Showing posts with label movies. Show all posts
Showing posts with label movies. Show all posts

Saturday, May 22, 2010

Iron Man 2

I finally got around to seeing Iron Man 2 last night at the drive-in theater. (Lauren also saw it with me last night, but of course "finally" isn't a word that naturally corresponds in her case; "begrudgingly" is probably closer to the truth.) I went into it benefitting somewhat from having read early reviews and knowing what to expect. For instance, I knew the following facts up front:
  • It's unfocused
  • It lacks the charm of the original
  • It's a fairly blunt set-up for the upcoming Avengers movie
These are all true-blue bullet points. The original Iron Man had more on offer, both in thought and action. But, crammed behind the steering column of a Saturn Ion, this wasn't what bothered me about the movie. What really burned me up was how most of the cast seemed so unhappy to be there. Gwyneth Paltrow, Scarlett Johansson, and Don Cheadle all completely phoned it in. And, to a certain extent, it's understandable; not everyone is as enthused with comic books as Samuel L. Jackson and Nick Cage, and it's gotta be slightly embarassing to deliver lines as thoroughly cornball as those written into Iron Man 2.

But then, on the other hand, we shouldn't forget that they are being paid a veritable assload of cash. Maybe have some fun with the role? Instead, Don Cheadle steals the joy from every scene he occupies; Gwyneth Paltrow is constantly on the verge of pouting; and Scarlett Johansson, for all the sex appeal she's got on display, acts like she's trudging through a bad blind date. As director, Favreau should have let these folks know that when their characters have names like "War Machine" and "Black Widow," it's OK to play it a little loose.

Robert Downey Jr. though is, as always, riotously good. Sam Rockwell makes good with little as the antagonistic arms dealer Justin Hammer. And Mickey Rourke likewise succeeds in making an interesting villain, seemingly oblivious to the fact that the writers gave him virtually no backstory, character, or lines in English.

Comic books, even more so than fantasy novels and heavy-metal music, are knowingly campy. For it to work, you have to know it's ridiculous -- but you also have to love it. Next time around, let's hope people can remember that in casting.

Tuesday, May 5, 2009

More like X-Men WHORE-IGINS!

amirite? LOL!

Hope you enjoyed that hilarious post title. I also hope you won't mind that it's a mask for a film review that takes its subject too seriously. (There should be a warning label on comic book fanboy writing: Abandon all levity/self-awareness, ye who enter here.) Seriously, though, I'll at least try and keep my discussion of Marvel canon to a minimum.

So we've got this movie, X-Men Origins: Wolverine. And you know, deep inside your heart, even as you're making plans to see it, that it is terrible. You accept this. You accept it because it's a summer blockbuster, and because you can forgive Hugh Jackman just about anything so long as he's disemboweling people (while keepin' it PG-13). Lowered expectations are key, and to their credit they got me through the film relatively unscathed. The credits rolled. I stood up.
"Wow, that wasn't nearly as painful as I imagined it was going to be!" I thought, as though I were leaving the dentist's office. That relief lasted for about fifteen minutes before giving way to the dual outrages of a comic fan and moviegoer (the former being the more sensitive of those two sensibilities).
"Wait a minute," I said, stopping just outside of Park St station. "Didn't I read a comic called Wolverine: Origin? And wasn't it not... that?"

This was dangerous thinking. Not because the departure is in itself offensive. No, the problem is that the comic was really pretty decent and told a surprising story about Wolverine's (wait for it) origins. So it's baffling that the filmmakers decided to completely avoid depicting any of the events of that series (well, not completely... those first two cursory minutes of film were adapted from the comic, but became the first of many cliches in their hands). Instead they told a largely non-sensical story that did little to illuminate any of what made Wolverine the character he is, while shoe-horning in every Tom, Dick, and Cyclops they could, regardless of whether the character added anything to the film's plot. The pacing of the film suffers as a result, hobbled by a series of scenes that fail to advance the narrative, which is deadly for a movie as stupid as Origins. The dialogue's unexpectedly wooden, even for a comic book movie (see: "I thought you were the moon...") and the plot devices are cliched to the point of exasperation.

The real killer, though - I mean the thing that keeps me talking about this movie long after it no longer deserves to be spoken of - is that it could have been a good and decent romp, but they focused on the wrong story (or arguably on no story at all). I don't think people care so much where Wolverine's metal skeleton came from as from where the character of Wolverine emerged, an issue that's central to the comics but totally sidestepped in this film. The most entertaining period is at the beginning of the movie, both because the story's flaws haven't yet become glaringly obvious and because it's at this point that there's still potential to see some character development - to see a well-established hero in a new light and understand the extraordinary circumstances that made him. Ideally, I would've liked to see more of the "historical Wolverine," who survived a traumatic childhood and matured in a dog-eat-dog border town. Barring that, we should have at least seen more of his time bumping around the world with the Weapon X team. These early fight scenes were exciting and, with the exception of Will-I-Am, the team's casting was quite good. Plus we could've seen a bit more of the build-up that leads to Wolverine going AWOL; rather than using that as an excuse for the remainder of the film, it could've been a plot point in itself.

I could go on, but I think that's the main point. Potential was there; they had a body of work ready to draw upon. Yet the end result was an incoherent mess, full of plot holes and superfluous "familiar face" characters; a story that dragged itself in circles and then collapsed on the floor, beyond caring. My verdict: Skip it. Watch the trailers for Terminator: Salvation, District 9, and Funny People and you'll have seen the best parts of Wolverine.



...Plus, how do you block lasers with claws?

Sunday, May 3, 2009

The State of Our Trailers

This is going to be a short post, but know that there are things I yet mean to discuss with you - movie reviews, inside info on the dispositions of religious leaders, and other miscellany. Such things have to wait, though. Why? Because I don't feel like it right now. Ask me again later.

I only have the energy currently to make one point: Movie trailers of late have made some excellent use of popular music. You may recall my past obsession with the trailer for 9, which used Coheed and Cambria to great effect; my favorite Watchmen trailer was set to Muse's "Take a Bow;" and now my new favorite trailer, for Terminator: Savlation, finds itself indebted to the vocals of Trent Reznor. What so delights me about these pairings is how much they make sense. Coheed and Cambria are D&D rock nerds; Muse make what can only be termed "superhero music;" and NIN has always been a soundtrack for the end of the world ("In This Twilight" being my favorite fade-to-black apocalypse track). All of which leads me to question: Whose job is it to play musical matchmaker? Because I want it.

One last thing I will get in is that I am well prepared to be blown away by a new Terminator movie. While it won't be a "reboot" per se, the franchise was desperately in need of this change in setting. In addition, the new trailer shows some Battlestar Galactica themes peeking through, the prospect of which sends my salivary glands into Pavlovian overdrive.

Thursday, March 5, 2009

9

I can't stop watching the trailer for 9. It probably feeds into that epic-fantasy-as-response-to-crisis-of-maturation thing I was talking about 2 posts ago, but there it is. Sack people! Post-apocalypse! Will you see it with me?

If you're as intrigued as I am, it may interest you to know that the film is based on this award-winning short.

Watchmen

In honor of the imminent theatrical release of Watchmen, I give you two reasons to be glum:

Watchmen Failed
Watchmen: The Demo is Nigh

The former is a really great article that gives some insight into why Moore's comic series was so powerfully different, and why it's been lauded for all the wrong reasons. The latter is proof of that concept: a videogame beat-em-up based on... well, clearly not Watchmen.

Ya know, a couple of movies ago I heard Alan Moore was pissed about how his work had been treated... truth be told, today I'd be spitting venom, too.