It has. I think it's partially due to formatting issues and all the technical issues we had with the site.
We're due for a new Top 100 (if Jeremy doesn't want to take the lead, I'd be willing), but I say we hold off a bit for the membership to get back together and to give some time for the site to be redesigned.
Besides, the timeline for these lists has often been intensely inconvenient, and a T100 vote takes more effort than a T25, so it would be nice to have things start up after the New Year.
I don't think this is likely to be one of the A&F crowd's favorite pictures, but Victor has this ranked as one of his favorites of the year, so you never know.
I wasn't won over by it. It's better than Berberian Sound Studio by virtue of the human relationship at its center, but like Berberian Sound Studio it's an intelligent, if underdeveloped, exploration of genre dressed up with unmotivated stylistic flourishes.
Those flourishes would be more bearable if they could be taken as whimsy rather than earnest artsiness. My problem with Strickland's pictures so far is that they fail to change gears. They get stuck in a narrative and formal rut. He's talented enough that if he ever learns how to make a more dynamic, less overbearing film, he'll probably win me over.
No, it's now in full 16:9. When filming the show, the creators kept widescreen format in mind and framed for widescreen. So they've gone back to the original negatives and have restored the full image. Effects were redone, but I don't think they're outright new (they look like the same effects to me). Maybe just recomposited from the original elements. Overall, it's a big improvement.
I've been revisiting the series (I just started season five) via Netflix, which sponsored the gorgeous HD restoration of the show. It has been a great experience so far. I've no idea whether or not the revival will be any good, but I can't wait for it. (They got Morgan to write an episode, so it can't be all bad.)
Okay, so I've finished The Phantom Pain and given it time to settle. On a gameplay level, it's flawless. I haven't had this much fun playing a game in lord knows how long. On a conceptual level, this is really the cousin of MGS2: Sons of Liberty, the most controversial and unruly entry in the MGS franchise. It's not surprising that, despite widespread critical acclaim, the Phantom Pain has been a source of controversy among Metal Gear fans. I kinda love the wacky direction Kojima takes things in, but YMMV. At least he doesn't play it safe. It's best to play Ground Zeroes and The Phantom Pain as a single game, one feeding directly into the other (they were intended to be a single game before Konami's financial panic pushed Kojima to split them into separate releases). The story is more fragmented and episodic than anticipated. It's clear that the game was originally meant to be even more expansive and epic than it is (after completing the game, which officially "ends" at Episode 46, I recommend heading to YouTube to check out the released video of Episode 51, which was the intended climax before budget cuts set in), but this does, in a way, complete the Metal Gear saga even though--in true Kojima fashion--it leaves us with as many questions as it does answers. You just have to make sure that you're taking your time with the experience, listening to the "cassette tapes" you obtain throughout the game, because otherwise you'll be missing out on a lot of the narrative. Kojima's treatment of female characters remains outrageously and knowingly pervy, but it's also the case Kojima has also tended to write interesting, distinct, and strong female characters. The scantily-clad Quiet is both the game's biggest problem and the source of the game's most emotionally-involving story arc.