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Archive for the ‘Comic strips/Super heroes’ Category

Glass

Monday, January 21st, 2019

Like many of you I was a pretty big fan of M. Night Shyamalan’s UNBREAKABLE when it came out in 2000. It was a different time. One year after THE SIXTH SENSE, the idea of Shyamalan as a master of suspense was not a punchline, and quiet, sad Bruce Willis characters were fairly new territory. It had only been about a month since the very first X-MEN movie came out, and would be years before Batman began and the Marvel Cinematic Universe followed, so when we were blindsided by the opening title card of oddly useless comic book statistics, and Samuel L. Jackson (THE SPIRIT)’s character proceeded to make grandiose generalized proclamations about the comic book mythology, it was semi-forgivable. The ads gave no hint of this, but the movie took the idea of super powers and put them in a grounded suspense thriller context that felt like a pretty new combination of flavors at the time.

Sixteen years later Shyamalan had been a laughing stock far longer than he’d been a respected auteur, and the popularity of SPLIT counted as a comeback. Though I found the “oh, this was actually a super villain origin story” ending a little anti-climactic, I thought most of the movie was effectively creepy and I was really impressed by James McAvoy’s playful turn as the many personalities of “The Horde.” And of course I enjoyed the wacko reveal at the end that it was I DON’T THINK THIS IS A SPOILER ANYMORE taking place in the same universe as UNBREAKABLE.

Now, finally, Samuel L. Jackson is… GLASS. Except he gets a “with” credit. McAvoy gets top billing, because he does the most acting, by many different meanings. (read the rest of this shit…)

Spider-Man: Into the Spider-Verse

Thursday, January 3rd, 2019

SPIDER-MAN: INTO THE SPIDER-VERSE is the 7th motion picture starring Spider-Man (not counting unauthorized Turkish ones), the second Sony In Association With Marvel movie of 2018, and probly only the third biggest Marvel Comics movie of its year. But I honestly think it’s revolutionary. Not necessarily for super heroes – its story of colliding alternate dimensions is clever, but built on familiar comic book traditions – but for animated features. Somehow Sony, who had been considered so clueless about what to do with Spider-Man that they had to farm him out to Marvel, found people who knew how to celebrate the vast history, meaning and potential of the character in a completely new cinematic way.

So much has been done in computer animation since TOY STORY. There have been many great achievements in the form, including two funny super hero movies in the INCREDIBLES series. But the kineticism and print-inspired graphic playfulness of SPIDER-VERSE feels completely new. The Spider-men-and-women run and flip and swing and glide in exaggerated splash page poses true to the history of cartooning but rarely possible in computer models. They’re (mostly) rendered in three dimensions, but with line art details and outlines and Zip-a-Tone dot shading. Some shots or characters are done in traditional hand drawn animation. Backgrounds sometimes have spray paint coloring in honor of the movie’s graffiti writer protagonist. Comic book description boxes, sound effects and motion lines – most importantly Spidey-Sense wiggle lines – appear on screen. The filmatism includes split screens, pseudo time lapse, jump cuts and hotshot flying camera moves that seem more at home in this cartoony animation than in the special effects movies where they have to pass for live action. (read the rest of this shit…)

Aquaman

Friday, December 28th, 2018

AQUAMAN is about a Superfriend, but it’s much more than a comic book movie. Arthur Curry (Jason Momoa, Baywatch) is the son of a lighthouse keeper (Temuera Morrison, STAR WARS II, THE MARINE 2) and the Queen of Atlantis (Nicole Kidman, BMX BANDITS). After his mom was taken away and possibly killed by her kingdom, Arthur grew up a landlubber, but with some clandestine swim and fight training by the vizier Vulko (Willem Dafoe, SPEED 2: CRUISE CONTROL). Like Arthur, the movie is a bridge between two worlds, that of an action movie and an epic fantasy. And Momoa, having been so good in BULLET TO THE HEAD and BRAVEN, but more known for Game of Thrones and CONAN THE BARBARIAN, is the perfect actor to do that.

Arthur, a.k.a. The Aquaman is a beer-stein-pounding lout and freelance swimming vigilante living in a small coastal town. In the opening he rescues the crew of a submarine from high-tech pirates – his version of stopping a grocery store or mini-mart robbery. Though he can communicate with fish, he’s your basic rowdy tough guy complete with black duster and slo-mo glory shots accompanied by rockin guitars just this side of “Bad to the Bone.” So he’s resistant to all this heir-to-the-throne-of-Atlantis shit, but by the end he’s given the beast-riding, lightning-throwing, fantasy painting god opportunity that CONAN failed to provide for Momoa. (read the rest of this shit…)

Venom

Friday, October 19th, 2018

VENOM is the red-headed step child of 2018 comic book movies. It’s in the off-brand world of Spider-man supporting characters still controlled by Sony but not allowed into the official Marvel Cinematic Universe. It’s a character that was hugely popular with a certain type of dude twenty-some years ago, but not really in line with current tastes in super heroes, and arguably having lost some stature after being played by Topher Grace in the unpopular (though I liked it) SPIDER-MAN 3. And many have noted that the script – credited to the diverse trio of Jeff Pinkner (THE AMAZING SPIDER-MAN 2, THE DARK TOWER), Scott Rosenberg (DISTURBING BEHAVIOR, KANGAROO JACK) and Kelly Marcel (SAVING MR. BANKS, FIFTY SHADES OF GREY), based on the character by David Michelinie (made Tony Stark an alcoholic) and Todd McFarlane (SPAWN) – doesn’t seem that different from what it would’ve been if this was made in the late ’90s.

Let’s not get carried away though. The digital FX are like ten thousand times better than SPAWN’s, and you can’t call it a ’90s throwback if it’s not copping the style of THE CROW. This is filmed in normal locations and the end credit songs are by Eminem and Run the Jewels instead of, you know, Incubus or whoever it would’ve been. (read the rest of this shit…)

Avengers: Infinity War

Monday, April 30th, 2018

(Honestly it would be hard to spoil everything major that happens in this movie, because it’s hard to keep track of it all. But this review is loose and reckless with SPOILERS)

I learned in 2012 when THE AVENGERS came out to never underestimate Marvel. So on the third AVENGERS movie, INFINITY WAR, I figured they could pull it off – they could combine most of the main characters developed over 17 previous movies (people from the IRON MAN movies, THE INCREDIBLE HULK, the CAPTAIN AMERICA movies, the THOR movies, the AVENGERS movies, the GUARDIANS OF THE GALAXY movies, DOCTOR STRANGE, SPIDER-MAN HOMECOMING and BLACK PANTHER) into one big super hero monster mash. But back when I had first learned that lesson, when they introduced the purple CGI space monster villain Thanos after the credits, I gotta admit I was still skeptical. I didn’t know how they were gonna make that guy cool.

They did it. To me he’s their best villain outside of Killmonger. It’s a cliche to say that comic book characters are the Greek gods of the modern age, but Thanos (Josh Brolin, JONAH HEX) is the villain that most lives up to that description. In fact, one minor problem I had with the movie is that he seems so convincingly powerful I wondered what the hell the Avengers and the Guardians thought they were doing repeatedly going after him. Like, come on Star Lord (Chris Pratt, ZERO DARK THIRTY), why are you pointing a laser gun at this guy and acting like that’s gonna do anything? Are you stupid? (read the rest of this shit…)

Blade of the Immortal

Tuesday, March 13th, 2018

BLADE OF THE IMMORTAL is a 2017 samurai epic from director Takashi Miike. It’s his 100th film! Can you believe that shit? I haven’t gotten into his trademark pervert madman vibe in movies like ICHI THE KILLER, but nothing I’ve seen by him has been a slapdash Fred Olen Ray type affair. There is real effort and craft involved, and he’s made a few excellent samurai films. Instead of remaking an old school chanbara as with 13 ASSASSINS and HARA-KIRI: DEATH OF A SAMURAI this one is adapting a manga that ran for about twenty years, so it’s less classically structured, more unwieldy, with supernatural elements and outrageous imagery (crazy face paint, strange weapons, goofy anime hair).

This aesthetic looks particularly cool in the stark black and white of the prologue, where we learn the bloody, convoluted origins of the titleistical immortal. As a young samurai, Manji (Takuya Kimura, Howl in HOWL’S MOVING CASTLE) was tricked into assassinating a whistleblower. He thought it would right things to kill the corrupt officials behind the scheme, but one was his little sister Machi (Hana Sugisaki, Mary in MARY AND THE WITCH’S FLOWER)’s husband, and the grief drove her insane. (read the rest of this shit…)

Black Panther

Monday, February 19th, 2018

(SPOILERS)

BLACK PANTHER is the first Marvel movie I was anticipating mainly because of the director. FRUITVALE STATION was very good, but of course it was CREED that made me think Ryan Coogler is one of the most promising young directors we have. Best and most miraculous movie of 2015 that didn’t star Charlize Theron with a robot arm. I’d be up for whatever Coogler wanted to do next, but this seemed like a particularly good match for him after CREED’s mix of moving personal drama, immaculate filmatistic style and 21st century pop mythmaking.

#2 reason: Chadwick Boseman. The guy playing the title character shot to the top of my most exciting actors list when I saw his incredible performance as James Brown in GET ON UP. I didn’t know how anybody could pull off playing The Godfather and here is this actor I barely heard of before transforming himself into crazy old man James Brown, young James Brown, all kinds of James Browns. And dancing and strutting and grunting and referring to himself in the third person and pulling it off. He didn’t get all that much acclaim for it, definitely not any awards – somehow he got to skip that step before becoming a super hero.

If you want to call him that. T’Challa isn’t a vigilante or anything, he’s the King of Wakanda, a culture where part of the job is getting supernatural strength and wearing a panther costume to defend the kingdom. It’s like if the president also had to be Superman. What’s cool about this is that Black Panther has to think about things none of his peers do. He has to be a symbol much like Captain America, but with the responsibilities that Thor skipped out of when he turned down the throne. Here he’s challenged to not only defend his rule from a dangerous usurper, but convince his people to shift the direction of the country in order to make a better world. (read the rest of this shit…)

Accident Man

Tuesday, January 23rd, 2018

For those who came in late… The English actor and martial artist Scott Adkins is the reigning champ of low budget action. After catching our eye as the villain-turned-anti-hero Boyka in three UNDISPUTED sequels (2, 3, 4), as well as starring in two NINJA movies (1, 2) and the incredible UNIVERSAL SOLDIER: DAY OF RECKONING, he was clearly the era’s strongest answer to the iconic action stars of the ’90s like Jean-Claude Van Damme – who he co-starred with in THE SHEPHERD: BORDER PATROL, ASSASSINATION GAMES and EXPENDABLES 2. The latter was one of the many times we got hyped up for impending mainstream recognition only to find him playing Knife Guy Who Has Short Fight With Jason Statham. For years people hoped he’d be cast as Iron Fist or somebody in the Marvel Universe, until finally he was in DOCTOR STRANGE – and got beat up by a magic cape.

Little did we know that there was a comic book he’d been wanting to make into a movie since the age of 15, and this didn’t require a big special effects budget or a subduing of his talents. ACCIDENT MAN – starring, produced and co-written by Adkins – is an action-packed, darkly humorous hitman saga based on stories that appeared in the British comics anthology Toxic! in 1991, written by Pat Mills (Judge Dredd, etc.) (read the rest of this shit…)

Justice League

Tuesday, November 21st, 2017

(SPOILERS)

Sometimes, you know, Superman dies, so a bad guy decides to conquer the world, so you have to put together a team of other super heroes to fill in for Superman, but then you decide to bring him back to life, but he seems evil at first and fights you, but then he chills out while you fight the CGI guy, then he shows up. JUSTICE LEAGUE is a perfectly watchable, okay super hero romp, with a hefty serving of the humor everyone thought was missing in the last two Superman pictures, but no more sense, and very little of the gravity or operatic style. Goodbye worshipful awe of Superman, hello green screened-in undercutting gags.

Oh, but don’t worry, when Aqua-Man smashes through a building it’s been painstakingly established that it’s in an abandoned town. That’s the most important thing, obviously.

The invasion foreshadowed at the end of BATMAN V. SUPERMAN: DAWN OF THE LIVING JUSTICE is at hand. Batman knows it because a Geonosian “Parademon” flies up while he’s hanging a thief off a rooftop. I think he was using the poor guy as bait (the things smell fear), but possibly it’s just a weird thing that happens while he’s on the job. I like that when the creature appears Batman and the criminal seem to completely drop their conflict and have a conversation about how fucked up things are since Superman’s death. A little bonding between fellow humans. A nice moment. (read the rest of this shit…)

Thor: Ragnarok

Thursday, November 9th, 2017

Recently some friends and I were choosing favorites between Marvel’s three Chrises. It’s a tough call because Evans (the Captain America one) has the best Marvel series in my opinion, plus he seems like a cool guy in real life and starred in SNOWPIERCER. But Pratt (the Star Lord one) is the funniest and most down-to-earth Chris, and he has the more irreverent Marvel series. I even like his hypermasculine hold-on-I-need-to-roll-up-my-sleeves-so-you-can-see-my-forearms turn in JURASSIC WORLD.

Still, I chose Hemsworth (the Thor one) as my favorite Chris, because here is the most potentially embarrassing of the major Marvel characters, and frankly their least memorable series, but they got this Australian guy I never heard of who looks like He-Man and still was able to fuel the entire first movie on the power of his charisma. I really realized I was a fan when he did Michael Mann’s BLACKHAT. Not only is it a movie I really liked, but it was the first time in a while that one of these new guys displayed the type of manly magnetism that inspired me in the action movies of the ’80s and ’90s. I’m older than him but he made me want to grow up to slick my hair back and do hand stand pushups and read about philosophers.

So thank God his signature character Thor finally gets a movie worthy of his charms. Taika Waititi, the New Zealand writer-director best known for WHAT WE DO IN THE SHADOWS and the great HUNT FOR THE WILDERPEOPLE, completely reinvents the series as a colorful comedy much more in the vein (and sci-fi landcape) of GUARDIANS OF THE GALAXY than of the previous THORs. He quickly makes him funny, destroys his hammer, puts him on another planet and has cyborg Stan Lee cut his hair short. So it’s different. (read the rest of this shit…)