Tag Archives: Action

#18: Raiders of the Lost Ark (1981)

20 Tuesday Jan 2015

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A jungle temple full of traps,
Unknown to plunderers and maps,
Is where the pluckiest of chaps
Named Indiana Jones
Retrieves an idol made of gold,
Which he has little time to hold
Ere rival Belloq makes him fold
And takes the prize he owns.
 
A noted archaeologist,
Jones is requested to assist
The government and to resist
The Nazis’ latest harm.
They seek the Ark, up to no good,
So Jones drops in the neighborhood
Of ex-love Marion Ravenwood,
Who bears a needed charm.
 
In Egypt, Marion is caught,
And Jones attempts to find the spot
Where it may be, because it’s not
Where Nazi diggers dig.
He finds the Ark until Belloq
Again reclaims it, to his shock,
And seals Jones under sand and rock,
A snake-infested brig.
 
When Jones emerges from the sands,
The Ark then quickly changes hands,
But Belloq thinks he understands,
And Nazis look inside.
This last mistake becomes their bane,
But Jones and Marion remain.
Perhaps the things we can’t explain
Are meant for us to hide.
_________________
 

I can’t help but wonder if those who create iconic characters and scenes have any inkling of the impact their creations will have? When they were brainstorming and coming up with ideas that seemed cool to them, did George Lucas and Steven Spielberg realize how inspired their creativity was? Surely there are countless films that are more or less a paycheck for the filmmakers, but just as many have been made with a devotion and hope for success to rival the creators of Indiana Jones. Who knows what pop culture will embrace next, but Raiders of the Lost Ark certainly made a huge, indelible impression on it.

Most films are lucky to have one truly memorable scene, but Raiders has innumerable moments of action genius, the likes of which few films have matched. Heck, the first ten minutes have been parodied to no end. The film was meant to recall the action serials of the 1930s and 40s, even borrowing a few ideas here and there, but for the film’s generation and every one since, Raiders essentially replaced them. Practically everyone who has not been living under a rock has seen the giant rolling boulder, the snake-filled pit, the truck chase, and the crate-filled warehouse at the end. Even casual fans can probably recite lines of dialogue verbatim. Quite simply, Raiders of the Lost Ark is the quintessential action film, and I doubt many would disagree.

Likewise, between this and his role as Han Solo, Harrison Ford became the quintessential action star, dashing but intelligent, hard-edged but sensitive at times, tenacious but clearly human and vulnerable when the adrenaline wears off, undevout but able to recognize and respect a power beyond himself. From beginning to end, he’s likeable and a joy to watch. As his first love (at least to moviegoers), Karen Allen’s Marion Ravenwood became his preferred romantic interest, and even though it was anticlimactic, I’m glad he settled down with her in the fourth movie. John Rhys-Davies as jolly Sallah and Denholm Elliot as studious Marcus Brody are classic accessories to Jones’s adventures, and Alfred Molina found his very first role as his traitorous accomplice Satipo (though, did anyone else hear Ford say “Sapito”?). As other reviewers have said, Nazis make the best villains, easy to hate and easy to cheer when they get their comeuppance. To be honest, I’ve never found the individual bad guys like Belloq or Dietrich all that memorable, but Ronald Lacey as Nazi interrogator Toht is the perfect example of a Nazi slime ball, complete with a Peter Lorre-style accent.

In addition to iconic characters, non-stop fight scenes, and inventive action, Raiders also has plenty of humor, whether it’s Jones’s practical solution to a cocky swordsman or his as-yet unexplained fear of snakes. Plus, perhaps the most talented member of the film’s team was John Williams who provided perfect musical accompaniment for every scene, from the lighthearted fistfights to the intrepid truck rescue. If it hadn’t been for Chariots of Fire that year, the music surely would have won Best Score, in addition to its five other Academy Awards including Best Visual Effects, Best Art Direction, Best Sound, Best Film Editing, and a special one for Ben Burtt’s Sound Effects Editing.

Despite its honored place in pop culture, I don’t consider it a family film, due to the surprisingly bloody deaths for a PG film, before Temple of Doom helped introduce PG-13, especially the gruesome fates of the presumptuous Nazis. While the film presents some fallacies concerning the Ark of the Covenant, it at least affirms its supernatural power and presents the divine relic as something not to be trifled with. Worthy of its status as the ultimate actioner, Raiders of the Lost Ark introduced an oft-copied, rarely-matched film hero and now becomes the first film on my list worthy of a perfect score.

Best line: (Indy) “Meet me at Omar’s. Be ready for me. I’m going after that truck.”   (Sallah) “How?”   (Indy) “I don’t know; I’m making this up as I go!”

VC’s best line: (Marion) “You’re not the man I knew ten years ago.” (Indy) “It’s not the years, honey. It’s the mileage.”

 
Rank: 60 out of 60
 

© 2015 S. G. Liput

282 Followers and Counting

#20: The Incredibles (2004)

17 Saturday Jan 2015

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In a comic book world full of heroes and powers,
Which nonetheless isn’t too different from ours,
Strong Mr. Incredible uses his skills
To stop evil, you know, just everyday thrills.
The day that he marries Elastigirl, though,
Is one he’ll regret, for in fighting a foe,
He makes one, and supers are forced to lie low.
 
Years later, he’s stuck in a job that he hates,
With kids and a wife who’s content with their fates.
In trying to relive his old glory days,
He captures a secretive agency’s gaze.
Things start looking up when he stops a robot,
Until he’s betrayed by his sponsor and caught.
A fan has become the new villain Syndrome,
Who plans to wreak havoc and falsehoods back home.
 
When Helen goes searching for him high and low,
With speed demon Dash and shy Violet in tow,
They’re threatened as well, but when family fights,
They do so together…and in matching tights.
They race to the city to stop Syndrome’s plot
And take out his deadlier rampaging bot.
When Syndrome is vanquished and peace is renewed,
These heroes defend when new villains intrude.
_____________________
 

While The Avengers is a better movie strictly in the superhero genre, The Incredibles offers even more: a believable family dynamic, an insightful comparison of talent versus fitting in, and yet another example of Pixar’s groundbreaking animation. Released during Pixar’s golden years, The Incredibles didn’t quite please me upon my first viewing for some reason; perhaps it was because I had already seen two other films in the theater that day. Future watchings have only improved my opinion of this exciting family favorite.

The world full of supers depicted at the beginning is practically a comic book come to life, full of routine heroics, gleeful admirers, fancy tech, and “playful banter”; from what we’ve seen, it’s not surprising that Mr. Incredible thinks they’re untouchable. Yet the story takes an unforeseen realistic turn, with lawsuits and accusations and an eventual suburban nightmare in which Bob Parr, like Jack Campbell in The Family Man, finds no satisfaction. (The only major plot hole I can see is that of supervillains, which I assume existed in the world at the beginning. It seems to me that the main reason for the existence of superheroes is to combat supervillainy, which wouldn’t obey some government sanction anyway. With all the heroes off-duty, who’s to stop the likes of Bomb Voyage or worse?)

Craig T. Nelson is ideal for Mr. Incredible, able to vocalize both oppressive boredom and heroic spirit, while Holly Hunter brings feminine resilience to his wife Helen/Elastigirl. Their son Dash (Spencer Fox) fits perfectly into the mischievous son archetype, while Sarah Vowell as daughter Violet is a bit annoying until she gets into costume. Indeed, all of the Incredibles look better with their black masks; perhaps it was intentional in the character design, but they all seem lacking without their matching red super suits. Other great voice performances come from a pre-Nick Fury Samuel L. Jackson as Bob’s pal Lucius/Frozone and director Brad Bird himself as snooty fashion designer Edna Mode.

As with so many of Pixar’s Oscar-winning features, The Incredibles combines a number of outstanding elements to perfection. Michael Giacchino’s suave yet bombastic score blends with the stylish gadgetry to create a distinctly James Bond feel, while the familiar superpowers (borrowed from the properties like Mr. Fantastic, the Flash, and the Invisible Woman) are used to ingenious effect, particularly Elastigirl’s elongated scuffle with guards and Dash’s thrilling jungle chase with those awesome bladed hovercraft. Not to mention the costume lesson that caused us to never look at capes the same way.

One of the few great superhero films to not possess a comic source material, The Incredibles won Academy Awards for both Best Animated Feature and Best Sound Editing. Mature enough to take seriously matters of marital infidelity and superhero genocide, yet lightweight and comedic enough for repeated family viewing, The Incredibles continues to be one of Pixar’s best. While most of Pixar’s films don’t need sequels (though that hasn’t stopped them), The Incredibles is one that could certainly deserve one, which is in the works, last I heard. I only hope it can compare to the original.

Best line: (Lucius) “Honey?”
(Honey) “What?”
(Lucius) “Where’s my super suit?”
(Honey) “What?”
(Lucius) “Where – is – my – super – suit?”
(Honey) “I, uh, put it away.”
(Lucius, after an explosion) “Where?”
(Honey) Why do you need to know?”
(Lucius) “I need it!”
(Honey) “Uh-uh! Don’t you think about running off doing no derring-do. We’ve been planning this dinner for two months!”
(Lucius) “The public is in danger!”
(Honey) “My evening’s in danger!”
(Lucius) “You tell me where my suit is, woman! We are talking about the greater good!”
(Honey) “’Greater good?’ I am your wife! I’m the greatest good you are ever gonna get!”
 
 
Rank: 59 out of 60
 

© 2015 S. G. Liput

281 Followers and Counting

#23: Pirates of the Caribbean (2003, 2006, 2007)

13 Tuesday Jan 2015

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(Spoilers ahoy!)
 
Elizabeth Swann was a girl when there came
A boy from the ocean, Will Turner by name.
She feared him a pirate and took a gold coin
And hid it for years to protect him from shame.
When both are now grown with a love they won’t share,
The Commodore Norrington tries to declare
An offer of marriage she’s not quick to join,
Till Captain Jack Sparrow arrives debonair.
 
Locked up for his crimes, he’s surprised at the sight
Of his former ship, the Black Pearl, in the night.
Attracted by gold, the fiends capture Miss Swann,
Who lies to convince them to shove off forthright.
The Captain Barbossa abducts the lass too,
Revealing the curse on himself and his crew.
As they sail away, Will is adamant on
Releasing Jack Sparrow to hotly pursue.
 
Collecting a crew in Tortuga, Jack sails
For Isla de Muerta, where lies and betrayals
Come out and succeed in imprisoning Will,
While Jack and Miss Swann are marooned by details.
With Norrington’s aid, they return to save Will,
And swordfights galore offer many a thrill.
Barbossa is slain, and true love they fulfill,
While Jack takes the Black Pearl to roam the seas still.
_______________
 
When Lord Cutler Beckett, for whom business reigns,
Desires Jack’s compass, he goes to great pains,
Convincing first Will, then Elizabeth too,
To find Jack or else be committed to chains.
While Jack’s being Jack, he is shocked at a guest,
Old Bootstrap Bill Turner, Will’s father oppressed,
Who says Jack must pay up the debt that is due;
For now Davy Jones wants his soul on request.
 
Jack flees to an island, which Will also finds,
Where cannibals threaten with changeable minds.
Escaping the danger, they take a detour,
And witch Tia Dalma lends help of all kinds.
Jack haggles with Jones for the sake of his soul
And buys three more days at a difficult toll.
Tortuga yields souls, since they needn’t be pure,
While Will gives his father a promise and goal.
 
Jack finds Norrington and Elizabeth Swann,
Both desperate but willing to quickly move on,
For Jones’s live heart beats within a locked chest,
And he who should find it could make him a pawn.
The chest is discovered, but fighting begins
‘Twixt Norrington, Jack, and Will, none of whom wins.
As Jones’s own crew arrives at his behest,
The heart’s snatched to make up for Norrington’s sins.
 
As Jack tries to run, Jones awakens his pet,
The Kraken, to finally settle the debt.
His crew fleeing, Jack has no choice but to stay;
His unwilling sacrifice might end the threat.
With Jack and the Black Pearl devoured away,
The heart is Lord Beckett’s, to Jones’s dismay.
A plan to bring Jack back is soon underway,
With help from an old foe, whom death could not stay.
_________________
 
As Beckett is wiping out all buccaneers,
Assisted by Jones and his heart-involved fears,
Barbossa and friends are in far Singapore
In search of a map to the final frontiers.
With help from Sao Feng, one of nine pirate lords,
They head for the edge, after drawing their swords.
In Davy Jones’ Locker, they find Jack ashore,
Where he is kept company by crabby hordes.
 
So, one green flash later, there’re lies and betrayal
With Sao Feng and Beckett and all who set sail.
They learn that Calypso was Davy Jones’ lover,
A sea god imprisoned with flesh as her jail;
Barbossa will free her to aid in their plight.
Elizabeth’s made pirate lord in the night.
To Shipwreck Cove, all of the pirates take cover,
Debating on whether to lie low or fight.
 
Elizabeth’s named as the new Pirate King,
Deciding their one hope is swashbuckling.
They set free Calypso, who’s in a bad mood,
For Jones once betrayed her, a deep-seated sting.
The Pearl and the Dutchman engage in a storm,
A gift from Calypso, now back in true form.
Jack goes for the heart, that the fight may conclude,
Though he who kills Jones must his duties perform.
 
The maelstrom keeps raging amid the bloodshed.
While fighting, both Will and Elizabeth wed.
Though Jack had intended to finish the heart,
Another has more need for Davy Jones dead.
The tables are turned as the cannons restart,
And Lord Cutler Beckett’s own plans fall apart.
While true love endures, Sparrow’s shipmates depart,
But Jack’s well-prepared for a new course to chart.
____________________
 

With all the uninspired movies reading “based on a video game,” who could have foreseen that a series of swashbuckling greatness could be derived from a theme park ride? Pirates of the Caribbean was certainly a surprise when The Curse of the Black Pearl came out over a decade ago, but subsequent viewings have only raised my opinion of this action-packed, often convoluted franchise. Don’t bother with On Stranger Tides, though; it’s just not the same.

The Curse of the Black Pearl is the one that started it all, one of the few modern films to effectively introduce an instantly iconic character, Captain Jack Sparrow. Johnny Depp has always been drawn to the weird and eccentric, and his career has fluctuated wildly because of it; but here he hit his ideal stride and earned a Best Actor nomination for it. Sparrow is dashing, cunning, a bit creepy and disgusting, yet strangely alluring in a grimy sort of way, usually one step ahead of the rest, full of comic bravado and a latent good heart. He steals every scene while complementing all the other actors, like Orlando Bloom’s Will Turner and Keira Knightley’s Elizabeth Swann, semi-iconic characters in their own right. Their love story has its predictable ups and downs but also possesses that epic romantic quality that eludes many other films. A good villain always improves a film, and Geoffrey Rush is one heck of a pirate. His sneering negotiations and ruthlessness make him a memorable antagonist, and the creepy but incredible skeleton curse just augments the menace of him and his crew. Add in some powdered wigs, wondrous sword fights, clever dialogue, Oscar-nominated special effects, and one of the greatest scores of all time by Klaus Badelt (seriously, no other score captures and enhances the spirit of the film itself as this rip-roaring soundtrack, taken over by Hans Zimmer for the sequels), and Disney had a winner on their hands.

I don’t know how the filmmakers did it, but Dead Man’s Chest ups the ante in every way and remains the only Pirates film to win an Oscar, for Best Visual Effects. It introduces yet another historic villain in the form of Bill Nighy’s squid-faced Davy Jones and, to a lesser extent, Tom Hollander’s Godfather-like Lord Cutler Beckett with his obsession with “business.” This second film is the king of set pieces, varied, outlandish, and absolutely awesome! From the swinging cages on Pelegosto to the Kraken’s attacks to the astonishing three-way water-wheel duel, Dead Man’s Chest is replete with some of the best action sequences I’ve seen. As pure entertainment, it’s a twisting, crowd-pleasing thrill ride with a jaw-dropping surprise ending that left everyone in the theater clamoring for more.

When they finally got more, some may not have been entirely satisfied. Shot back-to-back with its predecessor, At World’s End has much of what made the first two great (the characterizations, breathtaking action on an even larger scale) but mixed with an unfortunate bloatedness. Even after several viewings, the film can seem like an overstuffed mess, with loads of conflicting motivations, changing allegiances, mythic plot devices, and ship-hopping. It all evens out by the finale, but the middle of the film is unnecessarily confusing. Plus, Jack’s eccentricities are morphed into full-fledged bizarreness, with strange visions of the afterlife adding nothing to the plot and scenes of multiple Jack Sparrows thrown in seemingly just for the sake of spending the film’s colossal budget. In addition, the expansion of Tia Dalma’s role brought out the fact that her Jamaican accent is incomprehensible at times; as with Yoda in The Empire Strikes Back, my VC couldn’t understand her the first time out. All that being said, ongoing viewings have increased my overall opinion of the film, including its bittersweet ending. The most impressive scene is easily the long final battle amidst a raging whirlpool that would put Charybdis to shame. As a stand-alone film, At World’s End is rather weak, but as an epic conclusion to the trilogy, it’s better than it seemed at first.

Though Pirates of the Caribbean: Dead Men Tell No Tales is being shot now for a 2017 release, I doubt that Jerry Bruckheimer’s lightning will strike again, as it did with the original films, especially the first and second. Rarely have action, characters, music, and romance been combined into such an entertaining package. This year’s Tomorrowland seems to be Disney’s next shot at adapting one of their attractions, but it’s unlikely to compare to one of Disney’s most surprisingly successful franchises.

Best line from The Curse of the Black Pearl: (Captain Barbossa) “You best start believing in ghost stories, Miss Turner.  You’re in one!”

Best line from Dead Man’s Chest: (Elizabeth) “There will come a time when you have a chance to do the right thing.”  (Jack) “I love those moments. I like to wave at them as they pass by.”

Best line from At World’s End: (Barbossa) “Aye… we’re good and lost now.”   (Elizabeth) “Lost?”   (Barbossa) “For sure, you have to be lost to find a place that can’t be found, elseways everyone would know where it was.”

 
Rank: 59 out of 60
 

© 2015 S. G. Liput

281 Followers and Counting

#24: Tarzan (1999)

10 Saturday Jan 2015

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(Best sung to “Son of Man”)
 
To the jungle, humans come
And are challenged to survive;
Soon only a babe is left alive.
 
Then adopted by gorillas,
He is raised stalwart and strong,
Strong to face the jungle’s killers
And labor to belong.
 
Son of man and of primate,
Tarzan is amazed to see
Strangers like him who await
Sightings of gorillas roaming free.
 
When one is soon in danger,
He swoops in and rescues Jane,
Who’s enamored of this stranger,
This lord of his domain.
 
Tarzan is forbidden to
Put his family in harm’s way,
But he learns so much that’s new
That he sneaks away to Jane each day.
 
In trying to delight her,
The gorillas he reveals,
And wicked Clayton follows on their heels.
 
Though he thought to leave his homeland,
Tarzan returns to fight
And defend his friends and withstand
The poachers in the night.
 
Son of man and of primate,
Tarzan then is joined by Jane;
Ruler of the jungle great,
Tarzan will remain to yell and reign.
__________________
 

Sometimes cited as the last great film of the Disney Renaissance, Tarzan is indeed one of the most beautifully created animated films I’ve seen. It came out right when I was getting old enough to enjoy movies as more than just a juvenile distraction and was one of the first Disney films I fully understood. Oh, and it made me cry at the end. That’s always list-worthy.

Adapted from the character created by Edgar Rice Burroughs, Tarzan puts the Disney spin on its source material, with funny animal sidekicks and musical accompaniment, but it doesn’t feel as potentially incongruous as The Hunchback of Notre Dame. Rosie O’Donnell and Wayne Knight are ideal comic reliefs as Terk and Tantor, while the resonant voice of Brian Blessed adds an ingratiating menace to Clayton, who meets an unusually horrific end. (Then again, this is the studio that has smashed, dropped, disintegrated, eaten, shattered, dragged to hell, and shish-kebobed their other villains, so perhaps it’s not unusual.) Tony Goldwyn is rather average as Tarzan, aside from an outstanding yell, but Minnie Driver’s voice fits Jane perfectly, bookish and British. Not to mention, there’s Lance Henriksen as stern Kerchak and Glenn Close as Kala, who provides a touching example of adoption and maternal love.

No other Disney film matches the lush imagery of the African jungle, created with a pioneering and award-winning animation technology called Deep Canvas. As Tarzan swoops effortlessly through the trees, the bright foliage provides an incomparable living environment, put to good use in the often spectacular action scenes. Even the water has a uniquely fluid appearance.

Of course, I must mention Phil Collins’ remarkable soundtrack, one of my favorites of any Disney film. Though The Lion King had a couple songs performed by background singers, Tarzan stepped out of the box in having most of the music not sung by the characters. Phil Collins provides the vocals for the brisk and memorable montages, such as “Two Worlds,” “Son of Man,” and “Strangers Like Me.” The tender lullaby “You’ll Be in My Heart” won the Oscar for Best Original Song, and I was once temporarily obsessed with the percussion-filled “Trashin’ the Camp.” As kids, my cousin and I would play it over and over and over, just jamming and rewinding with glee.

Tarzan relies heavily on montages, but they are among its finest moments, allowing for much humor, heart, and character development in a short time. Unlike Atlantis: The Lost Empire, the language barrier is not simply written away but gradually lowered over time, and the believable romance between Jane and Tarzan is handled with particular skill and beauty. I know that Burroughs’ book is substantially different, but this adaptation carries all the emotion and grandeur of Disney’s best, including a bittersweet happy ending.

Best line: (Tantor, finally standing up to Terk) “That’s it! I’ve had it with you and your emotional constipation! Tarzan needs us, and we’re gonna help him! You got that? Now pipe down, and hang on tight! We’ve got a boat to catch.”

  
Rank: 59 out of 60
 

© 2015 S. G. Liput

279 Followers and Counting

#26: The Avengers (2012)

08 Thursday Jan 2015

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When Loki arrives with a sinister plan,
Nick Fury calls in more than just Iron Man.
The heroes we know
Are called in for this foe,
Who brainwashes many good guys since he can.
 
With Captain America, Black Widow, Thor,
Iron Man, Hulk (there are soon to be more),
Nick Fury believes
In this ace up his sleeves,
And Loki’s caught, more easily than before.
 
A huge helicarrier carries the team,
Who don’t hold each other in too high esteem.
When Loki is freed
And appears to succeed,
A “push” sends the supers to scuttle his scheme.
 
In New York, as alien armies invade,
The so-called Avengers put up a blockade.
The big battle rages,
Till one nuke engages
And narrowly ends the Chitauri crusade.
 
The earth and the Cosmic Cube now well-protected,
And all the Avengers both thanked and respected,
They go their own ways
Until Marvel’s next phase;
Again they’ll assemble when danger’s detected.
___________________
 

The Avengers was an unprecedented endeavor; never before have characters from different films been brought together, and certainly never so successfully. Joss Whedon’s direction and treatment of the characters are nothing short of brilliant, allowing every hero to be themselves while interacting with each other and working together as only seen in comic books.

One of the great joys of comics is the crossovers (Hulk vs. Wolverine!, Spider-Man teams up with Captain America!; though, don’t plan to see those on film anytime soon), and Marvel’s establishing their cinematic universe had thus far been restricted to details and cameos. To put all these characters in the same film and to do it so well approaches a level of awesomeness the comic-loving world had not yet known. There’s Robert Downey, Jr.’s charismatic Iron Man, the “genius, billionaire, playboy, philanthropist” who started it all. There’s Chris Hemsworth’s hunky Thor, whose Shakespearean trappings offer a noble, often amusing counterpoint to the modern environment and dialogue. There’s Chris Evans’s thawed Captain America, whose patriotism and war experience transform into full-fledged team leadership. There’s Mark Ruffalo as Bruce Banner/the Hulk, stepping gracefully into the shoes vacated by Edward Norton and becoming the newest go-to giant green rage monster. There’s Scarlett Johansson’s lithe superspy Black Widow, with a past still yet to be explored, and Jeremy Renner’s super-archer Hawkeye; though we still know very little about either of them, not having films of their own thus far, they round out the team to include unpowered humans who still pack a punch. In addition to other characters from past Marvel films, there’s also Samuel L. Jackson as duplicitous but well-meaning S.H.I.E.L.D. director Nick Fury, Clark Gregg as unfortunate Agent Coulson, Cobie Smulders as newcomer Agent Maria Hill, and of course Tom Hiddleston as the ever-watchable villain Loki, who expertly balances cunning and megalomania, despite a rather ridiculous horned costume.

There are so many amazing scenes and even a few newly iconic ones, like that long continuous shot spanning the entirety of the New York City battlefield or that silent post-credits scene that introduced everyone to shawarma. The film opens with a bang even before the title appears, and the helicarrier ups the ante with high-tech grandeur while indulging in inter-character squabbles and showdowns. The final full-scale conflict becomes a new high among superhero battles, again letting every character have their moment to step up, kick butt, or earn a laugh. Even the details were well-planned, like some fleeting mentions of a cellist Coulson was seeing, which was expanded on in Whedon’s TV show “Agents of S.H.I.E.L.D.”

The Avengers is the culmination of Marvel’s cinematic Phase One, and it paid off beautifully, creating one of the most tremendous, smart, and entertaining action blockbusters in recent memory. Plus, it’s one of the cleanest Marvel films, catering to every taste and age group. Joss Whedon, well-known for his witty banter, was the right man for the job. This film is a “marvel,” and I can’t wait for the second one this summer.

Best line: (Bruce Banner) “I don’t think we should be focusing on Loki. That guy’s brain is a bag full of cats. You can smell crazy on him.”
(Thor) “Have a care how you speak! Loki is beyond reason, but he is of Asgard, and he is my brother!”
(Black Widow) “He killed eighty people in two days.”
(Thor) “He’s adopted.”
 
 
Rank: 59 out of 60
 

© 2015 S. G. Liput

278 Followers and Counting

#27: Ben-Hur (1959)

07 Wednesday Jan 2015

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Beneath the mighty Roman yoke,
The Jewish people still invoke
The promise of a Christ to come
Who’ll save them from the Romans’ thumb,
And many eagerly provoke.
 
Returning to Jerusalem,
Messala comes to manage them
And reconnects with his old friend,
With Judah Ben-Hur to extend
A jilted offer to condemn.
 
Their friendship strained by Hur’s dissent,
It’s worsened by an accident.
While Judah’s made a galley slave,
His mother and his sister brave
Long years in prison and torment.
 
A naval battle frees Ben-Hur
By making him a rescuer,
And he becomes a Roman son,
Remembering the evil done
And vengeance promised to occur.
 
A skilled and lauded charioteer,
He goes back home to reappear
To cold Messala and demand
His family’s freedom close at hand,
But they are lepers, sparking fear.
 
Believing they are dead, no trace,
Ben-Hur competes within a race,
A chariot battle at high speeds.
Against Messala, he succeeds;
The fallen grieves him to his face.
 
He finds his mother and his sister,
Forced to live apart and fester,
And through mourning, he then tries
To seek out Jesus ere one dies,
At the urge of lovely Esther.
 
But the prophet is on trial,
Soon to die in savage style.
A kindness for which Hur once yearned
Is unexpectedly returned,
And healing springs from death worthwhile.
__________________
 

Hollywood still makes epics, even the Biblical kind it so enjoys messing up, yet all of the special effects and big names can’t compare with some of the best of yesteryear, especially 1959’s Ben-Hur, the first of only three films to win eleven Academy Awards. Indeed, this film that garnered one of the greatest Oscar sweeps of all time deserved every one; the sets, the scope, the emotions, the acting, the moral message are all conjured so impressively from the pages of Lew Wallace’s bestseller that no film has bested its number of Oscars, only equaled.

Coming only three years after Charlton Heston’s other Biblical epic The Ten Commandments, Ben-Hur weaves a story of lost friendship, vengeance, and redemption alongside brief but potent glimpses from the life of Jesus, whose face is shrewdly hidden, allowing the viewer to imagine his appearance as they will. Heston won Best Actor for his title role, which may not be as imposing as his turn as Moses but carries far more emotion. Unlike Cecil B. DeMille’s Exodus story, vain histrionics are kept to a minimum in favor of excellent dramatic acting from Jack Hawkins as Quintus Arrius, Stephen Boyd as Messala, Haya Harareet as Esther, and Oscar winner Hugh Griffith as Sheikh Ilderim. While the film is most notable for its action scenes, the character moments are often powerful; the scenes of mercy between Judah and Jesus are quietly profound high points.

Even so, the film boasts some of the most thrilling scenes of Hollywood’s golden age, full of magnificent sets, a cast of thousands, and some brief but unusually violent images for 1959. The galley battle is a vivid turning point for the film, creating both a provident moment of grace and a memorably rare depiction of ancient naval warfare. Of course, the film’s most intense sequence is the famous chariot race, about nine minutes of action filmmaking at its finest. The upcoming Ben-Hur remake will no doubt rely on CGI for this part, but the original is all the more monumental for its reality and lack of computer enhancement.

I don’t watch Ben-Hur but once a year typically, mainly because of its exhaustive length (over 3½ hours), but it will always be a milestone of epic cinema.

Best line: (Quintus Arrius) “In His eagerness to save you, your God has also saved the Roman fleet.”

 
Rank: 58 out of 60
 

© 2015 S. G. Liput

278 Followers and Counting

#28: Star Trek (2009)

06 Tuesday Jan 2015

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In deepest space, a mining ship of Romulans comes through
A black hole leading to the past and starts to search for Spock.
The captain Nero opens fire upon a Starfleet crew,
And George Kirk fights unto the end to save his fleeing flock.
 
Years later, his son James has grown, a cocky, flirty punk,
And Captain Pike suggests to him that he could shoot for more.
Enlisting as a new cadet and never one to flunk,
He makes a name and breaks directives, making young Spock sore.
 
The Vulcan home world soon is under Nero’s swift attack,
And Starfleet empties to prevent this futuristic threat.
The Enterprise alone survives, but Pike can’t make it back,
And Vulcan is annihilated, making Spock upset.
 
An unexpected visit to a hostile sphere of ice
Acquaints young Kirk with Spock but older, from another time.
Explaining Nero’s animus and giving Kirk advice,
Spock sends him back with Mr. Scott to stop the next war crime.
 
As Nero’s ship is targeting the earth, Kirk takes command
And rallies his assembled crew to rescue it and Pike.
Another black hole’s opened that the foe cannot withstand,
And Kirk and friends are honored with a series you might like.
____________________
 

When Star Trek: Nemesis came out in 2002 and disappointed me and my VC for the most part, it seemed that Star Trek was over. Gene Roddenberry was dead; Captain Kirk was dead; Data was dead; and so was the franchise. So when a reboot was announced, I certainly had reservations, even though J. J. Abrams was at the helm (this was before I fell in love with Lost). What a surprise then that 2009’s Star Trek, with an almost completely revamped cast, remains my favorite Trek film thus far! Abrams actually pulled it off, a reboot so original and somehow familiar that it transcends most or all of its predecessors.

Who could possibly play Captain James Tiberius Kirk, other than William Shatner? Who could possibly play Mr. Spock or Dr. McCoy or Scotty without the entire performance feeling like a parody impression? Casting is everything here, and there isn’t one misstep. Chris Pine is the new Kirk; Zoe Saldana is the new Uhura; Karl Urban is the new real McCoy; and so on with Simon Pegg, Anton Yelchin, John Cho, and the amazingly Spockish Zachary Quinto. Even the supporting roles are well-cast, with Bruce Greenwood as a mentoring Captain Pike, Ben Cross as Vulcan father Sarek, and Winona Ryder as Spock’s sympathetic human mother. They all act akin to their previous incarnations, while embracing their own interpretation of the characters, all neatly explained by the conveniences of time paradox.

In addition to the up-and-coming young actors, the film as a whole carries a constant excitement, as if the filmmakers are like the audience in eagerly wanting to reach the next exhilarating set piece, chase, or battle. It all moves briskly, yet it excels at that elusive trait of the best Trek films, giving every character something important to contribute. Some critics pointed out the lack of consequences, such as failing to offer any tribute to the deaths of Kirk’s fellow Starfleet cadets massacred by Nero (a complaint the sequel remedied with just such a scene), yet it’s to the film’s credit that it can be enjoyed nonetheless. Not to mention, there’s some fantastic creature effects (it’s the only Trek film to win an Oscar, for Best Makeup), startling new technology, an underdeveloped but menacing villain played by a bald Eric Bana, a savvy script from frequent Abrams collaborators Roberto Orci and Alex Kurtzman, a brilliant Michael Giacchino score, clever referencing and explanations of past films and details, and a good deal of humor. If Abrams can do for Star Wars what he’s done for Star Trek, there is at least some hope left in this world.

Best line: (Scotty) “I told him that I could not only beam a grapefruit from one planet to the adjacent planet in the same system—which is easy, by the way—I could do it with a life form. So, I tested it out on Admiral Archer’s prized beagle.”
(Kirk) “Wait, I know that dog. What happened to it?”
(Scotty) “I’ll tell you when it reappears. Ahem. I don’t know, I do feel guilty about that.”
  
 
Rank: 58 out of 60
 

© 2015 S. G. Liput

277 Followers and Counting

#29: The Chronicles of Narnia (2005, 2008, 2010)

05 Monday Jan 2015

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In World War II, the Pevensies
Are sent away with great unease.
Professor Kirke accepts them in,
To all four children’s sad chagrin.
 
When Lucy sights a wardrobe there,
She finds a magic portal rare.
A snowy wood and friendly faun
Await; to Narnia she’s gone.
 
Soon Edmund follows through, and then
The White Witch bids him come again.
When Susan enters too with Peter,
Narnia grows warm and sweeter.
 
Aslan has returned to mend;
The Witch’s reign is at an end.
Yet Edmund shocks them with betrayal,
And only death can death curtail.
 
The lion takes the traitor’s place
And dies in torment and disgrace.
Yet as the Witch’s triumph nears,
In greater strength Aslan appears.
 
The battle won, the White Witch slain,
The Pevensies are crowned and reign.
Their time within the wardrobe passed,
Their visit ends, but not their last.
_________________
 
In Narnia, for centuries,
The Telmarines have reigned with ease;
As King Miraz welcomes a son,
Prince Caspian is forced to run.
 
He calls to Narnia once more
The four great kings and queens of yore.
The Pevensies are shocked to find
How swifter time has been unkind.
 
As Caspian becomes allied
With native Narnians who hide,
The Pevensies arrive to aid
The rightful Prince with his crusade.
 
They fail with their preemptive raid,
Replacing Aslan with the blade.
Yet as the Telmarines attack,
The Narnians can’t hold them back.
 
Miraz and Peter hold a duel,
To thus decide who ought to rule.
When battle breaks out nonetheless,
Aslan assists in their distress.
 
With Caspian upon the throne,
Some Telmarines seek lands unknown.
The Pevensies must leave as well,
With more adventures now to tell.
___________________
 
When both Edmund and Lucy must
Go off to stay, to their disgust,
With haughty cousin Eustace Scrubb,
They grow to hate each slight and snub.
 
A sailing picture in their room
Begins to gush with ocean spume,
And they find Caspian, increased;
His Dawn Treader is sailing east.
 
They seek the special magic swords
Of seven former banished lords
To halt a threatening green mist
That no one knows how to resist.
 
As island dangers come and go,
The crew face risk and would-be foe,
From slavers to a golden thirst,
Temptations and a treasure cursed.
 
They reach the island of a star;
The final sword is none too far.
The mist lurks in an island dark,
Where nightmares terrorize their bark.
 
When Aslan peels the curse away,
The swords unite to end the fray.
Near Aslan’s land, upon the shores,
The children close the last of doors.
________________
 

I was introduced to C. S. Lewis’s Chronicles of Narnia rather late, not long before the first film came out ten years ago, but I immediately gobbled up the series and became a lifelong admirer of his literary achievement. Some fans of his work were left unsatisfied with the film adaptations, but I have always enjoyed them; even when they depart from the books, they retain the enchantment of Narnia and sometimes even improve on the source material, if only dramatically.

The Lion, The Witch, and the Wardrobe is certainly the closest to the book, and much of its success hinged on the outstanding casting of the four Pevensie children. William Moseley as Peter, Anna Popplewell as Susan, Skandar Keynes as Edmund, and Georgie Henley as Lucy are all marvelous, especially Henley, the youngest and cutest of the child actors. Their wide-eyed awe at the world upon which they stumble captures the same wonder of discovery in the book, which the audience can more easily share with a visual wintry landscape. The music enhances the effect of astonishment and epic excitement, and though the special effects are a little inconsistent, they are much more diverse and imaginative than most fantasy films, especially during the battle scenes, and the film won the Best Makeup Oscar. Of course, the best character is the great lion Aslan, voiced magnificently by Liam Neeson, and though critics can nitpick over details in dialogue, his Christological qualities are powerfully portrayed in Aslan’s sacrifice for Edmund and ultimate defeat of evil. My VC and I are often touched deeply by the Stone Table scene. With live-action and vocal performances from other skilled actors like Jim Broadbent, Tilda Swinton, Ray Winstone, and a young James McAvoy as Mr. Tumnus, the entire film is magical and certainly worthy of Lewis’s novel. Finally, while all three films have songs worthy of my End Credits Song Hall of Fame, the first film has one of the best ever, Alanis Morissette’s beautiful “Wunderkind.”

Prince Caspian was a return to form for all involved but with a darker tone that left some viewers uncomfortable, as well as more supplementary content that angered the occasional devoted fan. I, for one, enjoy Prince Caspian more than the first film and even more than the book, which was comparatively less exciting. It possesses a better script and does feel more mature, for the characters themselves acknowledge how Narnia has become wilder and more dangerous from centuries of oppression. Again, one of its greatest strengths lies in its cast, including all the Pevensies and relative newcomer Ben Barnes in the title role. Plus, there’s a pre-Game of Thrones Peter Dinklage as Trumpkin, Warwick Davis as Nikabrik, Ken Stott (Balin from The Hobbit films) as Trufflehunter the badger, Eddie Izzard as a surprisingly well-realized Reepicheep, and a number of excellent Italian actors as the Telmarines, not least of which being Sergio Castellitto as King Miraz, who offers a different kind of menace than the White Witch. The film transforms the book’s brief mention of a failed attack into a fantastic castle invasion that may seem like filler but heightens the action and the tensions of all involved. Likewise, the proposal about resurrecting the White Witch is actually depicted, allowing Edmund a further chance to redeem himself. The book’s description of Peter and Miraz’s duel could have failed in the film adaptation but is brought to life with some marvelous camera work. By the time of the big battle, made more epic by the arrival of living trees, all the characters have come into their own, and the subsequent farewell is genuinely poignant. As someone who has not read the books, my VC was not bothered by the films’ additions and became deeply attached to the characters, being especially affected by the Pevensies’ bittersweet departure from Narnia.

The Voyage of the Dawn Treader almost didn’t happen, since Disney pulled out their involvement and 20th Century Fox and new director Michael Apted took over production. I’m glad it was made, but honestly it doesn’t quite compare with the previous two. At least Edmund, Lucy, Caspian, and Neeson’s Aslan return, but otherwise there’s a disconnect from its prequels. Simon Pegg is good but just different as the new voice of Reepicheep, and the special effects have a disparate and not always better appearance. Dawn Treader has always been my favorite of the books due to its episodic odyssey of a plot, but I see why changes were necessary for it to work as a film. Most of the islands are well-visualized, especially the island of the ridiculous Dufflepuds, but some of the happenings feel rushed. Even so, the need for a villain is well-placed in the Dark Island and the sea serpent from the book, and the finale is fittingly action-packed. I will say that Will Poulter is an excellent Eustace, properly insufferable at first and believably repentant by the end. The film does have moments of brilliance, particularly the final goodbye for Lucy and Edmund, which is even more sorrowful than in Prince Caspian, and thankfully includes one of the most obvious Christian hints from the book, Aslan’s other name.

The final scenes of Dawn Treader are quiet and emotional and might very well be the last we see of this incarnation of Narnia. The Silver Chair is supposedly on its way, but if they don’t hurry, Will Poulter will be too old and one of the few connections to the previous films will be lost by recasting Eustace. If it ever does happen, it will surely be even more different than Dawn Treader was. It amazes and angers me that the Harry Potter and Twilight series can get a movie made for each book, plus one, but the ultra-popular Narnia books are somehow being put on indefinite hold. I don’t know if this is because of its Christian roots and the difficulty of pleasing both secular and religious audiences, but it’s shameful. I can understand why coldly received fantasy adaptations like Inkheart, Eragon, and The Seeker never earned a sequel, but all three Narnia films were highly successful financially. Narnia deserves better.

Best line from The Lion, the Witch, and the Wardrobe: (Susan) “It’s our sister, sir. Lucy.”
(Professor Kirke) “The weeping girl?”
(Susan) “Yes, sir. She’s upset.”
(Professor Kirke) “Hence the weeping.”
 
Best line from Prince Caspian: (Peter, while traveling) “That’s the trouble with girls. You can’t carry a map in your heads.”
(Lucy) “That’s because our heads have something in them.”
 
Best line from The Voyage of the Dawn Treader: (Lucy) “Will you come and visit us in our world?”
(Aslan) “I shall be watching you always.”
(Lucy) “How?”
(Aslan) “In your world, I have another name. You must learn to know me by it. That was the very reason why you were brought to Narnia, that by knowing me here for a little, you may know me better there.”
 
 
Rank: 58 out of 60
 

© 2015 S. G. Liput

276 Followers and Counting

#31: The Mummy (1999) and The Mummy Returns (2001)

26 Friday Dec 2014

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Many centuries ago, upon the hot Egyptian sands,
Imhotep betrayed his pharaoh, who was murdered at his hands.
He and love Anck-su-Namun suffered death for what they did,
And the priest was mummified and cursed and vigilantly hid.
 
1926 or so is when a brave librarian,
Evelyn, with Jonathan, her brother, come to carry in
A map of sorts to Rick O’Connell, who discovered it and knows
Where the fabled treasure city Hamunaptra once arose.
 
Leading them, the dashing rogue encounters Beni, once a friend,
Who is leading treasure seekers to the city and their end.
Medjai warriors attempt to stop the bold adventurers,
Who discover Imhotep and resurrect this worst of curs.
 
As the mummy desiccates the bodies of a chosen few,
He then kidnaps Evelyn, his former lover to renew.
Rick and Jonathan, as well as Medjai leader Ardeth Bay,
Follow back to Hamunaptra, where a book can save the day.
 
Evelyn is very nearly sacrificed by Imhotep,
Till Rick fights while Jonathan is reading symbols step by step.
When the mummy is defeated and the just desserts are served,
Evelyn and Rick O’Connell leave in triumph well-deserved.
________________
 
Evelyn and Rick O’Connell, married now and with a son,
Take along the spunky Alex to dark crypts for family fun.
They unearth a golden bracelet, and when Alex tries it on,
He sees visions meant to guide him ere a coming lethal dawn.
 
He must head for an oasis, where the Scorpion King now lies,
Who will waken for destruction if not handed his demise.
Imhotep is resurrected by a cult with dark intentions,
Which includes his reincarnate lover and her interventions.
 
When the cult starts kidnapping, it’s clear that Imhotep intends
To defeat the Scorpion King and take his army for his ends.
Alex is abducted soon and guides them all to the oasis,
The O’Connells following upon a blimp to distant places.
 
Pygmies cause them further trouble as the deadly dawn arrives,
And as Imhotep approaches, not quite everyone survives.
When the Scorpion King awakens, he is mighty (like a Rock),
And his wicked jackal army causes Ardeth Bay a shock.
 
Rick and Imhotep face off against the evil hybrid king,
And at last when he is vanquished, everything starts crumbling.
Danger proves the truer romance, and as the O’Connells flee,
Wealth and global preservation lend them happy victory.
___________________
 

Critical reception for The Mummy and its sequel may not have been universally positive, but I consider both films quintessential actioners, with dashing characters and awesome set pieces recalling the excitement of Indiana Jones. I’m not much for horror comedies, mainly because the horror often manifests as gore, but the genre can be quite entertaining when the focus is on the comedy (Ghostbusters) or on the action, as in The Mummy.

My VC and I have always loved Brendan Fraser; he has the perfect adventure hero charisma for these movies, including that making-things-up-as-he-goes element that made Harrison Ford so likable. Pair him with Rachel Weisz as Evelyn, looking as beautiful as any actress ever has, and a modern classic romance is born. John Hannah is excellent comic relief as Evie’s con man brother Jonathan, and even if he’s CGI much of the time, Arnold Vosloo is effectively frightening as the reanimated mummy Imhotep. Ardeth Bay (which was the name taken by Imhotep in the original 1932 The Mummy) is played by Oded Fehr, whom my VC has always found dark, handsome, and hunky, even with the face tattoos.

As for the second film, despite changing directors, all the same actors returned, supplemented by Freddie Boath as Alex, who is not the most annoying of child actors and serves as a plucky addition to the O’Connell family. Oh, yeah, the Rock (a.k.a. Dwayne Johnson) had his big film debut as the Scorpion King, but considering he never speaks anything in English and is basically just a CGI tough guy most of the time, there’s not much I can say for his “performance.” Also, (Lost alert) Adewale Akinnuoye-Agbaje, who played Mr. Eko on my favorite show, plays a much less sympathetic killer as the villain Lock-Nah.

I was not impressed by Boris Karloff’s original The Mummy, hailed as a classic horror film yet exceptionally boring, at least to me. Retooling the basic plot points into a shoot-‘em-up pulp adventure was an inspired idea, complete with booby traps, ancient curses, killer beetles, and some then-advanced CGI. The first film is more foreboding in its build-up to the mummy’s resurrection, while the second veers into occasionally cartoonish territory, like racing sunrises and Alex’s childish high jinks. Even so, I think I like the second a little better, thanks to some outstanding action scenes, especially an awesome chase scene with a double-decker bus and the pyramid finale. I also liked how, aside from a few gruesome scenes, objectionable content was kept to a minimum, making both films the kind of Saturday night fare a family can enjoy, provided the kids’ eyes are covered every now and then. There’s some talk of reincarnation, and I don’t know how or why a mummy can recreate the plagues of Egypt, which came from God, but none of the spiritual mumbo jumbo is to be taken seriously anyway.

Neither film is Oscar material, but both are so spectacularly entertaining that Imhotep’s stereotypical romance and some unrealistic moments are easily forgiven. Such is not always the case: The third film The Mummy: Tomb of the Dragon Emperor, thanks mainly to the loss of chemistry from the recasting of Rachel Weisz, just didn’t have the same magic, nor did director Stephen Sommers’ other monster movie rehash Van Helsing. With these films, it’s the full package that makes them something special: the thrilling score by Jerry Goldsmith (The Mummy) and Alan Silvestri (The Mummy Returns), funny and dynamic performances from most of the cast, and the perfect blend of humor, horror, and action.

Best line from The Mummy: (Evelyn) “You were actually at Hamunaptra?”
(Rick) “Yeah, I was there.”
(Evelyn) “You swear?”
(Rick) “Every damn day.”
 
Best line from The Mummy Returns: (Ardeth Bay, concerning Alex’s putting on the Bracelet of Anubis) “By putting this on, you have started a chain reaction that could bring about the next apocalypse.”
[Alex gasps]
(Rick, to Ardeth) “You, lighten up.” (to Alex) “You, big trouble.” (to Jonathan) “You, get in the car.”
 
 
Rank: 58 out of 60
 

© 2014 S. G. Liput

275 Followers and Counting

#35: Spider-Man Trilogy (2002, 2004, 2007)

22 Monday Dec 2014

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(Spoilers ahead)
 
Poor Peter Parker, a nerdy outsider,
Is bitten by one super-modified spider,
Which grants him the power of webbing defense,
As well as a precognitive “spider sense.”
His crush Mary Jane Watson lives just next door,
And yet he has not tried to make friendship more.
 
Although Peter’s uncle attempts to explain,
His nephew tries using his powers for gain.
His bitterness costs him his dear Uncle Ben,
So Peter does hero work time and again.
Meanwhile, his friend Harry Osborn’s own dad
Attempts an experiment, which then goes bad.
 
As Peter fights criminal thugs and prevails,
The newspaper calls him a menace for sales,
But when the Green Goblin arrives on his glider,
He proves a formidable foe for the spider.
It’s Norman Osborn, with whom Pete has connections
And who likes to argue with his own reflections.
 
When Osborn learns Spider-Man’s identity,
He goes for the heart with his villainous glee.
Brave Peter saves MJ and others in danger
And learns that the Green Goblin isn’t a stranger.
When Osborn is killed, Spider-Man gets the blame,
And Harry wants vengeance on Spider-Man’s name.
________________
 
Although New York’s safe under Spider-Man’s guard,
Pete’s personal life is continually hard.
His best friend still wishes his hero self dead,
And Mary Jane soon has a spaceman to wed.
Although money’s tight, Peter’s thrilled he can meet
Doc Otto Octavius, a genius to Pete.
 
Another experiment Oscorp is backing
Goes horribly wrong when stability’s lacking,
And Otto is fused with mechanical arms,
Which turn him to crime and don’t care whom he harms.
He plans to remake the experiment new,
Bigger and better, more dangerous too.
 
Meanwhile, ol’ Peter, affected by stress,
Is losing his powers, though not from bad press.
Deciding that all of his cares can be solved,
He lives as a man, with no spider involved.
His job and his schoolwork improve every day,
But he doubles back when Doc Ock takes MJ.
 
He fights his old mentor on tower and train
And ends up abducted with no Mary Jane.
Pete’s taken to Harry, who made Doc a deal
And is taken aback by the shocking reveal.
Pete learns from his friend of the doctor’s new crime
And swings to the harbor to stop him in time.
 
Octavius puts up a fight once again,
But Peter convinces him, like Uncle Ben,
To give up his dreams and to stop all the strife,
And Doctor Octavius pays with his life.
His secret revealed to both MJ and Harry,
Pete now has his love and a new villain scary.
_________________
 
All seems to be going well for Peter Parker,
But now his persona’s about to get darker.
He has Mary Jane and romantic contentment,
But Harry attacks him in growing resentment.
The newest Green Goblin, he battles his friend
But suffers amnesia they did not intend.
 
Meanwhile, Flint Marko, a crook close at hand,
Falls into a hole and is turned into sand.
Meanwhile again, Peter’s peer Eddie Brock
Upstages him till he is shown as a crock.
Meanwhile once more, a black symbiote slime
Attaches to Spider-Man’s suit in no time.
 
The black stuff from space changes him for the worst;
Since Flint killed his uncle, he bears a blood thirst.
His attitude’s changed, Mary Jane notices,
And Peter despises what everyone says.
When Harry remembers, Pete causes more pain
And even is jerkish to poor Mary Jane.
 
At last, he decides that enough is enough
And goes to a church to peel off the black stuff.
Once Venom’s created when Eddie’s infected,
He teams up with Flint that revenge be perfected.
They take Mary Jane (she is captured a lot)
And call Spider-Man that their fight may be fought.
 
Appealing to Harry to help him save her,
Pete gains back his friend and a super partner.
The battle is rough, full of Venom and sand,
But Peter and Harry prevail and withstand.
It comes at a price, but once evil’s subdued,
Pete’s reconciled romance is slowly renewed.
________________
 

Before Iron Man and Captain America began setting box-office records, Sam Raimi’s Spider-Man films set new highs for the superhero genre. Typically, the first two are lauded and the third decried, but I find all three enormously entertaining and pitch-perfect in spirit and tone for their source material.

The first Spider-Man is among the best and most faithful comic book adaptations around, nailing who Peter Parker is and how he becomes everyone’s favorite webslinger. The casting is exceptional; while not everyone’s a Toby Maguire fan, he captures Peter’s innate lovable geekiness to a tee and effortlessly shows a much wider range of emotion than Andrew Garfield in The Amazing Spider-Man reboot. While the first movie skips Gwen Stacy in favor of Pete’s inevitable love Mary Jane Watson, Kirsten Dunst is a beautiful girl-next-door love interest who shares that iconic upside-down kiss with Spidey. Their romance is sweet and heart-felt, pure and innocent, though not immune to the typical bumps along the road of love. On top of them, there’s Cliff Robertson as wise Uncle Ben, Rosemary Harris as equally wise Aunt May, and J. K. Simmons as antagonistic J. Jonah Jameson, all superbly owning their roles, especially Simmons who couldn’t be replaced for the reboot. While the Green Goblin’s mask is rather hokey, Willem Dafoe is an effectively creepy villain with his intentionally devilish voice. So many scenes are simply untouchable that the reboot was forced to avoid some of the best and most essential aspects of the story, such as the whole “With great power…” conversation, and changed much of what it could for the worse. Not to say The Amazing Spider-Man is a bad film, but it simply cannot compare with the original, particularly Toby Maguire as my ideal Peter Parker.

As good as the first is, though, the second surpassed it to become one of the best superhero films ever. With all returning actors, including James Franco as Harry Osborn, the relationships are deepened, secrets revealed, and cliffhangers formed; in short, it does everything a successful sequel ought to do. It also introduced Alfred Molina as another favorite villain Doctor Octopus, turning the consistently villainous comic book character into a tragic role both dangerous and sympathetic. The train battle is one of the most exciting and awesome superhero fights I’ve seen, and Peter’s temporary departure from being Spider-Man further develops his struggle with his hero identity. One thing I’ve noticed about these films is that there are different perspectives from the people he defends. Superman is universally lauded by everyone, while the X-Men are mostly feared and hated for their mutations. Even with the Avengers, most opinions are debated among high-profile leaders, except for a few brief scenes. Spider-Man is applauded by most of the everyday New Yorkers, but certain non-fans (police and mainly Jameson) inexplicably see him as a menace and have the power to sway others’ views against him. It’s a balanced approach that makes hero work into a tricky public image nightmare, though even Jameson misses Spidey when he disappears.

The third film has its detractors, who often dislike it for its over-packed plot and those scenes with the “dark” Peter dancing stupidly. Yet, in many ways, it delivers a purely enjoyable comic book mish-mash of villains and subplots. The action scenes are amazing, from Peter’s mid-air battle with Harry to his face-off with Sandman among subway trains to the big climax which is as close to an epic villain team-up as we may get outside of the comics. As stuffed as the plot is with concurrent storylines and coincidences, nothing is overly random and the various subplots do tie together smoothly; Flint Marko’s reappearance and the vindictive wiles of Harry Osborn spark Peter’s desire for revenge, which is aggravated by the symbiote-soon-to-be-known-as-Venom. I can even defend the silly dance scenes since the symbiote increases Peter’s aggression and confidence but doesn’t necessarily diminish his inherent geekiness; such is the result. I do wish that the Venom symbiote had had a better introduction than a convenient meteorite landing near Peter and MJ, and that the film had ended on a happier note, considering it would be the last of the original series. It would have been nice for Raimi and company to collaborate on one more film, though it was not to be. They seemed to be setting up the Lizard storyline that was ultimately used in the reboot; notice that Peter’s college professor Curt Connors only had one arm, and in one scene in the third film, there were lizards he was studying in the background. Oh, well.

While the animated TV shows (especially The Spectacular Spider-Man) often do the characters justice and the reboot has at least expanded on Gwen Stacy, all three Raimi films are such excellent comic book adaptations that no other Spider-Man movie could add anything to their chosen storylines but additional special effects and more villains (I’m sure they’ll get to the rest of the rogues gallery, like Vulture, Kraven, Black Cat, Scorpion, and maybe Hydro-man or Carnage one of these days). Tobey Maguire will always be Peter Parker for me, and these films will remain comic book classics.

Best line from Spider-Man: (Peter, at the end) “Whatever life holds in store for me, I will never forget these words: “With great power comes great responsibility.” This is my gift, my curse. Who am I? I’m Spider-Man.”

Best line from Spider-Man 2: (a witness, after pizza-delivery boy Peter changes into Spider-Man) “He just stole that guy’s pizza!”

Best line from Spider-Man 3: (Peter, at the end) “Whatever comes our way, whatever battle we have raging inside us, we always have a choice. My friend Harry taught me that. He chose to be the best of himself. It’s the choices that make us who we are, and we can always choose to do what’s right.”

 
Rank: 58 out of 60
 

© 2014 S. G. Liput

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