Iro's One Movie a Day Thread

#421 - The Notebook
Nick Cassavetes, 2004



An old man reads an old woman the story of a young man and woman who meet and fall in love in the summer of 1940.

The Notebook has earned a somewhat unfortunate reputation in the years following its release. The common joke about the film is that women will force their male significant others to watch it presumably so that they can learn a few lessons from the extremely idealised love-conquers-all relationship that forms between its charming and attractive leads. This much is especially true considering how male lead Ryan Gosling's love for female lead Rachel McAdams manifests itself in such grand romantic gestures as building her dream house single-handedly or writing a letter to her every day for a year. A rather reductive joke, no doubt, but one that loomed in my mind even when I did have one woman (not my girlfriend) suggest that we watch it together. I declined at the time, instead deciding that the appropriate thing to do would be to watch it on my own since it was available on Netflix. At least that way I'd be able to resist making constant jokes about it and possibly annoying someone, because even the scenes that were supposed to tug heartstrings one way or the other were more likely to make me chuckle with amusement rather than make me feel sad or uplifted.

One could argue that the story is as generic as they come, with its tale of a poor boy and a rich girl having a tempestuous summer fling that is naturally interfered with by all manner of unfortunate circumstances (disapproving parents, the girl moving away to college, the onset of World War II, etc.) and how, despite their many arguments and fluctuating feelings towards one another, they still love each other. This goes on for a while and is intermittently broken up by the framing story involving two residents of a nursing home as one (James Garner) reads a book (presumably the titular notebook) containing the story to the other (Gena Rowlands). This totally doesn't end up being relevant in a way that you can guess from the very first scene. Otherwise, it's extremely standard stuff that isn't totally without its charm but doesn't exactly pull off anything surprising or captivating. There's also something to be said about how much of Gosling's behaviour towards McAdams could be considered creepy and manipulative rather than genuinely romantic (his first attempt to ask her out involves him threatening to jump off a ferris wheel in front of her and her actual date, after all). Despite how easy it would be to hate this film, it's still far from the worst way to pass a couple of hours, but it's still a derisive chore of a film underneath its modern-day take on period-piece melodrama.

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Iro's Top 100 Movies v3.0

Sanjuro is also my least favorite out of the Kurosawa movies I've seen, but like you said, that certainly doesn't make it a bad film.

#422 - The Last Airbender
M. Night Shyamalan, 2010



In a fantastic world where people are capable of manipulating the four elements, a young boy is awoken in accordance with an ancient prophecy in order to lead the fight against an oppressive regime.

It's always an interesting experience watching a film that has managed to earn a reputation as one of the worst films ever made even in the relatively short period of time that this one did. If it doesn't meet your extremely low expectations, does that logically make it a "better" film or does the disappointment at this relevation actually end up proving that this is a genuinely bad film? Thinking about that will make your head hurt about as much as it hurts to watch The Last Airbender. Though I had never actually watched a single episode of source material Avatar: The Last Airbender, I had to admit that the premise was an intriguing one and so, for a time, I was prepared to give the film the benefit of the doubt. Said benefit did not last long as the story (which apparently attempts to condense an entire season worth of the TV show into a 100-minute film) quickly gets submerged under a cavalcade of extremely lacklustre performances, effects work of haphazard quality, and tiresome narrative developments. It's an interesting enough concept, if a little familiar - the four elements of earth, fire, air, and water (but not heart) can all be manipulated or "bended" by certain members of the world's populations, with each of the fantasy land's tribes identified by a single element (Water Tribe, Air Tribe, etc.). There is a prophecy about a constantly reincarnated hero called the Avatar who can bend all four elements, but the Avatar is missing in action - it turns out that he's been frozen in ice for a century and so ends up being revived around the same time that the Fire Nation is ruling the other tribes with an iron fist.

What stands out about The Last Airbender is that it isn't genuinely offensive (apart from the apparent whitewashing of the heroic characters, which is especially egregious considering how many of the villains are still the same people of colour that they were in the show), but it does waste a lot of its story's potential in its telling, often through including narration over things we can clearly see happening on-screen in a way that does seem to insult one's intelligence. Even when the film establishes some relatively complex characters like Prince Zuko (Dev Patel) as a disgraced villain trying to reclaim his honour, they still get flat performances that effectively cancel out any characterisation (and the less said about the romantic sub-plot that gets shoehorned into the film's second half, the better). Some of that can be credited that quite a few of the principal characters are played by children, but even that doesn't feel like a good enough excuse at times. Though the film's art direction and production design is generally alright, it's undone by the poorness of the computer-generated effects. This applies to both the decent-quality effects that are used to depict ridiculous-looking things, such as the various acts of "bending", or the genuinely bad effects, such as the Falkor-like creature that the characters ride throughout the film or some very noticeable instances of green-screen. It's a shame, because there is some half-decent camerawork in the action sequences, but that's also cancelled out by just how horrendous some of the non-action camerawork is (there are some notably awkward-looking close-ups involved).

The Last Airbender is definitely not a good movie, but its reputation as one of the worst films of all-time does it a very slight disservice. Every possible positive I could name would still come across as damning with faint praise and it's still an extremely half-baked waste of a good story, but I feel strangely mellow about it. I figure the worst of the worst should at least invoke some degree of anger at the fact that such a thing exists and that I wasted my time on it. Not even the fact that this film not only cost $150 million to make but also turned a profit seems to be doing that for me. Even so, just because I don't get completely annoyed by its existence doesn't excuse its many shortcomings. I'm not sure if I'll ever pick a completely satisfactory rating for this film - I'm constantly tossing up between half a box and one box and will probably change my mind again even after I post this - but I guess for now I'll grant it the infamy it deserves. As far as 0.5 films go, at least it's not the most irritating one.

The Last Airbender is my least favorite movie of all time. I give it a -. If there is ever a MoFo Bottom 100, Shamalamadingdong's piece of absolute crap that sh*ts directly on a animated series I love, will be number one on my list.

I have watched the show, and refuse to watch this movie.

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Fear and Loathing in MoFo... The Gunslinger 45's Top 50 Favorite Films

In the 10 Ring: Gunslinger45's reviews

#423 - Black Dynamite
Scott Sanders, 2009



Black Dynamite, a former commando and CIA agent turned kung-fu pimp, vows to take on the local drug syndicate responsible for the death of his brother.

This is the write-up I did on Black Dynamite in 2009 after seeing it in a packed cinema that laughed itself silly at this pitch-perfect parody of the blaxploitation genre and made for one of my most enjoyable cinematic experiences of the year. However, this is my first time watching it since that time and the experience of watching it on DVD by myself doesn't recapture the exact same level of magic. Even so, Black Dynamite is a fine example of how to do a genre parody, especially since it attempts to recreate the objectively terrible nature of a lot of low-rent blaxploitation films (the obvious point of reference being Dolemite more so than Shaft). It's anchored by Michael Jai White as the eponymous anti-hero, who manages the ideal blend of natural charisma, deliberately bad acting, and action-star prowess to the character. He is surrounded by a number of recognisable and not-so-recognisable faces to play allies and enemies alike, all of whom commit just the right amount of ability to their parts (which isn't difficult).



Even if you have no real familiarity with the films that Black Dynamite is parodying, it's not hard to find something of worth with its constant barrage of gags. If there are any flaws that prevent this from being a genuinely great film, it's that it does struggle a bit to keep a consistently engaging plot, so much so that it seems to invent an entirely new one for its third act. It's also something of a shame that there aren't really any references to Pam Grier vehicles like Coffy or Foxy Brown; there is a character who appears to be modelled on Grier but she more or less gets relegated to being Black Dynamite's sharp-tongued love interest. The humour is an appropriate mix of verbal and physical that also invokes a lot of gags involving the low-rent production value of actual blaxploitation films, whether it's visible boom-mics or bad editing or ludicrous plot developments. It even goes so far as to feature a "message" in centring its tale around the debilitating influx of drugs into the black community (especially into the local orphanages) that starts off sounding halfway reasonable and goes into amusingly off-the-wall territory during the third act. The score is also a well-done parody of Curtis Mayfield's songs for Superfly that consist of funky jams with expositional lyrics, plus the "Dy-Na-Mite! Dy-Na-Mite!" is always used to maximum effect. While I don't love it as much as I did when I first saw it, I still recommend it to people who are looking for good parody and comedy that deftly dances on the fine line between clever and vulgar.



P.S.

As you know I adore this film. Probably the only film I'd add to my 100 atm were I to do it again. I would've added it then, but I hadn't seen it enough to qualify.

BTW, that line still cracks me up just thinking about it.

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5-time MoFo Award winner.

#424 - The Color Purple
Steven Spielberg, 1985



During the first half of the 20th century, a young African-American woman must contend with a series of traumatising and difficult circumstances.

The Color Purple is probably the first example of Spielberg's first major attempt to craft the kind of long-form period-piece epic that would soon come to define him just as much as the crowd-pleasing yet creative blockbusters with which he first build his reputation. As a result, I have somewhat mixed feelings about it. It's got an interesting enough story in that its cast consists primarily of black characters yet for the most part it doesn't explore the racial tension that exists between them and white characters (though that doesn't mean it ignores it completely). Instead, the story focuses on one woman (played by Whoopi Goldberg as an adult) as she undergoes all sorts of harsh situations - as if starting the film having children borne of parental incest be forcibly taken away from her, things then get worse as she is married off to an abusive widower (Danny Glover). Though she does occasionally get support from other women, such as her tempestuous stepdaughter-in-law (Oprah Winfrey) or an old friend turned nightclub singer (Margaret Avery), she still frequently has to endure some horrendous hardships at Glover's hands.

It's always difficult to appreciate a film that's basically about watching one character's near-constant suffering because it runs the risk of growing monotonous. Though the performances are generally decent, the story underneath them is little more than a cavalcade of miseries interspersed with the occasional lighter moment. These often involving the protagonist temporarily escaping their circumstances or focus on another character of greater endurance standing up to injustice in a way that the protagonist just can't (the prime example is Winfrey's character, whose mainly serves as a stronger and more independent foil to Goldberg's extremely meek housewife). It does make it a little difficult to sit through two-and-a-half hours of this, even if it does have a decently reconstructed and photographed period-piece vibe to observe. Quincy Jones' score seems like it'd make a change from regular Spielberg collaborator John Williams, but it ultimately sounds nearly indistinguishable from your typical Williams score. The Color Purple is sporadically interesting thanks to its concept and actors, but underneath its troubling subject matter it's still a somewhat hollow and repetitive film. It's far from the worst film Spielberg ever did, but I think one viewing was probably all that was necessary.

#425 - The African Queen
John Huston, 1951



During the outbreak of World War I, a missionary and a steamboat captain join forces in other to survive both the African wilderness and the German military.

Considering how good John Huston's previous collaborations with Humphrey Bogart have tended to be (if nothing else, The Treasure of the Sierra Madre is an undeniable classic), seeing the two of them move to Technicolor and attempt to up the scale of their adventures should be rather promising. The African Queen does up the scale by taking place in Africa and involving a decidedly adventurous tale involving two occupants of a steamboat being forced to contend with multiple challenges along their journey. Bogart won an Oscar for his turn as a Canadian steamboat captain whose easygoing attitude masks a considerable issue with alcoholism, which often manifests through his belligerent interaction with the equally snarky Katharine Hepburn. Hepburn's sharp mannerisms and acid-tongued delivery shine through even when she is playing one half of a brother-and-sister team of British missionaries whose attempt to educate the locals is brought to a tragic end by the German invasion. To this end, she team up with Bogart's listless captain in order to not only survive the dangers presented by their natural environment such as whitewater rapids or leeches but also to possibly take some revenge on the Germans by explosive means.

Visually, The African Queen is okay even though there are far too many instances of noticeable rear-projection (I know it was the Fifties but the outlines surrounding characters are not only visible, which I can accept, but also bright green) and a somewhat meandering plot that seems to come across as a screwball comedy that plays at being a wartime drama. Bogart and Hepburn are talented enough to carry it off just fine, which is just as well considering how often they are the only ones on screen. Things breeze along at a rollicking pace, but it still feels oddly inconsequential despite the apparent stakes for its leads. The ending is also a credit to a film that's this old and well-acclaimed. All things considered, The African Queen is decent enough, but Huston, Bogart, and Hepburn have all done considerably better.

#426 - Eden Lake
James Watkins, 2008



An urbane English couple decide to take a holiday in the countryside but soon have to contend with a gang of vicious delinquents.

In a lot of ways, Eden Lake reminds me of a film I reviewed earlier this year - Harry Brown. Both films are set in England, both feature Jack O'Connell as a gang member, and - perhaps most importantly - both of them belong to sub-genres that I don't seem to have the most patience for. While Harry Brown was firmly rooted in the vigilante sub-genre of action thrillers, Eden Lake makes a good case for belonging to the sadistic horror sub-genre, which I've often disliked because it sacrifices a lot of what I enjoy about films (compelling narrative, good characterisation, impressive visuals) for the sake of cheap gore that substitutes genuine thrills with shock and disgust. The plot is as basic as they come - a boyfriend (Michael Fassbender) and girlfriend (Kelly Reilly) have decided to take a holiday for the weekend and so venture into the countryside. Of course, circumstances result in the two of them having a conflict with a gang of youths (led by O'Connell) that starts off as a dispute over a loud boombox and soon escalates into a genuinely violent conflict as the unlucky couple are forced to fend for themselves in the middle of a very hostile environment.

At this point, it's a legitimate question as to why I'd even bother watching a film like this, and I guess my defence would be that I was trying to fit in a full never-before-seen movie into my day and this was merely the shortest one I could decide on that late in the day. Unfortunately, it lacks just about everything that I enjoy about horror movies as well. The film tries for a sort of moral ambiguity by attempting to frame its villains as a largely misunderstood group of teenagers who are driven to violence by both their backgrounds and the couple's intrusion; even then, there are quite a few members of the gang that are clearly uncomfortable with the violence being perpetrated against the two leads by a couple of ringleader types. Conversely, the film also tries to frame said couple as some rather elitist inner-city types whose reversion to violence is mired in disdain for rural types as much as in a desperate need to survive. Of course, striking this balance is difficult even at the best of times and this film definitely doesn't signify the best of times. The realistic setting also means that the violence is vicious without being inventive and so does not leave that much of an impression.

Eden Lake does attempt to redeem its rather pedestrian body with an ending that is somewhat shocking, but it definitely isn't enough and instead only serves as yet another reason to feel like this film was a fundamental waste of time. At best, it lacks innovation and is good for a few easily crafted bits of gore or suspense. At worst, it tries and fails to be more complex than it actually is and its finale is just the last nail in the coffin for an otherwise nasty little film. I should credit it for at least trying to introduce some flexible morality that takes it beyond the sort of us-versus-them mentality that normally defines a film like this for the worse, but instead it just inspires a severe sense of apathy that goes to extreme levels considering the grossly realistic violence that's involved. Said apathy is not aided by how the film also takes credible actors and reduces them to boring stereotypes so that it's even harder to care about what happens one way or the other. All in all, a very disappointing excuse for a horror film.

Eden Lake was very good. Whilst it's not as uncommon as it used to be it's nice to see a horror movie with a strong female protagonist. Also, the "evil" not actually being evil but being a relatively normal group of teenagers was very effective. It did a very good job of looking at various issues surrounding youth in a horror context and whilst anyone can see the ending coming a mile away it was still very well handled.

It was a nice change to see a thoughtful, thematically interesting horror movie rather than all the bland, generic ghost movies that seem to be all we get lately IMO.

This post got more +rep than my review? Ouch (for me, not you).

I grant I was probably a little harsh on it as far as the rating went, but just because it attempts to do something a little more thematically complex than your typical backwoods slasher doesn't automatically make it an overall success. I did note that the moral ambiguity was present but it's debatable as to how well it was executed. Though the "heroes" were obviously flawed people (especially considering the lengths to which Reilly was willing to go to guarantee her survival, which disturbed even her), the fact that the main antagonist gets a last-minute Freudian excuse to explain his behaviour feels like a cop-out more than anything, especially since it proves the main justification for why he forcibly rallies his group to take part in vengeful torture. It still doesn't compensate for the otherwise underwhelming thriller that makes up the rest of the film, though.

#427 - Transformers: Revenge of the Fallen
Michael Bay, 2009



Two years after the events of the first Transformers film, the principal characters are roped into a conflict involving another evil Transformer.

You know what? I have no excuse. As much as I may justifiably malign the films of Michael Bay in this thread, that should indicate that I would be better off notwatching his films, but no, I really had to know if his follow-up to the 2007 live-action Transformers film (which cracked my Worst 100 a few years back) really was as bad as I'd heard.Let's be honest, bad films are more often than not fascinating in ways that good films frequently aren't, even if it is for the wrong reasons. Bay in particular is an especially fascinating figure because his films tend to be complete fiascos yet he still turns them out and profits off them. Even The Rock, which is probably the only film he's ever done that could considered genuinely enjoyable, still had enough of his fingerprints to prevent it from being a truly great piece of '90s action cinema. I know that there's not that much reason to expect high art from a Hollywood film about giant alien robots fighting each other, but Bay and his collaborators somehow found a way to make such a premise incredibly tedious and irritating thanks in no small part to its bloated running time and poor characterisation. In trying to provide a whole new experience beyond the Transformers' origin story, Revenge... could either improve on its predecessor's flaws or exacerbate them considerably. It's not hard to guess which of those two outcomes actually happened.

Revenge... once again relies on the heroic Autobots and villainous Decepticons fighting over an ancient MacGuffin, this time with the introduction of another evil Transformer known simply as "the Fallen" who wishes to find and harness the MacGuffin in order to destroy Earth. Naturally, the film finds an extremely contrived way in which to re-introduce a lot of the same human characters from the first film, most notably the gormless teenager (Shia LaBeouf) who just wants to be able to go off to college and live a normal life with his mechanic girlfriend (Megan Fox) but soon finds himself being targeted by good and evil robots once again. This is where Bay's worst narrative tendencies take over as he wastes so much time on incredibly frustrating comedic sequences, whether it's Rainn Wilson's cameo as a lecherous professor or the protagonist's mother accidentally ingesting pot brownies. There's also an all-too-familiar bit of romantic confusion involving the appearance of a young woman (Isabel Lucas) whose true nature as a Decepticon comes as no surprise given that her acting is so robotic that it makes Kristanna Loken seem like Meryl Streep. The less said about the continued inclusion of LaBeouf's character's parents and the two soldiers (Josh Duhamel and Tyrese Gibson), the better - Gibson's presence in particular seems incredibly forced considering that he only exists to spout snappy one-liners, all of which land with the dullest of thuds. That's without getting into the characters who are clearly intended to be comic relief, whether it's John Turturro's long-suffering ex-government agent or the two goofy robots who definitely earn their reputations for being awfully racist-sounding stereotypes (the fact that at least one of them is voiced by Tom Kenny only serves to make me think of SpongeBob, which is extremely distracting considering what the ).

Even if you were to push all that out of your mind and focus on the part of the film that actually involves Transformers, it's still an absolute travesty. Given the director, there's understandably a lot of wanton destruction and explosions, which I guess is okay enough. However, the extremely complex and barely-distinguishable designs of the Transformers (which obscure the bright colours of the transformed exteriors with massive chunks of extremely detailed but blandly grey-and-silver machinery) combine with their heavily filtered vocals and slim characterisation to make it harder to distinguish between the heroes and villains. This ends up diluting the stakes and excitement that such scenes should offer simply because of how difficult it is to keep track. Even when the film takes time to have characters deliver large clumps of exposition and allow you better looks at the robotic characters, it does little to clarify much of what's going on. I may have given out a couple of 0.5 ratings recently, but in light of having seen Transformers: Revenge of the Fallen I'm starting to remember exactly why, despite my reputation for being a harsh critic, I give out relatively few 0.5 ratings. I use that as the absolute low end of my scale and usually try to make sure that a film thoroughly deserves to be placed there. Revenge... ends up being the kind of film against which I tend to measure whether or not a film truly deserves the lowest of the low. It is a prime example (no pun intended) of Hollywood excess at its absolute worst, to the point that even the big-budget disaster of The Last Airbender seems like a brief and inoffensive alternative in comparison.

#428 - A Day at the Races
Sam Wood, 1937



A young woman is forced to enrol the help of a trio of oddballs in order to make the money necessary to save her sanitarium using a racehorse.

Duck Soup was the first Marx Brothers film I ever saw, and I really liked it because it condensed all the brothers' strengths - Groucho's witty wordplay, Harpo's mute tomfoolery, and Chico being a capable foil for both of them - into a quick and easy film about a fake European country going to war. Unfortunately, every film of theirs I'd seen since then has felt like an example of diminishing returns. The schtick that had worked wonders the first time around started to seem oddly underwhelming to the point that I've given up expecting any of their films to live up to the high standards set by Duck Soup. A Day at the Races is no exception in this regard as it indulges a lot of the lesser facets of a Marx Brothers film. The plot is familiar enough; it involves a young woman trying to save her sanitarium by any means necessary, including hiring a doctor (Groucho) at the insistence of her wealthiest patient - this is despite the fact that Groucho is actually a vet, which he hides in order to maintain his employment. The plan to save the sanitarium involves a desperate ploy involving her boyfriend's newly-acquired racehorse and the local racetrack, which naturally involves a snobs-against-slobs struggle as Groucho, aided by a scam artist (Chico) and a jockey (Harpo), must work against a variety of stuffy authoritarian types in order to save the day.

One of the main problems that distinguishes A Day at the Races is that it's far too long. It clocks in at almost two hours in length (over half an hour longer than Duck Soup), most of which is because of extremely extraneous musical numbers. Granted, every Marx Brothers films has had them but they've never felt as much like dead weight as they have in this movie (one extremely lengthy musical sequence takes place in an African-American section of town and involves the brothers using blackface in an attempt to hide from their enemies, which is awfully distracting on several levels). Length notwithstanding, it's not hard to feel like there aren't any interesting variations on the brothers' own particular gimmicks, which are somewhat clever but don't inspire any laughter. Every time I watch a new Marx Brothers movie and find it wanting, I worry that I'll revisit Duck Soup and have a similarly underwhelmed reaction. It's a shame because I can definitely respect their contribution to modern comedy but I'm disappointed that their actual work doesn't do a whole lot for me nowadays.

Maybe the problem is that you started at the top? I know there are dissenters, I used to be one of them as I had Horse Feathers are my favourite Marx Bros. film, but after few repeat viewings of both I crossed the floor to the Soupers.

Quite possibly, though I suspect that the reason Duck Soup is considred the best in the first place is because it avoids the same sort of excess that ultimately hinders other films, such as the fact that the A-plot doesn't involve a young pretty couple where one or both of the members are singers that do perform during the film, which I've found is a common factor in every Marx Brothers films I've seen that wasn't Duck Soup.

#429 - Female Prisoner 701: Scorpion
Shunya Ito, 1972



Focuses on the eponymous inmate of a women's prison as she forms an escape plan in order to exact revenge upon the people who got her imprisoned.

Female Prisoner 701: Scorpion blends together two popular exploitation sub-genres - "women in prison" and "rape-and-revenge" - in order to provide a film that is nasty, brutish, and short. Given those sub-genres I mentioned, it's obviously not a pleasant movie to watch even when its protagonist, who is first seen making a failed escape attempt with a fellow inmate, spends much of the first third of the movie being tortured by male guards and a vindictive inmate. Of course, it's not long before she starts getting her own back and causing trouble amongst the prison's general population. It's not like she doesn't have a good reason, as the whole reason she's in prison turns out to be the result of her attempt to murder her corrupt detective boyfriend after he not only uses her as bait in order to arrest drug dealers on rape charges but also works for a rival crime syndicate. At the very least, her cold and calculated approach to vengeance makes some sense, though one might wonder where she even acquired the skill to take down her enemies in the first place. It doesn't matter in a film like this, though - all you're watching for is some amusing and thrilling ways in which the heroine achieves her goals.

Unfortunately, the exploitation vibe does lean a little too hard towards the serious in its depictions of the horrors of a women's prison, with virtually all the sexual content involving rape in some capacity (even a scene late in the film involving male guards and female inmates). Of note is the blackly comic gag in which the protagonist manages to seduce an undercover cop posing as an inmate (which is so effective that it prompts said cop to react very unhappily to being re-assigned) that starts off as non-consensual and still feels ambiguous enough to be uncomfortable. At least the other types of physical violence are appropriately bizarre and ridiculous, such as another inmate attempting to murder the protagonist in the showers and being suddenly coated in demonic makeup in the process (just look at that header image). However, for a short film it certainly spends a lot of time on lengthy prison punishments such as solitary confinement or digging and refilling holes, which does feel like an attempt to pad out the film in between its shocking visual imagery. It does run out of steam a bit towards the end and still has too many harsh or boring scenes to be a truly enjoyable experience, but it does keep one's interest reasonably well despite its more problematic aspects.

Why not? It's like one of my favorite things. I think you should give it a watch. I think you will enjoy it.


(I will never see 's movie)

Speaking of which, have you watched Korra or read the comics yet? Its been a while since we talked about the Friendly Mushroom scene so I think you would be done with ATLA.

Edit- Also if you are done with ATLA, what did you think of the final season and what is/are your favorite episode(s)?

Mostly it's because of a lack of opportunity.