S.K.o.S.

I read something in the newspaper today about people hating Under the Skin at Venice, but this article suggests reaction was more mixed. http://www.contactmusic.com/article/under-the-skin-scarlett-johansson_3846835 Yes... "unfortunately".

We are in the shut-down phase where the kids have gone back to school, there are no new movies left to debut, and not too much more movement in the standings can happen. You'll notice there wasn't a ton of movement compared to a typical week. All that can realistically happen, IMO, is that Planes could pull ahead of 2 Guns on the box office list, and Elysium could pass Wolverine on the RT list (they are very close - Wolverine is at 68.66% and Elysium is at 68.49%). Re KJC McMahon's post, I'm in second place right now, and I've said right from the start that I wouldn't be giving myself a prize. So if I stay in the top six, the seventh-place finisher will get a prize.

Kind of strange that the next Paranormal Activity is coming out next January rather than around Halloween, and it's not called part 5, it's called "Paranormal Activity: The Marked Ones". Then part 5 is scheduled for October 2014.

Shame is upon you, person who didn't review my book selection! How dare you!

UPDATE 17 OF 19 - through August 29 Standings 1 [- 1] Yeti - 58 points (24/34, tiebreak 0.268) 2 [↑ 3] Suicide King of Spades - 64 points (28/36, tiebreak 0.24) 3 [↓ 2] RossWB - 66 points (32/34, tiebreak 0.237) 4 [- 4] Genesis - 68 points (32/36, tiebreak 0.251) 5 [- 5] The Erotic Terrorist - 70 points (28/42, tiebreak 0.127) 6 [- 6] -MJ- - 70 points (22/48, tiebreak 0.29) 7 [↑ 10] Death From Above - 70 points (38/32, tiebreak 0.459) 8 [↓ 7] K.J.C. McMahon - 70 points (32/38, tiebreak 0.468) 9 [↓ 8] Gonzalez - 72 points (28/44, tiebreak 0.003) 10 [↓ 9] Super Ape - 72 points (26/46, tiebreak 0.116) 11 [- 11] Televiper - 74 points (36/38, tiebreak 0.004) 12 [- 12] Ligerbusa - 76 points (32/44, tiebreak 0.303) 13 [↑ 15] TheZ - 76 points (28/48, tiebreak 0.4) 14 [↓ 13] Rippa - 76 points (46/30, tiebreak 0.902) 15 [↓ 14] The Natural - 78 points (36/42, tiebreak 0.115) 16 [- 16] Hobo Joe - 78 points (40/38, tiebreak 0.323) 17 [- 17] Stennick - 78 points (32/46, tiebreak 0.547) 18 [- 18] blitzkrieg - 80 points (18/62, tiebreak 0.6) 19 [↑ 20] Pavel6969 - 82 points (34/48, tiebreak 0.003) 20 [↓ 19] Paco - 82 points (32/50, tiebreak 0.124) 21 [- 21] DreamBroken - 84 points (36/48, tiebreak 0.847) 22 [- 22] Mushroomjones - 86 points (46/40, tiebreak 0.58) 23 [- 23] jaedmc - 88 points (34/54, tiebreak 0.242) 24 [- 24] JRGoldman - 90 points (40/50, tiebreak 0.235) 25 [- 25] SorceressKnight - 90 points (48/42, tiebreak 0.687) 26 [- 26] IVPvideos - 92 points (38/54, tiebreak 0.73) 27 [- 27] Trocar Slush Weasel - 92 points (30/62, tiebreak 1.086) 28 [- 28] shoogbear63 - 92 points (30/62, tiebreak 1.242) 29 [- 29] Control - 94 points (44/50, tiebreak 0.006) 30 [↑ 31] Raziel403 - 96 points (38/58, tiebreak 0.261) 31 [↓ 30] gregjr - 98 points (32/66, tiebreak 0.149) 32 [- 32] Lacelle - 104 points (50/54, tiebreak 0.382) 33 [- 33] Phantom Lord - 116 points (50/66, tiebreak 0.141) Box office 1 [- 1] Iron Man 3 - $376,745,285 (28 days) 2 [- 2] Despicable Me 2 - $311,818,088 (28 days) 3 [- 3] Man Of Steel - $276,169,878 (28 days) 4 [- 4] Monsters University - $239,128,654 (28 days) 5 [- 5] Fast & Furious 6 - $224,008,865 (28 days) 6 [- 6] Star Trek Into Darkness - $203,716,697 (28 days) 7 [- 7] World War Z - $181,741,067 (28 days) 8 [- 8] The Great Gatsby - $131,945,118 (28 days) 9 [- 9] The Wolverine - $122,595,676 (28 days) 10 [- 10] Hangover 3 - $109,060,272 (28 days) 11 [- 11] Pacific Rim - $95,229,531 (28 days) 12 [- 12] This Is The End - $87,437,228 (28 days) 13 [- 13] The Lone Ranger - $85,790,291 (28 days) 14 [↑ 15] Elysium - $72,103,729 (21 days) 15 [↓ 14] 2 Guns - $66,709,905 (28 days) 16 [↑ 17] Planes - $63,087,670 (21 days) 17 [↓ 16] After Earth - $57,924,070 (28 days) 18 [- 18] Red 2 - $50,274,891 (28 days) 19 [- 19] R.I.P.D. - $32,204,325 (28 days) 20 [- 20] Kick-Ass 2 - $24,529,045 (14 days) Rotten Tomatoes 1 [- 1] Star Trek Into Darkness - 206/236 = 87% (28 days) 2 [- 2] This Is The End - 155/185 = 84% (28 days) 3 [- 3] Monsters University - 135/173 = 78% (28 days) 4 [- 4] Iron Man 3 - 205/264 = 78% (28 days) 5 [- 5] Despicable Me 2 - 122/162 = 75% (28 days) 6 [- 6] Pacific Rim - 170/237 = 72% (28 days) 7 [- 7] Fast & Furious 6 - 122/173 = 71% (28 days) 8 [- 8] The Wolverine - 138/201 = 69% (28 days) 9 [- 9] Elysium - 150/219 = 68% (21 days) 10 [- 10] World War Z - 157/234 = 67% (28 days) 11 [- 11] 2 Guns - 95/152 = 63% (28 days) 12 [- 12] Man Of Steel - 150/268 = 56% (28 days) 13 [- 13] The Great Gatsby - 117/232 = 50% (28 days) 14 [- 14] Red 2 - 52/127 = 41% (28 days) 15 [- 15] Kick-Ass 2 - 41/144 = 28% (14 days) 16 [- 16] The Lone Ranger - 51/188 = 27% (28 days) 17 [- 17] Planes - 26/100 = 26% (21 days) 18 [- 18] Hangover 3 - 36/181 = 20% (28 days) 19 [- 19] R.I.P.D. - 7/60 = 12% (28 days) 20 [- 20] After Earth - 18/172 = 10% (28 days)

At PWG BOLA night 2. The trophy met its natural fate at the end of the night (see here) and all is right with the world.

I've decided on the 19. Normally I would buy single tickets and get about 15 movies. This year, for the first time, I decided to get one of their package deals, but for those, you have to get tickets in multiples of 10. So I got 20 tickets. I'm giving one ticket to a friend, and the others are all for me me me. Your next question is probably going to be what the movies are. See inside the spoiler. Note that there's lots of very well-known stuff at the festival that I would love to see (e.g. Prisoners, Don Jon, Dallas Buyers Club, Gravity) but I've found that if you're going to be able to see a movie in regular theatres, especially when it's coming out a couple of weeks after the festival anyway, you probably want to wait and do that. IMO the festival is more for seeing stuff that you might not otherwise be able to see in a theatre, or might not be able to see at all for months or years.

Just got my Toronto film festival tickets. It'll be 19 movies in 10 days.

The update is going to be late again this week, because I'm going to see PWG's Battle of Los Angeles! Woo! And I'm front row on the second night! Expect the update on... Monday night, I think. Tuesday morning at the latest.

You're Next was sadly not as much fun as I wanted it to be. Gimme The Loot was all kinds of fun, though! Two teenage graffiti enthusiasts in the Bronx need to come up with $500 by the end of the day, and I honestly didn't even catch exactly why, but it doesn't matter. It's just so great listening to them curse out each other and everyone else.

FWIW, R.I.P.D. almost didn't even make the list of eligible movies. I had decided not to list it, and then there was an R.I.P.D. trailer in front of Oblivion when I went to see it, and I saw some people talking about it on here. So I was like "I guess this is going to be on people's radar," and I swapped it in for White House Down.

Okay, I got bored this afternoon and went in to check. It looks like scores are pretty normal this year, but were really low in 2012. Best score 2013: Yeti with 60 2012: blitzkrieg with 39 2011: Hobo Joe with 62 2010: -MJ- with 72 Average score 2013: 81.76 (35.03 box office, 46.73 RT) 2012: 68.54 (29.56 box office, 38.97 RT) 2011: 89.38 (32.00 box office, 57.38 RT) 2010: 94.87 (40.87 box office, 54.00 RT) Best box office list score 2013: blitzkrieg with 18 2012: blitzkrieg with 13 2011: The Erotic Terrorist with 18 2010: shoogbear63 & Shawn Biggs with 26 Best RT list score 2013: Rippa with 30 2012: IVPvideos with 24 2011: Hobo Joe with 36 2010: Pavel6969 with 34

I've got the stats from the last three years on my work computer. Will check on Monday.

UPDATE 16 OF 19 - through August 22 Standings 1 [- 1] Yeti - 60 points (26/34, tiebreak 0.268) 2 [↑ 5] RossWB - 66 points (32/34, tiebreak 0.237) 3 [- 3] Suicide King of Spades - 66 points (30/36, tiebreak 0.24) 4 [↑ 7] Genesis - 68 points (32/36, tiebreak 0.251) 5 [↑ 8] The Erotic Terrorist - 70 points (28/42, tiebreak 0.127) 6 [↑ 9] -MJ- - 70 points (22/48, tiebreak 0.29) 7 [↓ 2] K.J.C. McMahon - 70 points (32/38, tiebreak 0.468) 8 [↓ 6] Gonzalez - 72 points (28/44, tiebreak 0.003) 9 [↓ 4] Super Ape - 72 points (26/46, tiebreak 0.116) 10 [↑ 16] Death From Above - 72 points (40/32, tiebreak 0.459) 11 [↑ 12] Televiper - 74 points (36/38, tiebreak 0.004) 12 [↑ 15] Ligerbusa - 76 points (32/44, tiebreak 0.303) 13 [↑ 20] Rippa - 76 points (46/30, tiebreak 1.352) 14 [↑ 17] The Natural - 78 points (36/42, tiebreak 0.115) 15 [↑ 18] TheZ - 78 points (30/48, tiebreak 0.4) 16 [↓ 10] Hobo Joe - 80 points (42/38, tiebreak 0.323) 17 [↑ 21] Stennick - 80 points (34/46, tiebreak 0.547) 18 [↓ 13] blitzkrieg - 80 points (18/62, tiebreak 0.6) 19 [↓ 14] Paco - 82 points (32/50, tiebreak 0.124) 20 [↓ 11] Pavel6969 - 84 points (36/48, tiebreak 0.003) 21 [↑ 23] DreamBroken - 84 points (36/48, tiebreak 1.496) 22 [- 22] Mushroomjones - 86 points (46/40, tiebreak 0.58) 23 [↑ 25] jaedmc - 88 points (34/54, tiebreak 0.242) 24 [↑ 26] JRGoldman - 90 points (40/50, tiebreak 0.235) 25 [↓ 19] SorceressKnight - 90 points (48/42, tiebreak 0.687) 26 [↑ 27] IVPvideos - 92 points (38/54, tiebreak 0.71) 27 [↓ 24] Trocar Slush Weasel - 92 points (30/62, tiebreak 1.086) 28 [↑ 29] shoogbear63 - 92 points (30/62, tiebreak 2.03) 29 [↑ 30] Control - 94 points (44/50, tiebreak 0.006) 30 [↑ 32] gregjr - 98 points (32/66, tiebreak 0.149) 31 [↓ 28] Raziel403 - 98 points (40/58, tiebreak 0.261) 32 [↓ 31] Lacelle - 104 points (50/54, tiebreak 0.382) 33 [- 33] Phantom Lord - 116 points (50/66, tiebreak 0.141) Box office 1 [- 1] Iron Man 3 - $376,745,285 (28 days) 2 [- 2] Despicable Me 2 - $311,818,088 (28 days) 3 [- 3] Man Of Steel - $276,169,878 (28 days) 4 [- 4] Monsters University - $239,128,654 (28 days) 5 [- 5] Fast & Furious 6 - $224,008,865 (28 days) 6 [- 6] Star Trek Into Darkness - $203,716,697 (28 days) 7 [- 7] World War Z - $181,741,067 (28 days) 8 [- 8] The Great Gatsby - $131,945,118 (28 days) 9 [- 9] The Wolverine - $122,595,676 (28 days) 10 [- 10] Hangover 3 - $109,060,272 (28 days) 11 [- 11] Pacific Rim - $95,229,531 (28 days) 12 [- 12] This Is The End - $87,437,228 (28 days) 13 [- 13] The Lone Ranger - $85,790,291 (28 days) 14 [↑ 15] 2 Guns - $61,994,170 (21 days) 15 [↑ 17] Elysium - $61,953,938 (14 days) 16 [↓ 14] After Earth - $57,924,070 (28 days) 17 [↑ 19] Planes - $51,024,695 (14 days) 18 [↓ 16] Red 2 - $50,274,891 (28 days) 19 [↓ 18] R.I.P.D. - $32,204,325 (28 days) 20 [NEW] Kick-Ass 2 - $18,153,135 (7 days) Rotten Tomatoes 1 [- 1] Star Trek Into Darkness - 206/236 = 87% (28 days) 2 [- 2] This Is The End - 155/185 = 84% (28 days) 3 [- 3] Monsters University - 135/173 = 78% (28 days) 4 [- 4] Iron Man 3 - 205/264 = 78% (28 days) 5 [- 5] Despicable Me 2 - 122/162 = 75% (28 days) 6 [- 6] Pacific Rim - 170/237 = 72% (28 days) 7 [- 7] Fast & Furious 6 - 122/173 = 71% (28 days) 8 [- 8] The Wolverine - 138/201 = 69% (28 days) 9 [- 9] Elysium - 142/208 = 68% (14 days) 10 [- 10] World War Z - 157/234 = 67% (28 days) 11 [- 11] 2 Guns - 93/147 = 63% (21 days) 12 [- 12] Man Of Steel - 150/268 = 56% (28 days) 13 [- 13] The Great Gatsby - 117/232 = 50% (28 days) 14 [- 14] Red 2 - 52/127 = 41% (28 days) 15 [NEW] Kick-Ass 2 - 38/134 = 28% (7 days) 16 [↓ 15] The Lone Ranger - 51/188 = 27% (28 days) 17 [↓ 16] Planes - 25/98 = 26% (14 days) 18 [↓ 17] Hangover 3 - 36/181 = 20% (28 days) 19 [↓ 18] R.I.P.D. - 7/60 = 12% (28 days) 20 [↓ 19] After Earth - 18/172 = 10% (28 days)

Someone's asleep at the switch at Boxofficemojo!

Soon all voiceovers, record skips, and dialogue in movie trailers will be drowned out by one long Inception horn.

CHINA VS. ASIA 121°E The Maximo Oliveros in The Blossoming of Maximo Oliveros is a 12-year-old boy who basically dresses as a woman - he doesn't wear skirts, but does wear bright colors, makeup, and accessories like flowers or barrettes in his hair. He lives with his father, who looks like a smaller Kensuke Sasaki, and his two older brothers. These three are small-time criminals who deal in gambling, stolen cellphones and pirated DVDs, but they're not altogether bad guys, since they're solidly in support of however Maximo wants to live his life. In the early going, it's just a character study of Maximo. I was seeing this as a combination of two movies from earlier rounds: Beautiful Boxer, since we have a cross-dressing Asian male as the central character, and Service, since he and his friends like to get together at a makeshift neighborhood theatre to watch movies. The griminess that we saw in Service is on display here too. This movie and Beautiful Boxer both make me wonder just how things like transvestitism and homosexuality are actually viewed in Asian societies. In Beautiful Boxer, the central character took some flak, but I don't think it was portrayed as anything serious. Here, there is a lot more teasing, and the suggestion that a small minority of people could do some really damaging things. Then, about a third of the way into the movie, we have a plot! We don't know the circumstances, but one of the older brothers kills someone. Maximo sees him burning some evidence, and since it's public knowledge that there's been a murder in the area, he puts two and two together. This is a problem because Maximo has befriended a policeman, who has a pretty good idea that the killer is in Maximo's family, but doesn't know exactly who it was. So Maximo is torn between doing what's right and being loyal to his family. It's maybe even more complicated than that, though, because Maximo seems to be attracted to the policeman. The relationship between those two is... open to interpretation. Remember, Maximo is 12 years old. Nothing untoward ever actually happens, and the scenes with the two of them don't get creepy, but I got the sense that there might be something more there that the policeman didn't want to act on. It certainly gets brought up by other characters. The acting is a little suspect in some scenes. I'm thinking mainly of one instance where Maximo is crying and he sniffles like twenty times in a minute. But this movie thrives because of the plot - it goes in directions you wouldn't necessarily expect, and just about all the characters are nuanced and interesting, not at all one-dimensional. Occasionally the dialogue shines too, as there are a couple of really good lines. This was, unexpectedly, a darn good movie that was a great reminder of why I'm going through this project. Near the beginning of Blind Shaft, two mine workers kill a third, without us really knowing why. We're told that the victim was the brother of one of the killers. When he receives monetary compensation from the guy who runs the mine, to make up for the loss of a family member, and then splits it with the other killer, the motive becomes clear - they did it for money. It's revealed around that time that the victim wasn't even really the killer's brother. It's a pretty good racket, to be honest. They find a place where a bunch of people are looking for work, befriend one of them, and convince him to lie and say he's related to one of them, ostensibly so that the two of them can get hired together. The victim shouldn't be trying to fight back because he'll be totally taken by surprise, but even if he does, it's a two-on-one situation. It's dark enough in a mine that they can get away with killing someone without anyone else noticing, and then set off an explosion to make it look like there was a cave-in. Many of the workers are inexperienced enough and the work is dangerous enough that people die pretty often. The mine doesn't want anyone to know that a worker was killed there, and pretty much handles the cover-up for them. And hardly anyone will suspect that the killing was deliberate, since everyone believes that the victim was one of the killers' relatives. Then they go to another mine in a different city and do it all over again. Some problems start to crop up on their next run-through, though. In what amounts to their job interview, after they say they have experience working in a mine, the mine boss wants to know why they left their last job. The best they can come up with is to tell him that a worker was killed and they left because it was unsafe. That's the kind of thing that could leave a trail for other people to find. Most importantly, their next victim is a 16-year-old boy, who's agreed to pose as a nephew, and he's young enough that the thought of killing him makes one of them uneasy. This is a particularly wide-eyed, innocent and obedient boy, too, and he's very studious, he reads textbooks in his spare time, and there's just all sorts of reasons not to kill this kid, especially since they're just doing it for money. They spend a good bit of time showing the boy squinting at the sun every time he comes out of the mine - he looks a little confused that it's so bright - and I think it's meant to show that he's essentially escaping death every time he leaves the mine, even though he doesn't realize it at all. We soon realize that whatever's going to happen with this kid, it'll be at the very end of the movie, and we're basically just waiting out the runtime to find out how things go down. I give the edge to Blind Shaft on its acting, and it seems to have loftier aspirations, but Blossoming was more fun, and I think it would hold up better on a rewatch. WINNER: ASIA 121°E

Wasn't Edgar Wright saying when Scott Pilgrim came out that 5th place at the US box office was his best showing ever? You'd think he would almost have to top that here.

To make sure nobody got listed twice again

Presumably followed by him making notes about that person. "Wait... are you writing about me now??"

UNITED KINGDOM VS. ISRAEL The Oscar-nominated movie Footnote is about a relationship between an aging father and his adult son, Eliezer and Uriel Shkolnik. In one of the early scenes, Uriel is receiving some sort of award, and his family, including Eliezer, are in the audience. As Uriel goes up to give his acceptance speech, the camera stays on Eliezer through the whole thing. He's clearly not happy, and seems to be bitter about something, but we don't know what. From the direction that the blurry figures seated behind him are facing, we can see he's not exactly looking at Uriel during the speech, either. Maybe he's jealous of his son's success? We learn shortly afterwards that both father and son are Talmudic scholars. Eliezer has been working very hard for many years with very little to show for it. He's gotten so wrapped up in his work that he doesn't do much else, and is convinced that his way of doing things is the only right way. He doesn't show much outward emotion other than exasperation and annoyance. When he finds out he'll finally be receiving an award, the Israel Prize, he shows very little reaction. If we can tell he's pleased, it's only because of the absence of annoyance. Eliezer is a bit conflicted about this, since he'd been decrying the last few award recipients as being unworthy of the prize, in a bit of a sour grapes situation, and thus saying that the prize didn't mean as much as it used to. Also, he's not the sort of person who thrives in the spotlight, so he'd rather avoid all the publicity and interviews that come with the prize. Lastly, he's got a few enemies on the nomination committee, and a bit of a persecution complex, and you can tell he's wondering if the prize is being sincerely awarded. But, deep down, he does crave the recognition. In the climactic scene, with no spoken words, facing what his son has said will kill him, Eliezer still only shows controlled agitation. However, the music tells the story of what he's feeling inside, and that's very well done, making it as exciting as it could possibly be. I also thought the ending came at exactly the right time. The movie has a whimsical style to it when it's introducing the characters, which is always welcome. Also, there are these great profile shots of one particular person on the nomination committee, one of Eliezer's enemies, when he's arguing with Uriel. This guy has a face full of character, a bit on the chubby side, with a forehead that looks like a road map. When you see him in profile, it reminded me of an "Old Man Winter" picture, with his cheeks puffed out, blowing cold air. I saw a trailer for Red Road in a theater a few years back, and at the end, a guy in the audience yelled out "Red Road!" trying to sound like the kid from The Shining, and everyone laughed. Soooo that's my little Red Road story. This was written and directed by Andrea Arnold, who I'm familiar with for one of her later movies, Fish Tank. I thought that one was excellent, and had been wanting to check out some of her others. What I didn't realize was that this movie is supposed to be part of a trilogy, designed through a concept called Advance Party, where the three films were to be written and directed by three different directors, with the outlines and back-stories for the characters being specified in advance by the executive producers. So these same characters, played by the same actors, would be involved in totally different stories in the other two movies. It seems like things didn't quite work out, though, since this movie was released in 2006, the second one (called "Donkeys") was released four years later to very little fanfare, and the third one is still in developmental limbo. Certain major cities have those security surveillance cameras set up outside in public areas. North Glasgow, in Scotland, apparently has a bunch of those cameras, and Jackie is one of the people whose job is to monitor them. One day, a man shows up on one of her monitors, and the music tells us she knows that person, even though we have no idea who he is just yet. The setup is quite a bit like Gigante, and early on, I was trying to make the characters fit into the plot of that movie - that is, I was thinking Jackie's lonely and stalking the guy because she's in love with him. But, even though she does spend most of her time alone, that's not what's happening. The atmosphere in the early stages is extremely foreboding. It's mostly the score, with an electronic squealing that sends shivers up your spine, but the image of Jackie alone in a dark room in front of dozens of television sets has a creepy science fiction feel to it. I was loving that. And it's cool how they drop little clues for you along the way. For instance, it gradually becomes clear that even though Jackie knows who the guy is, he doesn't know who she is. Now, by the halfway point I had an educated guess about what was going on, and that turned out to be pretty much correct, but I still didn't fully understand Jackie's motivations or what she was going to do next. So I was still interested. Unfortunately, the payoff isn't quite as amazing as I would've liked it to be. It mostly makes sense, although you really have to avoid thinking too hard about it, and the acting is great, but that creepiness and nail-biting suspense very much fades away. These are both good movies. I feel like I've had to make this choice a few times already: the one that's solid all the way through, or the one that's really, really good for the first half and then falls off for the second half? I'm picking Red Road this time, because it's not like it becomes actively bad partway through. Also, one of the questions I ask myself is "If you were going to show one of these movies to a friend, which one would it be?" and that's definitely Red Road. The average person is going to enjoy the security camera story more than one about Talmudic scholars, I think. WINNER: UNITED KINGDOM

I noticed that, too. Was wondering which came first: The Wyatts or the film? The film premiered at the Toronto Film Festival in September 2011. Several people who saw it told me it was great, which made me want to see it really badly, and then Lionsgate bought it and sat on it for two years. So, to answer your question, the film came first.

I was also noticing that the confetti wasn't falling in the ring. (Although I was expecting a longer Bryan-Orton match because of that.)

2 things that I don't think have been mentioned yet: - Seems to be a trend of Bryan lifting the finishes of Chael Sonnen fights. He did the missed spinning backfist sequence with Punk last year or whenever it was, and then the guillotine choke from this weekend. - While it could develop into a new killer finisher, the knee for the finish in Bryan-Cena sort of signalled to me that there would be a MITB cash-in. Kind of like when Cena won an Elimination Chamber match with a rollup as the final fall, which was a bit of a weird flat finish, then Edge cashed in on him.

Well, the screenshot kind of gives away the video here, but yeah.