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cordeliaflyte · 2 years

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Sooo, I just finished watching Yellowjackets and it’s so good. I’m not a religious person but Laura Lee is a cinnamon roll. I love her. And it might be an unpopular opinion but I actually love Jackie. She’s so relatable and her death was so unavoidable and anticlimactic that it haunts you more. Like, WTF? No wonder Shauna is still so fucked up and drowning in guilt over her death. Jackie continues to haunt her 25 years later. Anyway, so typical of me that my faves were killed off. 😂

Lottie is another fave of mine and I’m thrilled she’s the big baddie for next season. 😌 Here’s to hoping she’ll survive next season because my faves are indeed prone to be killed off. 😂 Besides, Lottie is such a crucial part of the story so she better survive until the final season. 😌

And since ghost Jackie showed up in few scenes in season 1, I’m expecting she’ll still show up from time to time. As long as Shauna lives, ghost Jackie will continue to haunt her.

Ghost Laura Lee will probably show up too. Most probably as Lottie’s own personal ghost. It would be interesting to see though if Laura Lee will serve as Lottie’s conscience or it’ll be like Lottie’s coping mechanism where Laura Lee supports her and cheers her on with whatever fuckery she’s been doing. 🤔

Yay so glad you did everyone should!! Laura Lee is my beloved character too. And I was pretty neutral on Jackie but I also had an insane person make a blog specifically to call me a r*tard for her apparently being my favourite character (which she's not. Those slots are reserved for Taissa and Laura Lee) so she has moved up in my ranking and is now near the top. I find her quite relatable because I imagine I would also be pretty useless in a survival scenario.

Also I reaallllly hope they eat Jackie. Like I know they have the bear meat now but how long can that last them. And she's ummm frozen. So they can dig her up and unfreeze her and eat her. I sincerely hope that happens we deserve it.

When Jackie died I assumed Lottie would be pit girl because she has a similar build + hair, but the whole "who the fuck is Lottie Matthews?!" at the end of the last episode puts a damper on that theory. Because the only other physically similar character is Mari but I can't see her being pit girl because pit girl was so hyped up that for her to be such a minor character would be a letdown. Maybe it IS Lottie and someone just revived her cult... Or maybe it IS Lottie but the girl they were eating was someone else and Lottie managed to escape unbeknownst to the rest and was left behind in the woods?? Tell me what you think!! Either way I think Lottie's going to be a great villain.

I think we might see ghost Jackie, but less so than in S1, because she's fulfilled her narrative purpose - revealing to the viewer how she died and why Shauna has been ravaged by guilt all these years. I actually hope we don't see Laura Lee as a ghost because while I cannot state strongly enough that I am not an evangelical, her religion forms such a great part of her identity that I hope it's true in universe, it only just for her, and she's in evangelical heaven where they sing shitty Christian music for eternity. I just think she deserves a rest.

If anything I can see her as Lottie's ghost/hallucination is this ambiguous way similar to Jackie where she essentially says what the person she's tethered to (in this case, Lottie) wants to hear - so she wouldn't actually be Laura Lee, just Lottie's attempt to justify her cannibalism and um... Fertility rituals.

ALSO what do you think happens to Shauna's baby?? I kind of want them to eat it but realistically that's not going to happen because umm. Babies are small and wouldn't be a good source of nutrition. And if Shauna just miscarries or the baby dies in childbirth/shortly after that would just be anticlimactic. Left behind purposefully??? I like that idea. And then maybe Lottie (if we take to the theory that she too was left behind) would raise it in her culty ways.

Do tell me your thoughts on all of the above xxx

#answered #yellowjackets

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mattbrothersscriptwriter · 7 years

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My Top 20 Films of 2017 - Part Two

Ok, so about ten minutes ago I finished watching my last 2017 film of the year. For my FULL list - all 127 films watched in order of preference - jump on over to my Letterboxd page: https://letterboxd.com/matt_bro/list/films-of-the-year-2017/

Alright, top 10:

10. Logan

In a time when a lot of people still bemoan the existence of so many comic book movies (occasionally, with a point) this has been a stellar year for them. Marvel’s triple whammy of Guardians of the Galaxy Vol 2, Spiderman Homecoming and Thor Ragnarok were all excellent, heartfelt, fun knockouts and Wonder Woman was a terrific showcase for both Gal Gadot and Patty Jenkins (not to mention hugely important in its own right). Only Justice League really fell back on old tired habits and resulted in a bizarre mashup of tone and purpose and featured the single most damning piece of CGI buffoonery ever conceived in Henry Cavill’s ‘we’ll fix it in post’ deleted moustache. That really is one for the ages.

But I could never have foreseen the power and beauty of something like Logan, a near-perfect capper to a spinoff trilogy that began with the God-awful Wolverine Origins. It’s strengths come from it’s convictions – this isn’t an episodic story servicing a franchise, this is a true stand alone character piece, focusing on the rarest of things – an actual ending to a beloved, previously untouchable, immortal superhero. Played out as a tragic western with claws, the film beautifully champions the importance of family and love, seen (at last) through the eyes of those that never dreamed they would experience it, let alone fight for it. With some fantastic action set pieces to boot too, this one really has its cake and its eat and is also a real sight to behold – I saw it for a second time in it’s gorgeous black and white ‘Logan Noir’ cut and every frame is a revelation. Huge props to Patrick Stewart too, delivering a devastating performance of a character is has also lived with for the past SEVENTEEN years.

9. Film Stars Don’t Die in Liverpool

This film is a heartbreaker. My God. Definitely the most surprising cinema-going experience I had this year. I went with a friend of mine and by the time the credits were rolling, there wasn’t a dry eye in the house – best encapsulated by a burly scouser sat behind us who was openly saying “Fuck me, didn’t expect that for a Sunday afternoon. Jesus! How bloody brilliant was that!? Got any tissues?’.

Focusing on the later years of Hollywood starlet Gloria Grahame (Annette Bening on Oscar sweeping form), it finds her semi-washed up and treading the boards in London where she meets and falls for Peter Gallagher (Jamie Bell – never better than this) another actor, half her age. The tenderness and straight forwardness of their pairing is so refreshing, never making an issue or point about the older woman/younger man dynamic unless directly challenged by other characters (including Gloria’s bratty sister Joy) or themselves. The most effective emotional beats of this film aren’t signposted and drawn out for Oscar clip schmaltzyness but instead hit you in a sudden burst of passionate regret; hurtful words said in anger or defence – truly proving that the most harmful things you can say to someone you love are all too easy to let slip out before you’ve had a chance to think about what you’re saying. But the damage is done.

The film-making here is exceptional too. What could have been a rather dry biopic is given such momentum through brilliantly executed scene transitions and a flashback-enhanced narrative that keeps us embroiled in the present day scenes of Gloria succumbing to cancer whilst we watch their initial courtships and brutal arguments from the months and years leading up to it. The supporting cast that includes Julie Walters, back as Bell’s mother and Stephen Graham as his brother are brilliant but this is Bening/Bell’s movie and they knock it out of the park.

8. Baby Driver

My big birthday blowout screening of the year, following last year’s Aliens 30th anniversary showing, Baby Driver did not let me down. All the usual energy, narrative foreshadowing and tightly controlled construction you’ve come to expect from an Edgar Wright flick blown out onto a much bigger and more confident scale. The genius pairing of getaway driver crime heist flick and vehicular musical allows for some hugely inventive set pieces, from the opening police chase set to Bellbottoms by the John Spencer Blues Explosion to the car-on-car parking lot duel with Queen’s Brighton Rock echoing through the tunnels.

Ansel Elgort delivers a breakout turn and everyone from Jon Hamm, Jamie Foxx and Kevin somebody-or-other are having a ball playing bad. The romance with waitress Lily James initially feels a little under cooked but it all plays into the escapist fairytale of the action and seeing them dance together in a laundromat whilst sharing headphones is one of this year’s purest joys.

7. Get Out

Where It soaked up much of the straight spooky horror acclaim this year, Get Out walked a much more tantalising and complex line between thriller, social drama, satire, comedy and horror – and pulled it all off effortlessly. Jordan Peele has long had grand cinematic aspirations as evidenced in some of the larger scale sketches in his fantastic show Key and Peele but this clearly represents everything he wanted to say and do in a debut feature. I think the odds of so perfectly nailing your voice and intentions in your very first film is astronomical but damn, he must be proud, not only of the film itself but the cultural reach, impact and resonance it has had with audiences.

Daniel Kaluuya is excellent as the everyman battling his own (rational) fears and paranoia before his instincts slowly become the domineering voice in the back of his head. Trust in oneself is the saving grace here and it’s great to see an array of other ‘traditional’ characters for this genre twist the knife and reveal their true colours. The “Rose, where are my keys” turning point is perhaps the tightest I’ve gripped the arm of my chair all year. And the eventual climax is one of the best examples of subverting expected genre tropes. Brilliant.

6. Raw

Speaking of confident debuts, Julia Ducournau’s is equally astounding. Not for the faint hearted, this queasy, cannibalistic coming of age tale is a near perfect slice of fucked up fever dream. It follows a young vegetarian attending veterinary college who is forced to eat rabbit meat in a sick hazing ritual – one that her fellow student and older sister has clearly already experienced. Slowly but surely, a triggering of her animalistic appetite grows, coinciding both with her own first steps into a sexual awakening as well as a growing sense of unease that something isn’t right in her family to begin with.

The plot takes some nutty turns, not least in the last few minutes, but everything works; from the gorgeous imagery to the tonal juggling to the assured performances. This would make an excellent entry in an ‘arthouse does horror subgenre’ triple bill, doing for cannibals what A Girl Walks Home Alone At Night does for vampires and The Witch does for... witches.

5. Jackie

This is a breathtaking biopic - interested less in the broad strokes of history and what we think we know about the aftermath of one of the most infamous events of the 20th century and more in the nuanced, private, personal moments of grief in the public eye. Natalie Portman is astounding as Jackie Kennedy, nailing everything from the look to the voice to the affectations, and its the dreamlike, woozy way that the film unfolds that really draws you in and positions you in the eye of a hurricane. The JFK assassination was a monumental cultural milestone but this story asks you to put yourself in the shoes of a woman who was unavoidably trapped at ground zero - and largely all alone with her memories and emotions, despite the surrounding pressures of aides, the press and the American people.

This is supremely confident filmmaking, incredibly affecting and features another stand out score from Mica Under the Skin Levi.

4. 20th Century Women

The second film on my list for both Annette Bening and Greta Gerwig, this is a wonderful story about the strengths and flaws found in both the family we’re given and the family we choose. With an anecdotal, episodic structure, it is less focused on plot and more on the individual moments that the characters in our lives provide us with; how they affect our own life story and evoke memories of a certain time and place.

It’s highly emotional, with touching asides and rambling voiceovers telling us numerous stories whilst keeping a sense of an anchor through the relationship between Jamie (Lucas Jade Zumann) and his mother Dorothea (Bening). The supporting cast is uniformly great, from Elle Fanning as the girl next door to Billy Crudup as a lonely tenant/handyman, this one really hit me hard. The late 70s period details, along with the soundtrack, and the sun bleached cinematography recalls the joy of discovering yourself through questionable music, bad decisions and rebellious behaviour. Check it out.

3. A Ghost Story

I doubt any other film this year left quite a long lasting impression as this one did. I couldn’t stop thinking about it afterwards and became rather obsessed with pretty much everything it accomplishes. It’s a fairly straight forward tale of a couple (Casey Affleck and Rooney Mara) whose relationship begins to feel the strain as they quietly realise they might want different things in life. We’re not privy to many more details, positioned as a voyeur which will continue as things unfold but before long, Affleck is killed in a simple car accident outside his home and seemingly rises from death to haunt his old home, dressed entirely in the hospital bed sheet his corpse was covered in. It’s a genius depiction of the traditional ghost - simultaneously off-putting, amusing, whimsical and ridiculous - and it’s also rooted in logic too. As the ghost continues to watch his Mara grieve for him (mesmerisingly encapsulated in an unbroken take of a depressed Mara eating an entire pie that her neighbour brought round), he (and us) slowly begin to notice time... breaking.

The way the passing of time is visualised here is beautifully simple - rather than the long slow fades that normally indicate transitions, here it is as sudden as the ghost turning around to look over his shoulder, through a series of hard cuts or sometimes, no cuts at all. That feeling of time literally slipping away is brutal and the ghost can do nothing but wander about, seemingly helpless to how fast things change. One moment, Mara packs up and leaves, the next a new family of three have apparently been living there for months. Ultimately, the film becomes a meditation on the importance we embue in places, not so much people. The house is the anchor - the core - of what the ghost latches on to and if you’ve ever had the feeling of wondering who lived in your home before you and who will be there after you’ve gone, this film will dig deep into your mind.

I found this to be a brilliantly low-fi way to tell a huge thematic story and the use of music throughout - including one central track in particular - only adds to it. If you can get past the pie-eating without thinking ‘da hell is this’, you’re in for a treat.

2. Dunkirk

I’m almost scared to put this so high. I’ve no doubt in my mind that it’s a five star film and it’s certainly the most visceral, immediate cinema going experience I’ve perhaps ever had (I caught it at the BFI IMAX, opening night, at a late showing and it truly does fill your entire periphery vision) but a part of me wonders if it will hold up on second viewing - i.e. if seeing it anywhere other than the IMAX will diminish it. Well, I’m sure it won’t be the same but I’m also convinced it won’t matter either because this is clockwork precision film making of the highest order; an exercise in narrative structure as well as simply being the most accurate representation of the event in question as there possibly could be.

Some people have complained that this film does a disservice to its characters but I disagree. The power of this story is that it’s the tale of the everyman - how all of these people, no matter the extent of their involvement or the merits of their bravery, became heroes. I don’t need to see the ‘movie’ version of this - where characters chat about their backstories or show photos of loved ones or do every other cliche around. I KNOW all that is going on within the frame but I don’t need to see it. What we’re seeing is the immediacy of these events, which heightens the terror and the hopelessness felt by everyone on that beach or in those boats or in those planes. The land/sea/sky split is impeccably done and the devotion to practical battle scenes is stunning. The aerial dogfights - in full IMAX - practically made me feel like I was strapped to a wing. But even looking past the spectacle, the performances DO bring out the heart of the characters we’re presented with. From Cillian Murphy’s PTSD riddled soldier to the steely determination of Mark Rylance to the rather genius casting of Harry Styles - the exact kind of kid who would have been swept up in this war - everyone is all in and they all blew me away. Especially Tom Hardy, in perhaps his most restricted role yet (it’s like Bane meets Locke), who garners the biggest cheers.

And Hans Zimmer’s epic score can make me sweat just thinking about it. A perfect compliment to the tightening framework and increasing stakes of the action.

1. La La Land

Where do I even begin with this? Full spoilers ahead, I couldn’t help myself.

Clearly, this isn’t a film for everyone. And I get that. Some people think it’s fine but kinda hate musicals. Others get frustrated with the character’s choices. Others would have preferred it to actually remain a musical throughout. I understand all of these criticisms but for me, it does perfectly what it sets out to do.

First of all, I personally love the musical numbers - from the jaw dropping opening of Another Day of Sun to the kinetic, glamourous rush of Someone in the Crowd to the heartfelt yearning of City of Stars. I think they’re great tunes, wonderfully performed and exceptionally shot. I think of the long one-shot takes of the first, the swimming pool splashdown of the second and the little smack on the shoulder of the third. They’re rooted in feeling, in character and in the tradition of Hollywood. They wear their influences on their sleeve but never feel like a parody. And to me, the sudden shift away from being a flat out musical at the end of the first act is not a misstep but entirely organic - this is the rare love story that has its head in the clouds (romantic dating montages, dreamlike dancing through the stars) as well as being brutally honest about what we want, how we get them and the sacrifices these things cost.

The movie starts out as this fantastical anti-meet-cute before morphing into a romantic fable full of wonderment but the moment the characters get together, it switches gears and becomes more grounded in reality. The music largely stops and the real world catches up. Arguments are had, compromises are made, promises are broken. This is the harsh truth of getting what you want at the cost of losing what you’ve perhaps always wanted. The tension between Sebastian (Ryan Gosling) and Mia (Emma Stone) becomes uncomfortable - he’s lying to himself about doing what he must to achieve his real dream, even despite Mia’s support and she is battling her own demons in chasing hers. It’s only when the film brings them to their lowest points does it slowly turn back into being something more magical. Sebastian returns to Mia with the news of a new audition, which results in the most raw song/anecdote of the film ‘Audition (The Fools Who Dream), and just as we’re swept into the happy ending we were promised from decades of these movies, the pair realise they have to do their own thing. “We’ll just have to wait and see”...

The film’s extended epilogue is where it really doubles down on this idea. As we’re treated to a return of the ‘full blown musical’, we see the true Hollywood version of this entire story, played out in dreamlike fast forward. Sebastian leaping off his piano to kiss Mia the second he meets her, the villainous J.K. Simmons snapping his fingers and stepping aside, Sebastian giving a standing ovation at Mia’s one woman show that he missed entirely before, the two of them travelling to Paris and crafting a life together that Mia actually did alone. On the surface, it’s a joyous, colourful, happy finale but the final curtain reminds you that it’s all been... a daydream. The road not travelled. So while the film ends with them both achieving their own desires, they’ve lost one another. This is the all-too-often-true cost of creative pursuit and fulfilment and it’s so rare to see it held aloft in the final reel of an Oscar winning movie that appears to be the exact opposite on the surface.

It’s daring, brave and imaginative and it hit me like a ton of bricks. Maybe I’m too soppy and maybe I’ve just ruined the entire plot for you (I definitely have) but I just couldn’t see anything topping this the moment I saw it. And I guess I was right. Damien Chazelle is a wizard and I can’t wait to see what comes next.

#top 10 #Films of 2017 #2017 #logan #film stars don't die in liverpool #baby driver #get out #raw #jackie #20th century women #a ghost story #dunkirk #la la land

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andrewuttaro · 5 years

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New Look Sabres: GM 10 - SJS - Shoot

These back-to-back games against the Sharks marked the first time the Sabres have had a home-and-home series with a Western Conference team since 1995. They are now 5-0, UNDEFEATED, at home at Key Bank Center to start the season for the first time since the President’s Trophy winning season of 2006-2007. The Overtime winner also marked Jack Eichel’s sixth career OT game-winning-goal. That ties him with Derek Roy and Thomas Vanek for the most in franchise history (That stat courtesy of @SabresPR). There is some irony to that fact and Eichel’s two total goals this game considering the first period was a story of the Captain refusing to shoot the puck. We all know the stereotype of shoot guy. You high class folks down in the 100 level seem to act like it doesn’t happen down there but it does. There’s always someone yelling shoot, often times when it may not be wisest to shoot the puck. Tonight I was shoot guy. Tonight we all were shoot guy. Tonight was the right night to be shoot guy and I think Jacky boy knew it as he giggled at receiving the question about it in postgame. We’ll get back to that point. It’s worth discussing the way this team plays in tough situations. San Jose came out upset with themselves. They haven’t had a great start and Saturday night in NorCal Buffalo won the chest match. I don’t think it’s off-base to say the Sharks are a better team than the Sabres. Sure, they skew older these days, but they have the horses to win a Stanley Cup and all you can really do is get within striking distance of that chalice in this league. The other thing about this league is any team can win any night and for two games in a row on different coasts of the continent this Sabres team won. They’ve decided to keep that barn a fortress. Do I think they’re going to win the President’s Trophy like that last time they started 5-0 at home? No, but now they’re playing to their potential and that on a consistent basis might change the Spring narrative. Enough hype though, let’s look at the reality of this game.

They did not start hot like they have lately. In fact, they did a lot of flubbing out of the gate. Captain Jack was more-or-less one-on-one with a Martin Jones who WE KNOW is not so hot right now from three days ago less than a minute into the game. He passed the puck to Victor Olofsson who took an ill-fated shot in one of the more memeable moments of this season so far. This is not a new thing. Jack Eichel is a hungry boy for as long as he’s played organized sports. He plays to win but he also minds the team. Going all the way back to his rookie season we’ve seen this conflict between to pass or to shoot. In the early years he didn’t have great wingers so shoot please, Jack. More recently he has had good wingers and still he could shoot more. Like some kind of prophet the guys on this Sabres media team emphasized Eichel’s comments that he needed to shoot more. Ok: Coach says shoot more, your teammates say shoot more, YOU say shoot more, How about you shoot more, Jack? He did and it paid off but first we had to sit through a first period where the home team took more shots but it seemed like the Sharks got all the good chances. Dylan Gambrell scored his first goal on a redirect originating with Erik Karlsson on the blueline. It’s 1-0 Sharks a shade over five minutes in. It was hot and cold for the rest of the period. They got a powerplay and the Conor Sheary line, which was fire tonight, got a couple beautiful chances. As much as that powerplay looked hot again it yielded nothing. Want something else familiar? Marco Scandella gave up an ugly turnover in the defensive zone and nearly gave old pal Evander Kane a goal. I don’t care how well Henri Jokiharju is rehabilitating Scandella, bench him once Lawrence Pilut comes back! Tic-Tac-Toe Marc-Edouard Vlasic collected a Patrick Marleau assist to put the visitors up 2-0. It was not a fun first period.

Buffalo gets outshot in the second period mind you, but this segment they looked much more like the Kruger, connected, high-press team we’ve gotten used to this month. This was Jimmy Vesey’s best game as a Sabre so far, he and that Sheary-Mittelstadt pair were pushing hard. Vesey specifically had an expected goals and a corsi that was off the charts. The poor kid can’t buy a goal and he’ll continue to have to put up with punks like me until he does. The Sabres got a powerplay off a trip on Rasmus Dahlin and Jack Eichel shot to kill this time. The King of the Castle ripped a slapper from the circle, and it hit Martin Jones in the armpit. Luckily it had the power to keep going and so Buffalo got on the board. There was palpable relief in Eichel’s celebration looking heavenward. Had he not scored after the first period he had or worse, the team lost, that would have haunted him. You can tell because after a few missed chances in the first Ralph Krueger patted him on the back as if to tell him to keep his head up. The home team push picked up and Krueger made a strategic choice that may stick: he slid Jeff Skinner up to Eichel’s wing like last season. There was an immediate chemistry like old times. But the next decisive moment in this game came from Eichel’s other winger Sam Reinhart who tipped in a Rasmus Ristolainen rocket. The Captain’s super puck handling kept the puck in the zone just before the goal. Tie game 2-2. You could see Erik Karlsson was pissed as he went into the visiting locker room for the second intermission. With how the third period went in San Jose you knew this team was going to come back to win in the final frame.

Maybe anticipating similar third period festivities to Saturday night Buffalo picked up where they left off to start that final frame. Jack Eichel fought for the puck behind the San Jose net and got it out to Jeff Skinner in his office, right in front of the net. It was a 2018-2019 classic Jack to Jeff goal. The home side is now up 3-2 looking at a Sharks team they’re not really afraid at this point. While Jeff boy’s stunning smile lit up the Sabres bench Erik Karlsson plotted his revenge. But first we needed to be reminded we were playing one of those West Coast teams with one of those West Coast… styles. Yeah, let’s call boarding fools and starting fights a style. It’s no secret they play heavier hockey out west, but boarding Sam Reinhart is not a type of hockey. For everyone saying this team needs grit, take a look: there was a swarm. There was an ultimately inconsequential powerplay off the situation, but it makes you think what we have in terms of a physical response. Beyond the pugnacious side of Rasmus Ristolainen, Jake McCabe is never afraid to lay the hits and punch some faces. With Risto on the trade block Anthony Sciandra pointed out McCabe may not be taking the mantle of the overrated, beloved Sabres tough guy. McCabe does other stuff but the more I thought about Anthony’s sentiment the more it made sense. The Sabres got pushed out of the Ducks game physically. They didn’t fail the punk test this time and as far as I’m concerned that’s all I need them to do as far as the fighting game assuming they don’t lose their momentum from it. The Roaring Twenties line had a rare defensive lapse, particularly with Zemgus Girgensons not covering Karlsson and the Sharks tied the game up at 3. They smelled blood in the water and hemmed Buffalo in their own zone for segments of the remaining time in regulation. Ultimately Ralph Krueger would call a time out and they would hold the line until overtime.

This overtime period was damn near what I always want to see from their 3-on-3 overtimes. They possessed the puck for almost the entire extra frame. It was on a bungled line change when the Sharks got anything of a chance which ultimately got them no shot. It was on another line change when the Sabres registered what would apparently be the only shot on net in OT. Bodies flew at the net and sticks started slapping. The play began with Casey Mittelstadt bombing it in from the defensive zone to Rasmus Ristolainen who took the initial shot. It was a messy goal that originated with Jack Eichel. It looks like he gave the puck the momentum that carried it across the line and yes, before the goal was knocked off its moorings. The goal call would be reviewed but nonetheless the end result was a 4-3 win for the Buffalo Sabres to keep Key Bank Center their perfect home. That was all she wrote and that was it for the season for the San Jose Sharks whom the Sabres far and away have the best all-time record against.

Like, Comment and share this blog. These fun postgame reports are fun when the team is winning but sorry to say, they’re going to regress. I love the fun Sabres, but I don’t see them remaining atop this Atlantic Division. They have five games in ten nights now leading into the games in Stockholm, Sweden for the Global Series. They are setup nicely to fly inter-continental rather content with themselves. The next two games are a road trip to New York Rangers and Detroit, far from the fortress they’ve built down by the river in Buffalo. One of those teams you absolutely HAVE TO beat if you’re going to be taken seriously going forward. I’ll let you guess which one is which there. As we said earlier, any team can win any night in this league. If they’re going to be the team that continues to win on most nights they’ll have to lock down points much like they managed four against the Sharks. Those points are going to look great down the road, but they won’t be worth anything if they get buried in losses. I am a believer this team is for real at about 90% of the clip they’re running at right now. We have two very different tests later this week to see if I’ll be that fool again.

Thanks for Reading.

P.S. Oh, and the Leafs lost to Boston tonight too! Let’s treasure the little things while we got em, eh?

#buffalo sabres #Hockey #blog #NHL #san jose sharks

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