IMDb: <bq> A racist cop receives a heart transplant from a black lawyer he hates, who returns as a ghost to ask the cop to help take down the men who murdered him.</bq> Jack Moony (Bob Hoskins) is the likable, tenacious, and casually racist cop---a character inconceivable 30 years later---whereas Napoleon Stone (Denzel Washington) is the successful, rich, and somewhat sleazy lawyer whose involvement in the underworld ends up getting him killed. At about the same time that Moony's heart fails, Stone is killed and his harvested heart is transplanted into Moony. When Moony awakes, he realizes that he has not only Stone's heart, but his ghost is riding shotgun now. Stone and Moony team up to solve Stone's murder. The two leads are strong, but they can't come even close to saving this formulaic and oddly written comedy/crime/noir film. As I noted above, I didn't finish watching this. Also, I think I watched what I watched in German, but I'm no longer sure.</div> </dl>