Avery’s Out of Bounds Stout & For Your Eyes Only

Hey there, Drinkers!

It’s almost Thanksgiving so that means it’s time to completely ignore it and watch a random movie! In today’s BAAM, we’re continuing on our unofficial quest to review every James Bond movie ever with For Your Eyes Only and Avery’s Out of Bounds stout. The connection? Skiing! Yes, another James Bond/beer combo tenuously held together by skiing. Some readers may remember that I recap-reviewed this stout a long time ago but I figured it was time to give this bad boy its own post. Also, I just found a liquor store that sells lots of Avery brews out here and I got a little excited. Deal with it.

So let’s hit the slopes, shall we?

For Your Eyes Only (1981) is Roger Moore’s 5th Bond film and is generally regarded as a “return” to Bond basics after the 1979 release of Moonraker (spies in space!). And while nothing about the Bond franchise is truly basic or simple, For Your Eyes Only does have a remarkably simple story and a noticeable lack of fancy gadgetry. Sure there are still motorcycles with machine guns, remote-controlled helicopters and Dick Tracey-esque watch-phones (I guess Galaxy Gear would be a more up-to-date comparison), but more often than not Bond relies simply on his wits and his trusty Walther PPK.

In this film, Bond is tasked with tracking down a British missile control code machine from a sunken ship before it can be sold to the Russians. That’s actually it. Just a good old-fashioned Cold War plot. But like any self-respecting Bond flick, the narrative takes us through the beautiful backdrops of Cuba, Greece and the Italian Alps. And also like any self-respecting Bond flick, the movie features car chases, ski chases, ski jumps, submarine fights, scuba fights, cliffside fights, shark attacks, hockey fights (don’t ask) and, of course, crossbows. I think the main reason this film gets away with such a stripped down plot is simply because the film is largely action sequences. Yes, story is peppered throughout the explosions and chases, but mostly it’s just visual candy. And it’s some sweet-ass candy, if I do say so myself!

Motorcycle ski chase shootout. All done for real.

Of course there are the usual logic and emotional bumps along the way. Like why Bond’s enemies always choose the most outlandish and least-effective methods of killing him. Or why a Greek smuggler allies with Bond so readily. Or why a really young figure skater wants to bang every older man she can get her hands on (and why is she even in the film at all?). Or, most importantly, why Bond lets  a Russian general, intent on buying a piece of valuable British military hardware, just turn around and fly home? WHY?! But you really can’t let yourself get bogged down in these kinds of questions of logic or reason or sense, otherwise you’d never enjoy the movie. And Bond movies, at their core, are simply meant to be enjoyed. Nothing more, nothing less.

When movie posters were blunt

And how about our Out of Bounds Stout from Colorado’s own Avery Brewery? Was it similarly action-packed? Well, it was definitely malt-packed (that’s a thing now, go with it). Pouring a gorgeous chocolate-colored two-finger, this stout is black as night! I held it up to a light (as I usually do) and barely any light passed through. With a sniff, you’ll get strong notes of chocolate, coffee and toffee that will have you drooling. And you’ll get those notes again when you sip, but they’re remarkably well-balanced. Moreover, the mouthfeel is super smooth. Combined with a low ABV 6.3%, the result is a delicious beer that is easy drink and will be reliable over two or three bottles. Definitely a winner.

So there you have it, folks. An out of bounds pairing with For Your Eyes Only and Avery’s Out of Bounds Stout. A big, punchy combo that goes down easy and is perfect for these chilly nights (by Los Angeles standards).

And as always keep drinking, my friends.

Tonight’s Tasting Notes:
Avery’s Out of Bounds Stout:
-Deep black pour
-Bold, delicious malt flavor
-Easy to drink despite the body

For Your Eyes Only
-So much crazy action
-Simple story
-Good fun but not a Bond-best

Avery’s The Reverend Quad & The Exorcist

The power of Christ compels you, Drinkers!

That’s right, today’s pairing is Avery Brewing’s The Reverend and the 1973 classic The Exorcist. And let me tell you, coming from this mildly tipsy Jew, this Catholic combo was quite the show! So grab your holy water and hang onto you robes, BAAM is in for a devilishly good time!

The original 1973 version of The Exorcist is one of those films that most people classify under the “you must see this” genre. Actually, I’d say it’s probably one of the few horrors that fall under that  esteemed category, alongside  the likes of The Shining and The Ring (he said reluctantly). In fact, what all of these “must-see” horror movies have in common is how horror is simply the premise on which great filmmaking is produced. For The Exorcist, the movie isn’t particularly scary and isn’t focused primarily on the gory details of Regan’s possession. Rather, it uses the lens of horror to perform a psychological study on its characters and their demonically-strained relationships. The end result is a film that barely addresses the demonic arts for at least the first 45 minutes of the film and is largely a slow viewing experience. In fact, the pacing is so slow (and the dialogue mixing so…1970’s) that it’s quite difficult to get a grasp of where the movie is headed and how each character ties in. At many times, I found this ambiguity to be quite frustrating. As a modern viewer, I wanted a direct and obvious connection between the events of the first 10 minutes (which feel like something out of Indiana Jones sans action) and the events of the rest of the film. I also wanted clearer explanations of each character and their relationship to one another. Who are all these people living in Chris’ home? Who are all of priests that Father Karras? For the majority of the film, I was feverishly trying to connect the dots between character, place and event. Only until the end did the pieces (sort of) fit together, but not exactly to my complete satisfaction.

The significance of this statue is never really explained

What I also found frustrating about this film was its focus and subsequent abandonment on its principal characters. The beginning of the film focuses exclusively on Father Merrin who digs up something scary in Iraq. Then the film shifts its attention to Chris MacNeil in D.C. as she tries to understand what is happening to her daughter Regan. Then about two thirds of the way through the film, it shifts focus once again onto  psychologist/Jesuit priest Father Karras who struggles with his mother’s death while also calmly chatting with a demon-child. While the stories are carefully woven together, the end result is one of frustration and confusion, as you’re never really sure to whom you’re supposed to connect. Beyond not wanting Regan to remain possessed, it is  hard to care about these characters when we abandon halfway through the film. Briefly, on another note, I found the pace of the editing to be a bit inconsistent. At times, we were left with these uncomfortably long, lingering shows while at other moments, we would abruptly (and sometimes prematurely) smash into other cuts. That’s more of a personal taste thing for me but I wanted to point it out.

Dis bitch scary as Hell!

But I don’t want you to think that all of this griping means I did not like the film. On the contrary, the more I pick apart a film on a (pseudo) intellectual basis, the more it generally means I liked the film. For one, The Exorcist is expertly shot. Every frame brings the viewer anxiety and heightens the unsettling nature of the subject. Moreover, setting the muddy dialogue mixing aside, the sound effects are quite incredible. All audio that is not expressly human is accentuated and exaggerated. The end result if an eerie mix of every day sounds that make your skin crawl. And super scary demon-child voices. Quite a feat. But really, overall the film is still a classic. It is quite unsettling and an impressive reminder of what the horror genre can achieve when put in the hands of dedicated and adept filmmakers. It’s also fun to see how many times the girl’s mother says “Jesus Christ!” or “Oh God!” throughout the film. Nice little touch there.

Fun Fact: This famous scene was not actually in the original cut but later added to remastered versions.

And our aptly paired beer from Avery Brewing? I have to say, The Reverend is an interesting beer, to say the least. This quad pours a cloudy, coppery-brown with modest one finger head. The Reverend gives off  a strong malty nose but your first sip may surprise you. For sporting a heart 10% ABV, the beer itself does not have a heavy body but is rather a tame mix of roasted caramel malt, molasses and fruit (cherries?). Those with more defined palettes will undoubtedly pick up hints of Belgian yeast and vanilla but I am not a gifted drinker. Suffice it to say that this beer is subtle, complex and is best consumed slowly. My 22 oz. bomber lasted me the two hour duration of the film (disclaimer: I’m a slow drinker) and I still felt the booze just a little when I stood up. Overall, the beer fit the movie quite well. Both are complex and multi-layered but are not above being simply enjoyed at face value. While The Exorcist can get a bit slow or frustrating at times, The Reverend was always there to keep me in good spirits.

Thanks for reading, drinkers! You can always join the conversation by leaving a comment, subscribing or following me on either Facebook, Twitter or Untappd.

And as always keeping drinking, my friends!

Tonight’s Tasting Notes:
Avery Brewing’s The Reverend Quadruple:
-Cloudy, deep cooper pour
-Very malty nose
-Notes of caramel, molasses and cherry

The Exorcist:
-Expertly photographed
-Unclear who’s film this is
-Slow but satisfyingly unsettling