ScoJo as Black Widow. Um, Thanks?

Superherohype reports from another report that ScoJo is a lock as Black Widow.

Wasn't expecting this, and frankly don't know what to think. Stunt casting? Really good agent? Oh, for sure, I can stare at Ms. Johansson for hours and find her striking and immensely photogenic. The thought of her traipsing around with grappling hooks and machine guns is pretty exciting... However, the inaugural Iron Man set a pretty high standard for acting in these silly superhero flics we love, and I'm not going too far out on a limb to suggest someone might find themselves a tad behind in class. I have seen Johansson in many a film and she can get the job done, I far from dislike her on film. But Woody Allen maven or not, as far playing opposite Downey Jr., I'm having a hard time seeing her as more than attractive in black leather. Shame on me, I know, but I will be happy to be proven wrong.

(art in the above by Dan Brereton. If you know the photographer for the lovely companion shot, let us know!)

X-men Origins: Wolverine

Oh, Fox. What have you done? Yeah, the new trailer sure has a lot going on and would most definitely be described as "kick-ass," but what's really going on here. Well, this set of profiles from USA Today seems to indicate that almost everyone in this film has super-healing ability. Hmmm.Really?

All comic book geekery aside (which includes straying from canon--bone claws anyone?), let's just think about that. Everyone heals quickly. Now, this obviously takes away from Logan's uniqueness. Afterall, it is that ability which helped him survive the process which fused adamantium to his bones. But the other effect this has is what you will be seeing on screen; yes, all those "gee-wiz" action scenes the movie is selling, and most likely all it will have to offer.

You see, when no one can really get hurt or at least suffer something permanent, it's an excuse to stage over-the-top action in the hopes that the audience will think, "wait, that's impos--oh yeah, they can take the damage." As I've always believed that action scenes are little stories in and of themselves, if the repercussions of these mini-stories, be it physical or emotional, can't be felt beyond those scenes, the story ultimately suffers.

This is the last film properties that Marvel "farmed" out to another production company before taking the reigns of their franchises. Now that Fox has that pesky Bryan Singer out of the way, who fought to keep rosters down and the action more grounded, we've got mutants coming out of the woodwork, shooting, jumping, skipping, roaring their way across some odd millions of dollars in effects. With all that's going on in that trailer, I have my doubts that the film will have time to breath some life into the characters. I could be wrong, but haven't we learned anything from X3?

Anyway, Gambit's in the film....

Replicant or Terminator

The Terminator Salvation trailer came out this week. Certainly a thrilling trailer with its gritty imagery punctuated at perfect points by the rock soundtrack. It looks to be the action movie it aims to be. However, are they really going to tackle this thing about a Terminator who doesn't know it's a machine; essentially similar to Replicants in Blade Runner? Considering the mythology already established (and this is assuming the filmmakers are), how does "thinking T-XXX" fit into the canon? I question whether this is the proper theme to explore when there is the much more interesting concept of John Conner and Kyle Reese becoming great friends and great fighters. After all, this is essentially the only time John Conner will ever get to spend with his father. And it's easier to come to an ending that way since there is something already previously established. Where does Terminator Salvation intend to end up? I hope it won't be "sequel in a box."

And the Watchmen movie will be...?

If you're at all like me, you've dreamed of a Watchmen movie for a long time. For that brief period when Terry Gilliam was attached, I believed the book would get the movie it deserved. But Hollywood never quite worked it out, and that was a fan's biggest fear. The last thing any lover of the novel would want is some hokey summer blockbuster or lo-rent direct-to-video. My dream held vision of a Watchmen film that contended for best picture. A bit much to ask, but hey, it's Watchmen.

Well, Hollywood is right good and fucked beyond redemption, so as a blanket attitude I don't expect much. That's why the drizzling of info and imagery from Zack Snyder's production surprised me. That guy is trying to do something as best he can, and its starting to look like he's going to pull it off!

But... as I wrote prior, I just finished re-reading the novel. How the fuck is this going to be adapted to a movie?

Is it really going to follow the story? Can screen time be taken up by vast segments of pure dialog? Will they at least keep all the best dialog, like Dan's thoughts about their past to Laurie? Doctor Manhattan remembering his life? Rorshach's explanation of his origin? Ozymandias' crazy awesome explanation of his master plan?

How do you adapt the nine-panel grid narrative of the comics to much more linear film storytelling. Is the movie going to skip around in the timeline at random intervals or will it be told from front to end?

What are they going to cut out? What are they going to add?

How come Nite Owl looks all buff and cut like Batman? He's supposed to be kinda out of shape, that's part of his charm as he gets back into the action...

Will they keep the ending? Or what did they change it to??? Will it work as well?

It it just an adaptation of the novel? Are they going to try any meta storytelling in regards to film or hollywood? Will the symbolism and metaphors be culled direclty from the novel or instead reflect on the movie? Will they go highbrow or lowbrow? Will there be a car chase? (Never underestimate Hollywood's ability to insert a car chase into a movie)

I think that while I may be looking forward to the movie, I'm really looking forward to some insane director's cut 5-hour DVD that I can sit and watch with the book in my hands. Comparing frames and shots to the comics panels, all geek-like... at least if the movie is half as good as we hope it is.

"From Hell's heart... I stab at thee."

Ricardo Montalban was many things. For me his most glorious role was that of Kahn in Star Trek II. Forever one of the best science fiction movies ever made, and he anchored that story with a level of acumen and bad-assery rarely matched.

Pineapple Express

In the midst of all the blockbuster insanity, Pineapple Express is a nutty comic desert on the tail end of an incredible summer of movies.

There's not much to say, tho if you enjoy the Apatow brand of humor filtered through Seth Rogan's, um, "Seth Roganness," you'll likely enjoy this flick. There's also action on par with your star-fueled buddy cop movie. So much so that I can't tell if Pineapple Express is a comedy wrapped in an action movie or an action movie wrapped in a comedy. That may not make a lot of sense, but the movie really doesn't either. That's why it's fun, you're just along for the ride. And by the end you'll probably want a joint or a bong hit, that is if you weren't already lit on the way in.

I really have to commend the film's mindbogglingly strong pro-marijuana agenda, it's mildly surprising such a film could be made and offered in such wide release. Add on a strong box office showing and its a wonder how any anti-pot crusaders could still be taken seriously. Obviously Pineapple Express is a caricature, but outside of itself it goes a bit towards highlighting what a ridiculous waste of resources are focused on busting up such a harmless pastime. I doubt it has any political leanings as such, at the end of the day Pineapple Express is a harmless (and very funny) pastime of its own.*

*See also: Weeds, which continues to be one of the best shows on television.

Wanted

Ug. Wanted is one of those movies that makes you want your money back in return for the time you had to spend sitting through it.

Thing is, I put off seeing it, then I kept hearing how cool it was so I thought I'd check it out. I heard it compared to Fight Club and The Matrix. Hell, no. It is not remotely close to the clever, de-saturated nihilism of Fight Club and leagues behind what made The Matrix the stylized, FX revolution of its time. As a film it can't even be casually grouped into the visually "cool" as far as I'm concerned, I don't think there was one memorable sequence that stands out as unique or inspired. By the end of the movie things devolve into the absurd and any hope of buying into its fantasy universe is long gone. Perhaps viewers who hail Wanted as something enjoyable just haven't seen enough good movies.

Originally all I knew of Wanted was its comic book origins, but as far as I can tell the only thing the movie has in connection to the comics are a few of the names of the main characters. I had thought even the base premise of the comic would bee good fodder for a summer movie, but sorry, no. It's like the produces actually went out of their way to take out the most interesting concepts of the comic and throw together their idea of a "high octane action film," thinking one or two visual gimmicks could see them through. And I hate to break it to you, but mid-air bullet-on-bullet action played it self out in the early 90's via Hong Kong gangster cinema. I'm trying to recall the first time I saw opposing trajectory bullets collide... Was it Gun and Rose? Well it was cool then, and it could no doubt be cool again but Wanted was not able to join the ranks of cinematic gun fu.

Brought into the ring of all that's been offered this summer, Wanted does not play.

Hellboy 2: The Golden Army

I DID catch Hellboy 2 when it opened and enjoyed it alot. It went in some different directions than the comic mega movies that surrounded it, but that's what made it refreshing. The Hellboy movies in my opinion are only loosely based on the comics, pulling the core concepts and characters into the theatrical realm. But how that's done is something we rarely get to see.

Guillermo Del Toro is a cinematic visionary-- but I don't say that in the way of some overused adulation. I mean it literally, where here is a man who has a specific vision for what he wants to put on film and executes it beautifully. By doing so he begins to create his own version of the Hellboy mythos, not that what Mignola has done in book form could ever really be replicated in another medium. There are so many great things to watch on screen, and it comes in a steady stream of the bizarre and fantastic. And what's so great about it all is that it filled me with the thoughts of all the great fantasy movies they don't seem to make anymore. Labyrinth, Legend, Dark Crystal, Hawk the Slayer, Willow, Neverending Story, Baron Munchausen, Time Bandits (all from the 80's coincidentally, I bet there's some sort of scocio-economic connection there). Hellboy 2 is packed solid, with virtually no wasted space. The shots are wide and long when they should be, then close and personal to bring it home. Everything from the costumes to the creatures to the sets is pure eye candy.

Prior to this Del Toro brought us Pan's Labyrinth, which is also an amazing looking film, but it's matched there by dread and bleakness. Hellboy 2 is fun and lively wrapped around moments of thought and pathos, and at times sheer wackiness. Yea... I probably could have done without the Barry Manilow, but in the end that is just part of the oddity of it all. The story behind resurrecting the Golden Army is solid and awesome to watch come to fruition. The action sequences are balls-out, something I wasn't expecting at all. The last fight scene between Prince Nuada and Hellboy is amazing to watch, I hadn't felt that sense of unexpected, wide-eyed awe of a duel probably since Darth Maul's showdown in Phantom Menace.

The cast brings the characters alive, clearly much more at ease in their roles since the first film. As Hellboy, Pearlman keeps his wit and aplomb balanced keenly with an outsider's self consciousness and need to be accepted. I was also happy to see much more of Abe Sapien, well 'cause he's just awesome. Doug Jones even wins his own voice back this time around. Selma Blair is always someone I like to see show up, tho her character Liz definitely seemed to be short changed, waffling between shrill crow and all-around second banana. The biggest treat for me was Luke Goss' Prince Nuada, who's character I just wanted more and more of. Tho the title says otherwise, I say he was the real star of the movie.

Hellboy 2 is way better than the first in all these respects, both in story and how we see it told. I hope its success is an opening for more great fantasy movies to come.

The Dark Knight

Here are some thoughts that have been with me since seeing The Dark Knight. They are not particularly organized because I'm still kind of speechless.

See it in IMAX if your city has one. Driving a reasonable distance would be well worth it.

The Dark Knight makes Batman Begins seem like a light, simply constructed prologue.

Commercials and trailers thankfully have no bearing on experiencing this film. There was at least a full third of the movie that has had nothing promoted or hinted at in any way.

There have been some pretty cool comics movies lately but they are looking a bit quaint in hindsight. The level of complexity and climactic tension that the story builds to rivals any film since I can't recall when, superheroes or no.

You are probably aware the movie features Harvey Dent. I won't be spoilerish, but Holy. Fucking. Shit.

Speculation: The Joker will return. He will be recast and likely recast well. But it will be no Heath Ledger. That guy is getting an Oscar for what sadly was the performance of his life. That sounds kind of gushy, tho judge for yourself.

If a movie could have sex with you, The Dark Knight would ruin you for other movies. Okay maybe that's a bit much. I recommend seeing this movie.

Wall-E makes me happy

Pixar, Pixar, Pixar.

Make no mistake about it, it is all Pixar and whatever magical aqua vitae they brew throughout their production process. And I know it's not all perfection in moviemaking with no cracks or flaws, but it is a hell of a diamond they crank out, leagues beyond the competition. This was made overwhelmingly apparent by the dreck I was forced to sit through for the preview trailers, each a sad offering in the 3D animated genre that Pixar itself created.


For Wall-E, it's just another reason to gush and laud over an unequalled level of art and creativity that never seems to stop coming from the parties involved. Some people like to talk about the solidarity of the story, others the characters, and others the technical proficiency of the animation and environments. Me, I tend to lean towards the art itself, and the design therein. Wall-E is a gorgeous film, finding an abstract beauty in the opening of Earth's sad legacy and evolving into a razor sharp Asimovian futurist paradise. The forced warmth of Wall-E's existence on a bleak Earth is told not only by character but by color, flawless in execution and full of endless lessons in mood and emotion told through palettes, lighting, and composition. Transitioning to the stark setting of deep space among the falsely active dormancy of the human society we are shown the cold but cool precision of an automated lifestyle; a design sense as detailed and coordinated as the robots that run it. God damn is it pretty.


The story is one that moves along at a steady pace and grows on you stronger and stronger, eventually moving into the trademark, frantic energy of a Pixar finale. The story is completely character driven, focused solely on the titular Wall-E and his appeal. This despite that fact that there is no dialogue for what might be the first hour of the film, such is the strength of Wall-E's personality, which I would think in the hands of lesser men would have come across as schmaltzy and cliché. Yet, man if that Wall-E isn't a cute little bugger.

Lastly I would hope-- hope with all my heart-- that the real message of the film sinks its teeth into the younger generations that watch it, keeping a death grip on their precious little psyches long enough to change The Way We Do Things. If that can be achieved, I will gladly accept the world of Wall-E as fanciful fiction instead of distinct probability.

----

On a supplementary note to Wall-E, the opening short, Presto, may be one of the flat-out best cartoon shorts I've seen in my adult life. While drinking in the pure fun and comedy that is Presto, it really is a shame to think of what passes as children's entertainment these days. What with executive and marketing driven network fare that has sucked all the awe and joy out of the average, contemporary cartoon. Presto calls back to the days of Warner Bros. gold, where we must remember that cartoons were made for the primarily adult movie going audience, it's just that they were so good it was impossible for children not to enjoy them, too. Sadly it was all downhill from there (as John K. likes to say, "the hippies ruined everything"). Thankfully with Presto we see that the true cartoon is alive and well, and in very good hands. I can only look forward to more.

Incredible Hulk: Smashy, Smashy

What is weird about The Incredible Hulk is that it's not a relaunch, reboot, or a "requel" as it's been called, in suspect to "make up for" Ang Lee's 2003 version (which has its own batch of weirdness). What we got here is just another in a long line of Hollywood trends: turning and old TV show into a movie. This latest version of the Hulk doesn't even try to hide its roots in the Bixby series of days past, it's a flat out continuation. In some ways it's disappointing, namely the origin. I always thought the Hulk had a great origin for film, but that's yet to be adapted at all. As has been noted in other reviews such as The Beat's, the Hulk's origin is told in an opening montage that likens to a flashback, for a movie that never existed.

But going in with low expectations, as I did, has its advantages. The movie isn't that bad-- I was fairly entertained. I don't think it has the impact of Iron Man, but there is plenty for any action film aficionado or comics reader to like. Almost too much, I can't imagine someone who knows nothing of the Hulk following more than the broadness of the story. What I felt was that the fanboys finally got everything they could want from a comic book movie, but at the expense of having it be anything more than a by-the-numbers adaptation.

There is tons of "Hulk Smash." It's close to Transformers in the wanton destruction of property department. And you know, it's fun to watch the Hulk go all aggro and rip cars in half and throw tanks around. A nitpick of mine is that this movie had the Hulk use shrapnel as weapons more often than not, which to me is a transparent translation of things to make into toys, but whatever. Hulk doesn't need accessories, Hulk has fists!



So while it's neat to watch the ridiculous CG money pit Hulk against Abomination, what I missed was any attempt to actually define what the Hulk is and its relation to Banner. A huge part of the comics, when it was at its best, was the turmoil of Banner dealing with the Hulk actually being a part of himself, a gamma-born psyche that fights to be set free without limits. The movie treats the Hulk more as an unwanted super power that Banner is afraid to unleash not because of what it represents, but for the superficial damage it does. Maybe I am asking too much from the new wave of comic book films.



As for the Hulk itself, he's just a big, nice, expensive CG animation that bounces around and hits things. He doesn't have the pathos of Gollum nor the subtlety of Yoda. Sure they try to hit you over the head with their attempt at that in a couple of scenes, but it's lacking. Strangely Abomination has more personality, due likely to his extra non-human deformities. Though I must say I am extra critical in this department, and for all intents and purposes 'ol Jadejaws is a commanding presence when roaring in full theater surround sound.

Clearly after Iron Man and now The Hulk, movies are the new Marvel. Which makes me wonder why the Fantastic Four movies are so awful. Talk about needing a reboot!

BONUS! Hop over to io9 for a look at some concept art of Hulk and Abomination. "Frankenstein Hulk" would have been awesome!

The Hulks that Almost Were

Stan Winston

I read that Stan Winston passed away over the weekend (Tim Russert's passing did not go unnoticed, either). Because of Star Wars, I grew up devouring everything I could about film special effects, from the classics into the digital age. Winston's name was ever-present with the likes of Harryhausen, Dykstra, and Tippet. The list of groundbreaking and just plain awesome films under Winston's magical touch is simply amazing. Terminator 2 may be my favorite of his, but right up to Iron Man he went out with a hell of a bang. Film and how films are made is due in no small part to much of his work.

Stan Winston was the man. And if he wasn't, he just built one.

Special-Effects Pioneer Stan Winston Dies at 62

Speed Racer has blown my fragile, little mind

Really, nothing I write here could explain what it is like to see this movie. I believe most will either hate it or love it, I don't see alot of grey area. Personally, I loved it. I am a big Speed Racer fan and this movie has Speed Racer all over it, and in all the best ways. I told one of my friends it was like a love letter. And not like a touchy-feely Superman Returns Hallmark Channel jerk-off letter, but more of a baby you're the hottest thing on the planet so ditch your boyfriend and lets get it on kind of letter.

I have seen some crazy ass shit, but man, this movie is some crazy ass shit. Yup, story good (really good). Cast, great (really great). Music, sweet (really, really sweet). But the visuals are out of freakin' control and it truly has to be seen to be believed. It doesn't matter if this movie was live action or animated, because within the first five minutes it's clear that they are one in the same and it doesn't stop. Cause, see, first they throw you some crazy ass shit. Then you're thinking, man, that was some crazy ass shit but then some even CRAZIER ass shit starts going on. And you're like whoa, that was some seriously crazy ass shit, etc., etc., for the next two hours. So you are either going to totally dig this or pass out in an epileptic seizure.


The Wachowskis, there's some heated debates about those guys and what they do. I've been in many of them on both sides. But what they did here took huge balls. Giant, monster balls. I don't know that they have "pulled off" anything to a greater renown than a wild-looking popcorn flic, but in Speed Racer I fell hook, line, and sinker.

Speed Racer Movie Site

Iron Man: Ten Kinds of Awesome

Best.
Superhero.
Movie.
Ever.

UPDATE: Okay, now that I'm down off of my Iron Man high, let me break down the awesomeness.

10. Cocktails! I don't know that the general movie going public is aware of what comics readers have grown up with-- Tony Stark eventually evolves into a raging alcoholic. I can't imagine this not coming into play should more movies make to to screen. That being the case, it is a rare scene in this inaugural outing that Stark is shown without some kind of drink in his hand. Nice.

9. In jokes. Not unlike the above, plenty of references to Iron Man lore far and wide.

8. Toys. The movie is full of male fantasy power toys, from private jets with stripper poles to sports cars to the armor itself. Who wouldn't want to suit up in an impenetrable, flying, war machine? Aside from the gaping hole in your chest, I mean.

7. Script. It's very well written. No, it isn't Shakespeare, but in the class of many superhero flics (or even just your average summer blockbusters) it's tight. There's plenty of Star Trekky techno babble, suppressed romantic sub-plot, and tack-sharp one-liners. The funny stuff is funny (it's got more humor than I'd have guessed) and the serious stuff is serious. And while the movie as a whole plays out in Hollywood beats, at least it doesn't insult me.

6. Pepper Potts. Usually Gweneth Paltrow is a reason not to see a movie. But here as Stark's ever-present Girl Friday she's great to watch. Her and Stark's relationship through the course of the film is a genuine development, and Paltrow is a surprising and pleasant feminine presence in a testosterone dominated story.

5. Quirk. There is some just plain out weird shit in this movie. Redonkulous. Not just the odd, fumbling "I've got to learn how to be a superhero" kind of thing. The suspension of disbelief has to be, uh, suspended fairly early. The science fiction isn't exactly as grounded as it is thrown at you with flagrant plausibility. This is where I thought the movie would lose me, as I'd have preferred some hard-core science, but instead it takes more of a roller coaster approach with extrapolation of technology we see every day. And honestly, when Iron Man is bringing the thunder, you don't really care.

4.Favreau. This movie was directed by Jon Favreau. Really? Elf Favreau? Zathura Favreau? He will always be the swinger we know and love, but I tell you he put together one hell of a big-budget Hollywood blockbuster while keeping a pretty true core of what makes Iron Man so cool. The acting in the movie from all players is fun and tight, and I'm guessing Favreau has alot to do with that. Throw in the management of all the crazy effects sequences and I say "Good show, old man!"

3. Stark. Robert Downey Jr. owns this role. It doesn't hurt that's he's surrounded by a great cast, either.

2. Kick-Assery. Dude, Iron Man kicks so much ass in this movie. Actually I take that back. He didn't kick enough ass, there really needed to be more ass kicking. Tony Stark is indeed the billionaire playboy, but in that suit it is all motherfucking business. MOAR!

1. The Armor. It looks sooooooooo cool! Face it, the armor was what was going to sell this movie. And the prospect of future movies with the built-in gimmick of new armor is like money in the bank.

I know the movie wasn't perfect, not that there could be a perfect movie. There's a few elements that border on cheese and Hollywood screenwriting business-as-usual. But I sure enjoyed it, and it's by far the best representation of a comic to date. Prior to this I only held Spider-Man 2 and Batman Begins in such high regard, nowadays (for me) Iron Man is the one to beat. Give me sequels! Screw the Avengers, 'cause I guarantee they're gonna screw that one up, just give me more Iron Man.

Get your stinking paws off me, you damn, dirty ape!

Arguably one of the best lines in movie history. A friend once told me about his experience seeing the actual first run theatrical release of Planet of the Apes back in '68, when all people knew of it was a crazy trailer and its bizarre premise. By the point in the film where Taylor is strung up about to be lynched by the apes, people were kind of freaked out by the striking and fearsome reality of the ape society. But upon delivery of that signature line, the crowd "went fucking nuts." The theater stood up and cheered as if it were a stadium event. In context, to that point in the film's fiction no human had ever spoken to an ape, which makes the line ten times more powerful. To witness that as a moviegoer in the theater for the first time, what an amazing show that must have been.

Heston's portrayal of a stalwart astronaut brought to a future never meant to be was one of his many, many roles that left an indelible mark on cinema-- and myself. Chuck had a very good run.

Charlton Heston Dies at 84

Hellboy II

How great are these costumes? I need this image wallpaper size!!

... Selma Blair ZOMG HOT

Hellboy II: The Golden Army