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Rhyme and Reason

~ Poetry Meets Film Reviews

Rhyme and Reason

Tag Archives: Superhero

Iron Man Trilogy (2008, 2010, 2013)

02 Thursday Oct 2014

Posted by sgliput in Movies, Poetry, Reviews, Writing

≈ Leave a comment

Tags

Action, Sci-fi, Superhero

(Spoilers ahead)
 
The playboy genius billionaire
Tony Stark does not much care
About concerns he made his cash
From weapons that guerrillas stash,
Until this vain and selfish man
Is kidnapped in Afghanistan.
 
When locked up by some terrorists,
A fellow prisoner assists.
Life-saving Yinsen does his best
To stop the shrapnel in Stark’s chest.
When he is stable, Stark is forced
To build a missile he endorsed.
 
Instead of building what they’ll shoot,
Both he and Yinsen build a suit,
An Iron Man that Stark will drive
To get out of this cave alive.
Though Yinsen sadly meets his end,
Stark finds freedom, thanks to his friend.
 
When good pal Rhodey rescues him,
Stark then announces on a whim
That he’ll leave weapon tech behind,
And most believe he’s lost his mind,
Like partner Obadiah Stane,
Who makes his reservations plain.
 
Intrigued by his initial suit,
The terrorists find it to loot,
And Tony builds a better one
To stop the violence he’s begun.
An arc reactor in his chest
Protects his heart and fuels his quest.
 
His exploits mess with certain plots
And scare assistant Pepper Potts,
Who cares too much to just stand by
And watch her dear employer die.
He urges her to help him hack,
And they learn Stane ordained the attack.
 
Stane’s had another suit created,
Bigger, stronger, more ill-fated.
Powered by Stark’s tech he stole,
Stane has great power at his control,
Which proves too much, when it’s revealed,
For agents from a group called S.H.I.E.L.D.
 
Though weakened, Tony swoops right in
And battles Stane but cannot win.
Through streets and skies and rooftops too,
They duke it out in public view.
With Pepper’s help, they finish Stane,
But to the press, Stark must explain.
Though S.H.I.E.L.D. would have him stick to plan,
He tells the world he’s Iron Man.
__________________
 
Now that his cover has been blown
And his identity is known,
Ol’ Tony Stark’s enjoying it
And showing off his suit a bit.
The Stark Expo his dad began
Now showcases his Iron Man.
 
His rival Justin Hammer tries
To copy Tony’s “iron” prize,
And senators are less than thrilled
That Stark won’t share what they can’t build.
In any case, he’s flying high,
And yet he fears he soon will die.
 
Palladium inside his chest
Is killing him and leaves him stressed.
He names his girlfriend Pepper as
The CEO of all he has,
But while he’s at a grand prix racing,
There’s a brand new foe worth facing.
 
Ivan Vanko, wielding whips,
Removes the smirk from Tony’s lips.
Though Tony beats him, he can tell
That Vanko forged his tech quite well.
It seems that both their fathers had
Been partners ere Vanko’s went bad.
 
From jail, the Russian brute is sprung
By Justin Hammer, who has hung
His hopes on Vanko to provide
Something that Stark has not supplied.
Meanwhile, Tony’s recklessness
Distresses Rhodey to excess.
 
Rhodes takes a suit for Air Force use,
While S.H.I.E.L.D. stops Tony’s booze abuse.
Director Fury urges Stark
To visit matters in the dark,
His distant father’s expo plans,
Which may hold clues his life demands.
 
He halts his health’s unseen descent
By forging a new element
To spare his heart and fuel his suit.
Meanwhile, Hammer’s new recruit
Builds robot soldiers for his goal,
And they are under his control.
 
The Stark Expo is quickly made
A battleground by this upgrade,
And Rhodey in his borrowed suit
Is forced to battle Stark and shoot.
Because of his involvement, Hammer
Gets a ticket to the slammer.
 
Agent Romanoff from S.H.I.E.L.D.
Frees Rhodey on the battlefield,
And he and Stark take out the bots
And barely rescue Pepper Potts.
Once Vanko’s vanquished, Stark is told
By Fury he’s too brash and bold.
Stark is confused but not upset:
He won’t be an Avenger…yet.
________________
 
Since Stark helped stop a space invasion,
He’s been panicked on occasion.
Memories of nearly dying
Scare him, though he’s still denying.
In his basement, he grows roots,
Constructing countless high-tech suits.
 
The world is threatened once again
By someone called the Mandarin,
A terrorist with frightful voice
Who gives world powers little choice.
One Aldrich Killian tries selling
His A.I.M. technology compelling.
 
When Happy Hogan, Tony’s guard,
Is injured by a bomb and scarred,
Stark calls the Mandarin to fight,
And missiles answer him outright.
Both Maya Hansen, an old flame,
And Pepper flee the strike by A.I.M.,
 
But Tony’s suit instinctively
Flies him to rural Tennessee.
While there, he meets a lonely kid
Named Harley, who assists off grid.
They check a bomb-like suicide
With clues to how some others died.
 
When suitless Stark locates the foe,
He finds the Mandarin’s a show,
An actor, Trevor Slattery,
Who faked his crimes on live TV.
It’s Killian who is to blame
And his Extremis, backed by A.I.M.
 
With Rhodey’s armor, Killian’s bent
On kidnapping the President.
With him deceased, he’ll own and guide
The leadership of every side.
He’s kidnapped Pepper too, but soon
Stark’s suit returns when opportune.
 
A fleet of suits at Stark’s command
Attacks and makes a final stand.
The President saved, Stark gets aid
Defeating Killian’s tirade.
When all is done, Extremis ended,
All the villains apprehended,
Stark negates what he began,
But still, deep down, he’s Iron Man.
______________
 

Iron Man was the beginning of the Marvel Cinematic Universe that has grown exponentially ever since, including one or two films a year and an ongoing television series.  The seminal superhero flick introduced lasting facets of this universe, such as Robert Downey, Jr.’s Tony Stark, Clark Gregg’s Agent Coulson, and the Strategic Homeland Intervention, Enforcement, and Logistics Division, better known as S.H.I.E.L.D.  Even non-comic geeks probably knew the basics of the Batman, Superman, and Spider-Man mythos, but Iron Man was certainly less widely known, even if he too had a 1990s animated TV series (and was voiced by Airplane!’s Robert Hays).  The 2008 feature film established Tony Stark as a household name, thanks predominantly to Downey’s utterly entertaining charisma and the awesome CGI armor.  Gwyneth Paltrow also found her most recognized role as his girlfriend Pepper Potts, and who would have guessed that that unassuming Coulson urging for a debriefing would go on to have his own weeknight show?  Of the villains in the three films, Jeff Bridges as Obadiah Stane is the best, offering both an intimidating presence (which Vanko had and Killian lacked) and a worthy showdown (which Vanko lacked and Killian had).  Plus, Samuel L. Jackson’s incipient post-credits scene as Nick Fury opened up countless opportunities, referenced an Avengers film still four years away, and made the hearts of fanboys everywhere beat a little bit faster.

Iron Man 2 continued the all-around coolness factor that had made its predecessor such a success, starting off with some epic AC/DC.  Downey had his usual banter down pat, and Don Cheadle stepped gracefully into the role of Rhodey, previously played by Terrence Howard, though I wish they had kept Howard all the same.  (After all, he never got to wear the War Machine armor he was eyeing.)  Iron Man 2 introduced another menacing villain in Mickey Rourke’s Ivan Vanko/Whiplash, as well as Scarlett Johansson as S.H.I.E.L.D. agent Natasha Romanoff/Black Widow.  Sadly, neither of them were utilized fully; after Vanko’s initial assault on Stark, he’s off in the shadows letting robots fight for him, and when he finally arrives on the battlefield, he’s taken out within two minutes.  Likewise, Johansson is present mainly for eye candy and an overlong hallway melee meant to simply exhibit her strength and tenacity; otherwise, her role is minimal, though definitely bigger than Hawkeye’s cameo in Thor.  I did enjoy the lighter villainy of Sam Rockwell as Justin Hammer, and the portrayal of Stark’s morbid spiral into drunkenness, his paternal issues, and his struggle to synthesize his needed element deepened his character and provided a very obvious Captain America reference.

Iron Man 3 was the start of Phase 2, Marvel’s post-Avengers period, and proved that they still had the right balance of humor, heart, and action.  In a comic-book world where near-death experiences seem like an everyday annoyance, it was intriguing to see Tony’s recurrent distress from his time with the Avengers.  From the trailers, I was sure that Ben Kingsley would steal the show as the threatening Mandarin, and he did…for the first half.  The revelation of his true oblivious identity was a big let-down, for me and many comic fans, though a recent partial retcon in the Marvel One-Shot “All Hail the King” presents the possibility of future efforts doing the character justice.  On the other hand, the treatment of the Extremis story arc was exciting, complex, and influential to the Marvel universe, since Extremis continued to pop up in the first season of Marvel’s Agents of S.H.I.E.L.D.  (By the way, minor Lost alert: Rebecca Mader, who played Charlotte Lewis on my favorite show, portrayed a nameless Extremis soldier who took down Rhodey’s armor.)  While I enjoyed Tony’s bonding with the boy in Tennessee, the threequel tried to cover a lot of territory, and some elements like Maya Hansen and Trevor Slattery were wiped away too quickly to make room for a slam-bang climax that was admittedly spectacular.  Pepper’s role in the final battle did seem rather contrived, as if Paltrow had simply requested more action for her character, and Tony’s destruction of his suits may have been “sweet,” but it was also irresponsible, considering they weren’t sure all the baddies had been defeated.  The denouement ties up the storylines with a contemplative bow, but its ambiguity left further entries in the series in doubt.  Maybe Tony now lives in the Avengers Tower/Stark Tower.

Overall, the Iron Man films are a huge feather in the cap of Marvel Studios, and Robert Downey, Jr. makes the role his own so effectively that any distant reboot couldn’t hope to find a worthy replacement.  Of the three, I probably prefer the original, a near-perfect origin story that displays a good reason for Tony to change (the dying words of Shaun Toub as Yinsen) and touches on themes of self-improvement and the War on Terror.  All three are among the finest and most fun superhero films thus far.

Best line from Iron Man: (Nick Fury, speaking to Stark and moviegoers everywhere) “’I am Iron Man’. You think you’re the only superhero in the world? Mr. Stark, you’ve become part of a bigger universe. You just don’t know it yet.”

Best line from Iron Man 2: (Tony, reading Romanoff’s description of him) “’Mr. Stark displays textbook… narcissism.’  [long pause]  Agreed.”

Best line from Iron Man 3: (Pepper, toward the end) “What have I got to complain about now?”  (Tony) “Well, it’s me. You’ll find something.”

 
Artistry: 8
Characters/Actors: 9
Entertainment: 9
Visual Effects: 10
Originality: 8
Watchability: 9
Other (violence): -2
 
TOTAL: 51 out of 60
 

Next: #108 – Shrek 2

© 2014 S. G. Liput

213 Followers and Counting

 

The Mask of Zorro (1998)

19 Friday Sep 2014

Posted by sgliput in Movies, Poetry, Reviews, Writing

≈ Leave a comment

Tags

Action, Drama, Romance, Superhero, Western

Don Diego de la Vega is the hero of the poor
Known as Zorro, who has allies and sworn enemies galore.
When the governor Montero learns of his identity,
He arrests him and abducts his child Elena wickedly.
 
Twenty years go by before Montero seeks his captive foe,
Bringing his adopted daughter back with him to Mexico.
De la Vega then escapes, intent on his revenge and hate,
But the sight of his Elena causes him to hesitate.
 
In the meantime, Alejandro Murrieta is well-known
As a bandit with his brother, but he soon is all alone.
Army Captain Love attacks and cruelly claims his partners twain,
Prompting in him dreams of vengeance, which at this point are in vain.
 
Zorro takes young Alejandro, seeing some potential there,
And he trains him in sword fighting in his secret Zorro lair.
After lessons hard and long, the newest Zorro tries his hand,
Posing as a wealthy don to learn of what Montero’s planned.
 
Alejandro is intrigued by beautiful Elena, who
Cannot help but be enamored of this masked intruder too.
When Montero tells his plot to buy the nation with bravado,
He shows off poor peasants forced to labor in his El Dorado.
 
Alejandro steals a map and fences in the poor’s defense,
Even as the bad guys try mass murder to hide evidence.
Both the Zorros, old and recent, battle their respective foes,
And Elena helps their struggle, thanks to shocking truths she knows.
 
Alejandro takes revenge, and de la Vega follows suit,
Though the latter man is wounded, dying worthy of salute.
Alejandro weds Elena now that justice has been won,
And he shares their grand adventure with Joaquin, their infant son.
_________________
 

The Mask of Zorro isn’t exactly an origin story, but a changing of the guard from one Zorro to the next, a difficult endeavor that was amazingly satisfying. The opening action scene of Errol Flynn-style derring-do conveys a lifetime of such heroics, and expert thespian Anthony Hopkins as the elderly Zorro pulls it off, even if his accent is out of place. Antonio Banderas fits in perfectly both because he is actually Hispanic and because his swashbuckling swagger is one of the film’s main pleasures. Banderas was a natural at sword fighting, according to fight choreographer Bob Anderson, and I’m not surprised. Another big draw is his on-screen chemistry with Catherine Zeta-Jones, who manages a seductive Latina allure despite being Welsh.

The film is basically a revenge tale set against a historical backdrop. Historical events, such as the Mexican-American War, are mentioned in passing, and Alejandro’s brother and accomplice were real Mexican bandits who met the same grisly fate (more or less) as in the film. Any historical inaccuracies are not as glaring as in the 2005 sequel The Legend of Zorro, which pales in comparison to the drama of this original.

Though a few scenes during de la Vega’s prison escape recall Spartacus and The Count of Monte Cristo, the film is still dashingly original while paying tribute to its many predecessors from the first half of the century. At a time when overblown reboots were just starting to become the Hollywood norm, The Mask of Zorro favored practical stunts and emotional narrative over gimmicks or cinematic extravagance. It’s a thrilling and mostly clean film (aside from one or two scenes) that brings to life one of the original “superheroes” of pulp fiction.

Best line: (Diego, referring to Alejandro’s sword) “Do you know how to use that thing?”   (Alejandro) “Yeah, the pointy end goes into the other man.”

 
Artistry: 8
Characters/Actors: 9
Entertainment: 9
Visual Effects: 9
Originality: 7
Watchability: 8
 
TOTAL: 50 out of 60
 

Next: #116 – Terminator 2: Judgment Day

© 2014 S. G. Liput

209 Followers and Counting

 

200th Post! The Dark Knight Trilogy

27 Sunday Jul 2014

Posted by sgliput in Movies, Poetry, Reviews, Writing

≈ 1 Comment

Tags

Action, Drama, Sci-fi, Superhero, Thriller

(This one is long and detailed; major spoiler alert)
 
When Bruce Wayne was a child, he fell down a chilly well,
And bats flew all around him, sparking panic and nightmares.
His father came to rescue him, explaining why he fell,
To learn to rise again as one of Gotham’s billionaires.
 
An opera they attended scared him, prompting them outside,
Where Chill, a desperate thug, shot both his parents but was caught.
Years later, one Falcone, a crime boss whom Chill defied
Had Chill killed, beating Bruce, who wanted justice done (he thought).
 
Bruce spoke with smug Falcone, who said Wayne did not “get” crime,
So Bruce departed secretly and lived like felons do.
But now Ducard gives Bruce a better outlet for his time,
To train with Ra’s al Ghul and battle fears he must subdue.
 
Bruce conquers guilt and fear of bats thanks to Ducard’s routine,
Excelling as a ninja on the Eastern mountainside,
But when he learns this League of Shadows wishes Gotham clean,
To purify by killing, he resists his former guide.
 
He fights the master Ra’s al Ghul, who’s killed within a fire,
But Bruce saves Ducard’s life and leaves him with a man to stay.
Then Wayne returns to Gotham, for his training helped inspire
A plan to battle evil in a much less lethal way.
 
He finds beneath his parents’ mansion bat-infested caves,
Which he at once remodels as his base of operations,
And Lucius Fox provides, in case some sinner misbehaves,
A hard, protective suit, as well as more high-tech donations.
 
At last, the Batman’s ready to contend with Gotham’s scum
And captures smuggled drugs, as well as old mob boss Falcone.
But there’s one Dr. Jonathan Crane who frequently has come
To court to plead insanity for every gangster crony.
 
He does this through a gas that makes the men hallucinate
And brings to life horrific fears that turn them all insane.
When Batman gets a breath of it, it almost is too late,
But Lucius and the faithful butler Alfred rescue Wayne.
 
With Fox’s antidote, Bruce tries to figure Crane’s designs,
But his old girlfriend Rachel beats him to it, though unwise.
She sees fear poison’s being dumped in Gotham’s water lines,
And Rachel gets some gas herself and nears her own demise.
 
But Batman gets her out of there with Sergeant Gordon’s aid
And drives a bit destructively to save her life in time.
He gives her extra antidote so that more can be made,
But Alfred’s getting troubled at how Bruce is fighting crime.
 
At Bruce’s birthday party, he comes quickly face to face
With old Ducard, who wants revenge, for he is Ra’s al Ghul.
Al Ghul burns down the house and has a city to erase,
Which he intends to do with his most recent stolen tool.
 
A microwave emitter taken from Wayne Enterprises
Ra’s uses to evaporate the city’s water store,
Releasing all the gas so when the populace arises,
Their terror will destroy each other in an inner war.
 
As chaos reigns and convicts run amok out on the street,
The Batman chases Ra’s upon an elevated train.
While Gordon takes the Batmobile and blasts the train’s supports,*
Bruce battles with his mentor, whom he saved before in vain.
 
Yet Batman flies away this time and leaves al Ghul to crash,
Averting more destruction had the train continued on.
The city’s saved (to some extent), but still there’s human trash,
For many criminals, like Crane, escaped and now are gone.
 
As Bruce rebuilds his mansion, fortifying the foundation,
Where no one knows his secret, save his butler and girlfriend,
A Joker has arisen, product of an escalation
That threatens Gotham City, but the Batman will defend.
______________________
 
The Joker’s on the rampage, stealing money from the mob,
A homicidal maniac who’s letting chaos reign,
But DA Harvey Dent is Gotham’s white knight for the job.
He’s fighting crime in ways that are respected by Bruce Wayne.
 
For Batman’s done his service, but he’d rather allow Dent
To prosecute the legal way with no need for a mask.
Dent’s also drawn in Rachel, causing Bruce to still lament,
But he and Gordon let Dent join them in their secret task.
 
A Chinese businessman named Lau is working with mob bosses,
Protecting all their money by escaping to Hong Kong,
But Batman has no jurisdiction and recoups his losses
By spiriting Lau back to Gotham, where he’ll play along.
 
The mob is desperate for some help and turns then to the Joker
To rid the town of Batman lest more obstacles occur.
The Joker then fills his new role as Gotham’s power broker,
By killing both a judge and the police commissioner.
 
He tries to take out Dent as well and Rachel by extension,
But Batman saves them both but lets the Joker get away.
When Gotham’s mayor’s targeted, the center of attention,
Lieutenant Gordon saves him but is killed to Dent’s dismay.
 
The Joker says that more will die if Batman doesn’t act,
Revealing who he really is, and Bruce is tempted to,
But Dent comes out and claims that he’s the hooded man in fact
And gets himself arrested, even though it isn’t true.
 
When Dent is off to prison, Joker follows for the kill,
But Batman saves the DA (though the Batmobile is toast).
He stops the Joker cold, and Gordon comes back for a thrill
To catch the laughing nutcase as a very living ghost.
 
They’re glad that he’s in custody, but he seems self-composed.
It seems that Dent and Rachel Dawes have somehow disappeared.
The Batman pounds the Joker for their place to be disclosed,
But Joker poses him a choice, the worst that he has feared.
 
For he can rescue only one before they blow sky high
And tries to go for Rachel, but he ends up saving Dent.
Police are too late saving her, and she’s the one to die,
And half of Harvey’s face is burned, which he comes to resent.
 
The Joker also got away with Lau in his possession.
When one of Wayne’s employees claims he knows who Batman is,
The Joker threatens hospitals to stimulate aggression
And get the town to kill this man and this secret of his.
 
When Bruce and Gordon save his life, a hospital is blown,
But not before the Joker frees a crazed and vengeful Dent.
The DA targets crooked cops and gangsters to atone
And lets a coin toss choose their fates to punish and torment.
 
The Joker next takes aim at ferries and the people’s will.
With criminals on one and all civilians on the other,
He gives them each a detonator for the other’s kill
And plans to kill them both if they do not blow up their brother.
 
The Batman fights his henchmen, who are not quite what they seem,
Confronting Joker high above the scene of anxious stress.
The people on the ferry don’t give in to Joker’s scheme,
And Batman hangs him up to dry but will not kill the pest.
 
He next goes after Harvey, who has Gordon’s wife and son
And plans to take revenge on those who didn’t kill his love.
They try to reason with him, but his mind is too far gone,
And Batman tackles Two-Face, who then falls from high above.
 
With Dent, the city’s shining hope, now made a villain, dead,
The Batman says he’ll bear his crimes to let the city cope.
As Gordon praises Harvey, lying as the Batman said,
Bruce Wayne retires cape and cowl, preserving Gotham’s hope.
______________________
 
Eight years have passed since Harvey Dent met his untimely end,
And in his name, the city’s cleaned itself from filth and crime.
Yet evil still is brewing, though the city’s on the mend,
And masked guerilla Bane waits underground to bide his time.
 
The Batman’s still retired, since he took the rap for Dent,
And Bruce Wayne is less agile, not the man he was before.
He meets a fair cat burglar, robbing him at an event,
But this Selina Kyle seems to covet something more.
 
She sells Wayne’s fingerprints in hopes of getting a device
To wipe her from all databases, granting a clean slate.
The deal turns sour when the buyer will not pay her price,
And when police come, Gordon’s caught by Bane, who lies in wait.
 
Though Gordon flees and is discovered by policeman Blake,
Bane finds a note revealing Gordon’s Dent-exalting lie.
The fiend attacks the stock market to wipe out Bruce’s stake,
And Batman un-retires to arrest a lone bad guy.
 
Bruce lets Miranda Tate, a lovely woman on his board,
Take over his whole company before a rival does.
This rival’s worked with Bane, who doesn’t act nice when deplored
And plans to be more lethal than the Joker ever was.
 
Though Alfred won’t approve of Bruce’s comeback with the cape,
Wayne listens to Miss Kyle to unearth Bane and attack.
Still hoping for that clean slate, she traps him with no escape,
And Bane confronts the Batman and breaks both his will and back.
 
Bane takes him to a foreign prison, deep within a pit,
To let him watch as Gotham is destroyed (or will be soon).
Then Bane takes over Gotham with a bomb to threaten it,
Employing Batman’s weapons to enforce a foul commune.
 
He corners all policemen underground and traps them there,
While forcing quarantine of Gotham City or else BOOM.
Meanwhile, in his prison, Bruce receives some painful care
And learns that Ra’s al Ghul’s offspring escaped this pit of doom.
 
He heals and trains for several months to climb out of the jail,
And somehow gets to Gotham, where the bomb will detonate.
He teams with Blake and Gordon, who have been on that bomb’s trail,
And frees the trapped police to battle Bane, who’s captured Tate.
 
Police and convicts clash as Bruce again confronts his foe
And bests Bane and demands to know who holds the hidden trigger.
Then Tate reveals that she in fact is Talia al Ghul so
She is the mastermind who climbed out of that prison’s rigor.
 
She leaves to detonate the bomb, which Gordon barely blocked.
Selina Kyle helps Batman and brings an end to Bane.
To their dismay, the bomb’s own timer has mere minutes clocked,
And ere she passes, Talia’s sure their efforts will be vain.
 
Since Batman knows what he must do, he uses his new plane
To haul the bomb across the bay, where it explodes apart.
The city’s saved, and Gordon sees the Batman was Bruce Wayne,
Who finally is honored as a hero from the start.
 
Though Lucius Fox believed the autopilot had been broken,
He learns that Bruce had fixed it ere his solemn sacrifice.
When Alfred is abroad, he sees a wish he once had spoken,
That Bruce would be there happy (with Selina), void of vice,
And Blake (or also Robin) gains the Batcave, free of price.
_______________________
 

When Christopher Nolan began to reboot the Batman film franchise, no one knew how audacious the end result would be, a trilogy of dark, deeply layered superhero stories that transcended the camp and silliness of the original incarnations. Unlike many of the underrated films on my list, The Dark Knight trilogy had no trouble garnering effusive praise and is considered to consist of three of the best superhero films ever made. Rather than going for the humor and colorful characters (and entertainment value) of Iron Man or Spider-Man, Nolan and company created a weighty, brooding three-part storyline that takes itself wholly seriously, with the requisite glimpses of light and hope and victorious good to make it all worthwhile.

Batman Begins is quite the successful origin story, cementing all the main characters, Bruce’s reason for fighting crime, his relationship with villain Ra’s al Ghul, and the inception (insert Nolan joke) of the Batcave, Batmobile, and Bat-everything else. Unlike the obvious cramming of villains seen in Spider-Man 3, it pulls off the adroit introduction of Falcone, the Scarecrow, and Ra’s al Ghul as simply extra layers in Nolan’s trademark complex brand of filmmaking.

I can envision someone else playing Batman (I don’t know about Ben Affleck, though), but Christian Bale is the best of all of the actors so far. Gary Oldman isn’t particularly developed as Gordon other than being one of the few trustworthy cops, but he plays important roles in all three films, and Morgan Freeman as Lucius Fox brought some much-needed humor and scientific experience to the proceedings. Liam Neeson goes against type as the villain Ra’s al Ghul and pulls it off better than I would have expected. Katie Holmes is the least successful of the actors, but she fills the role of Rachel well enough.

After hearing about the death of Heath Ledger and the extreme evil of his character the Joker, everyone seemed to be eager to see The Dark Knight, except me. Despite the exceptional reviews, it took me awhile to finally see the film, and, to be honest, it was good but not top 10 quality, as so many have said. Heath Ledger’s Oscar-winning performance rivals the depravity of Anthony Hopkins in Silence of the Lambs, but I’m not in the habit of watching such evil for fun. I found the moral dilemmas he poses to the people of Gotham to be thought-provoking, as were the ethical ramifications of Bruce’s utilization of NSA-style spy equipment to protect the city. While Ledger made the role his own, just as Jack Nicholson did in the original 1989 Batman, I’ll always consider the best Joker to be Mark Hamill in Batman: The Animated Series, whose voice had the right balance of humor and villainous insanity. Aaron Eckhart was a much better Two-Face, though, than Tommy Lee Jones, and while his death was a tad anti-climactic, the statement about heroes living long enough to become villains was thoughtfully played out in his character. While it has its good points, The Dark Knight is the least emotionally involving (despite Rachel’s death) and my least favorite of the three films, due to its oppressively dark tone and the head-scratching ending, with Batman’s acceptance of Dent’s crimes for the sake of “hope” making little sense to me. (I will expound on that in a later post.)

Strangely, unlike the critical majority, The Dark Knight Rises is my favorite. Rather than the chaos of the Joker’s anarchic “plot,” we’re back to Batman preventing the more straightforward destruction of Gotham City, while retaining the intricacy and twists and turns of Nolan’s past films. Tom Hardy is chillingly menacing in a very different way than the Joker, again creating a much better version of the character Bane than the one in Batman and Robin. Unlike the constant shadowy cityscapes of The Dark Knight, this one also has a better balance of environments, including a daytime football stadium and a foreign prison (The Dark Knight never even visited the Batcave). Anne Hathaway is an outstanding Catwoman, and her moral ambiguity is better handled than similarly conflicted characters.

Though I’ve failed to mention him thus far, the best actor of the whole cast is Nolan favorite Michael Caine as butler Alfred Pennyworth, whose scenes hold more emotional weight than everyone else’s put together. His few scenes in The Dark Knight Rises are testaments to that. Also, (Lost alert) Nestor Carbonell, who played Richard Alpert on my favorite show, plays Gotham’s mayor, and Brett Cullen (Lost’s Goodwin) has a bit role in the third film as a kidnapped congressman.

Ignoring the dark tone of the films, the visual effects are truly impressive. From the train finale in Batman Begins to the overturned truck scene in The Dark Knight, the filmmakers created some great action sequences and explosions, while mostly avoiding the bombast of the Marvel films.

My VC had set ideas about what to expect from a Batman movie and did not care for Bruce’s aimless wandering and his ninja training that took up the beginning of Batman Begins. The first two films weren’t her cup of tea, but she at least liked the third film as well. Though she couldn’t get into Nolan’s impressive work, I admire many of his artistic touches as well, such as the pit-like prison in the third film being analogous to the well Bruce fell into as a child. Overall, The Dark Knight trilogy does not include my favorite superhero films, just as Batman isn’t my favorite superhero, but it’s a praiseworthy achievement that will be hard to top, even if further Batman films arise.

Best line: (Alfred, after young Bruce falls in the well) “Took quite a fall, didn’t we, Master Bruce?”  (Thomas Wayne) “And why do we fall, Bruce? So we can learn to pick ourselves up.”

 
Artistry: 10
Characters/Actors: 9
Entertainment: 8
Visual Effects: 10
Originality: 8
Watchability: 6
Other (dark tone, violence, language): -5
 
TOTAL: 46 out of 60
 

Next: #165 – What’s Up, Doc?

© 2014 S. G. Liput

165 Followers and Counting

 

Superman (1978)

18 Wednesday Jun 2014

Posted by sgliput in Movies, Poetry, Reviews, Writing

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Action, Disaster, Drama, Sci-fi, Superhero

The distant planet Krypton, after stopping an attack
By Ursa, Non, and Zod, confines all three (but they’ll be back).
But scientist Jor-El still feels that Krypton’s on the brink
Of imminent destruction, which nobody else will think.
 
As Krypton starts to crumble, he sends out his infant son,
And once the world explodes, the young Kal-El’s the only one.
He flies throughout the stars before crash landing on our sphere
And is adopted by the Kents, who know he’s not from here.
 
“Clark” grows and calls the earth his home, the Kents his mom and dad,
But tries to hide the speed and strength that he has always had.
When Jonathan, his wise old father, passes from this earth,
Clark finds the hidden secret of his otherworldly birth.
 
He leaves with one green crystal for the Arctic, strangely led,
And throws it to create a giant fortress there instead.
Recordings of Jor-El reveal the secrets he will master,
The reason for his powers which he’ll use to stop disaster.
 
Years later, at the Daily Planet Clark Kent is employed,
Now acting timid; any danger he’s quick to avoid.
Though he’s a hero, strong reporter Lois Lane can’t tell
And thinks him geeky when he faints and says the old word “swell.”
 
A helicopter accident puts Lois Lane in danger
Until she then is rescued by a blue-and-red-clad stranger.
He flies around Metropolis, performing decent deeds,
Preventing crimes and helping citizens with all their needs.
 
Intent on learning more of him, Lane gets an interview
With enigmatic Superman, and one free night flight too.
Her articles and news reports attract the veiled attention
Of evil mastermind Lex Luthor, who drips condescension.
 
He formulates a wicked scheme to redirect two bombs
And sink the California coast without the slightest qualms.
He steals a foreign meteor that glows with greenish light,
Attracting Superman to cripple him with Kryptonite.
 
Though Superman is rescued and stops one bomb, he’s too late;
The other causes earthquakes, sealing California’s fate.
Our hero still saves buses, towns, and fault lines too, although
He cannot save poor Lois Lane from landslides even so.
 
Heartsick with grief, he breaks a rule, reversing our Earth’s time,
To bring back Lois and prevent the worst of Luthor’s crime.
He drops off Luthor at a jail, and flies ‘twixt Earth and space,
The ever-faithful guardian of all the human race.
_____________________
 

The first modern superhero movie, Superman was a really big deal when it was released in 1978, pulling out big name stars like Marlon Brando and Gene Hackman and charging big bucks for product placement. (I hope it was worth it, Cheerios.) Watching it thirty-six years later, the special effects are still effective, quite deserving of the Special Achievement Award they received, and John Williams’ magnificent score remains as iconic as it was then. Anyone who can compose for Jane Eyre and Superman and make them both synonymous with the film is a master composer.

As I said in my Superman II post, Christopher Reeve is Superman, and I have yet to see anyone who can wear the red cape as well as he could. Gene Hackman introduces Lex Luthor with the perfect blend of villainy and charisma. (Villains are always more menacing when you see their hands first, right?) Margot Kidder also does well as Lois Lane, and I like the little quirks the filmmakers added to her character, like her constantly misspelling of words. Embracing the role of Daily Planet chief Perry White, Jackie Cooper acts as an entertaining forerunner to J. Jonah Jameson of the Spider-Man films.

The film does have some faults other than the San Andreas one. Some scenes go on much too long, such as the rather boring opening credits, the construction of his Fortress of Solitude, and his flight with Lois Lane. Since they still had Williams’ memorable score, it’s not as bad as Star Trek: The Motion Picture in that regard, but these scenes make the film longer than it needed to be. Also, Lex Luthor makes some astounding leaps of reasoning to deduce that a particular meteorite in Africa came from Superman’s home planet, and “it stands to reason” that it must be deadly for the man of steel. It’s a good hypothesis, but there’s nothing to back it up. Likewise, the final scene where Superman reverses Earth’s rotation to reverse time is perhaps the least scientific portrayal of time travel ever put on film. Again, I don’t see how he knew his actions would have the desired effect when they could just as easily have caused more earthquakes or something worse.

It’s not a perfect superhero film, but as one of the first comic book blockbusters, it’s an incredibly influential one for the genre, aiming for gravitas while also retaining some campy charm. The recent Man of Steel had plenty of the gravitas and much more eye-popping effects, but it lacked the charm. Superman Returns was unsuccessful at both for me.Though Marvel has taken over superhero films for the most part, DC had a strong start with Superman, and it still makes audiences “believe a man can fly.”

Best line: (Superman, during his interview with Lois) “I’m here to fight for truth, and justice, and the American way.” [I didn’t like how Superman Returns ruined that line.]   (Lois) “You’re gonna end up fighting every elected official in this country!”

 
Artistry: 6
Characters/Actors: 7
Entertainment: 7
Visual Effects: 5
Originality: 9
Watchability: 7
 
TOTAL: 41 out of 60
 

Next: #204 – Peter Pan (to complete my trilogy of films with people flying around)

© 2014 S. G. Liput

133 Followers and Counting

 

Superman II (1980)

05 Thursday Jun 2014

Posted by sgliput in Movies, Poetry, Reviews, Writing

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Action, Sci-fi, Superhero

Superman is back again
To keep the world on track again.
He loves reporter Lois Lane,
Who loves the hero heaven-sent
But not her coworker Clark Kent,
Not knowing they’re one and the same.
 
Paris has a bombing threat
And soon owes Superman a debt.
He lets the bomb explode in space,
Unknowingly releasing three
Kryptonians from captivity,
Who plan to rule the human race.
 
At Niagara Falls, though, Lane
Believes Clark isn’t so mundane.
She learns that he is Superman;
For their love he then commits
To sap his powers; he just quits
Freely, with no backup plan.
 
Ursa, Non, and General Zod
Take the planet and play God.
When Clark learns of this too late,
He regains his mighty powers
To defend this world of ours
From the trio full of hate.
 
When he cannot beat all three,
There’s one place that he can flee.
But Lex Luthor tells the sinners
Where to find him, so they soar
To his Fortress to make war.
There they vie to be the winners.
 
Superman, through cleverness,
Makes the villains powerless
And each wicked rogue descends.
Lois though is still upset,
Such that Clark makes her forget,
And they’re once again just friends.
Thus with fanfare, this tale ends.
_________________
 

Superman was one of the great original superhero movies, and this sequel continued its winning blend of (then) impressive visuals, memorable villains, and melodramatic comic-ness. My VC and I have always felt that Christopher Reeve was Superman, easily outdoing Brandon Routh and Henry Cavill in embodying the character. Likewise, Gene Hackman excels as Lex Luthor, though Kevin Spacey came close to hitting the mark in Superman Returns while making the character much darker than Hackman’s portrayal. Margot Kidder may not be the Lois Lane, but she’s the best one I’ve seen and does pair well with Reeve. Lastly, the three villains, Ursa, Non, and General Zod, may be one-dimensionally villainous, but they are certainly formidable opponents for the man of steel.

I’ll go ahead and say that the first film is higher on my list, mainly because this second one has some elements that bother me. Aside from some silly effects, like clothes fluttering in the “breeze” of space, Superman himself is much less vigilant than he ought to be, letting both a nuclear threat in Paris and a worldwide extraterrestrial takeover slip past him. His removal of his powers (for the sake of “love”) may be romantic, but it also seems quite selfish and irresponsible on his part, as well as Lois Lane’s. The scene where he is beaten up in a diner confirmed the issue to me. In the first film, it was clear that Superman was pretending to be the nerdy Clark Kent; in Superman II, mainly in the middle part, it seems as if Clark Kent is pretending to be Superman and failing.

Nevertheless, it’s an enjoyable superhero film that may not have the spectacular effects of more recent movies (though some destructive scenes in the Metropolis battle are impressive), but the familiar characters, engaging plot, glorious score, and campy action come together to make it a classic. It’s also much better than its two sequels. I haven’t seen them, but my VC says don’t bother.

Best line (or at least the most laughable): (a Metropolis bystander, after they think Superman has been defeated by the invulnerable supervillains) “They’ve killed Superman! What are we gonna do now?” (another man) “Let’s go get ’em! C’mon, I know some judo.”

 
Artistry: 5
Characters/Actors: 8
Entertainment: 8
Visual Effects: 4
Originality: 7
Watchability: 8
 
TOTAL: 40 out of 60
 

Next: #217 – The Terminator

© 2014 S. G. Liput

122 Followers and Counting

 

The Legend of Zorro (2005)

27 Tuesday May 2014

Posted by sgliput in Movies, Poetry, Reviews, Writing

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Action, Superhero

Alejandro De La Vega, known as Zorro to the masses,
Has defended for ten years all of the helpless lower classes,
But his faithful wife Elena wants her husband to be done
So he’ll spend time with Joaquin, their mini-Zorro of a son.
 
California will soon join the Union as its newest state,
And a bandit named McGivens wants to stop this favored fate.
Zorro stops him once but later cannot save a man in need
When McGivens tries to threaten him and plunder his land’s deed.
 
In the meantime, Alejandro is confronted with divorce,
And Elena soon is dating with no inkling of remorse.
Her beau Armand, a wealthy count, sparks Alejandro’s rage;
Joaquin is likewise angry when the couple get engaged.
 
Joaquin, while snooping round McGivens, catches on a rope,
But Zorro saves him, bringing from the scene a bar of soap.
Alejandro is abducted by the Pinkertons and jailed.
They explain that all this time the pair have had his wife blackmailed.
 
Since they knew who Zorro was, Elena bowed to all their wishes
And has since been undercover, for Armand is quite suspicious.
Alejandro gets Joaquin to break him out so he can mount
His devoted steed Tornado and go spy upon the count.
 
Pairing up with brave Elena, they hear from Armand’s own mouth
How he’ll give a new explosive to the war-preparing South.
He disposes of the Pinkertons and learns Elena’s ploy,
Catching her, as well as Zorro and their wily little boy.
 
He unmasks Don Alejandro, to his son’s surprise and shock,
And departs by train to transport his unstable bottled stock.
Zorro finishes McGivens and swashbuckles with Armand
While Joaquin prevents a crowd from blowing to the great beyond.
 
Alejandro and Elena flee before the train careens,
But Armand is not so lucky and is blown to smithereens.
As the lovers marry once again, their country now a state,
Zorro’s called to save the day and is supported by his mate.
_____________________
 

The Legend of Zorro is not as good as its predecessor, The Mask of Zorro, featuring more silly humor and a plot full of historical inaccuracies, but it delivers the swashbuckling action that makes any Zorro movie enjoyable. Many critics disliked it, and I admit it does have some less-than-ideal elements, but most of them can be countered: Zorro’s son is rather irritating and bratty in his Scrappy-Doo enthusiasm, but he clearly takes after his father, though more as he was at the beginning of the first film; Alejandro and Elena spend much of the movie bickering and drunk on his part, but to be fair, most of this was due to her being blackmailed by the Pinkertons (who weren’t even called that in 1850); and I didn’t care for McGivens’s twisted quoting of Scripture to justify his wicked acts, but more faithful Christianity is still presented by the heroes, such as Alejandro’s heartfelt prayer in the church and a cross necklace saving the life of a priest. Thus, it may be a mixed bag, but it’s a mostly entertaining one.

Antonio Banderas and Catherine Zeta-Jones are as appealing as ever, even when their characters aren’t, and I was impressed by Rufus Sewell as Count Armand since, before this, I had only seen him in the very different role of abolitionist Thomas Clarkson in Amazing Grace. Armand is intimidating, but Nick Chinlund plays a much more menacing villain in McGivens. Also, (Lost alert!) Michael Emerson, who went on to play the diabolical Ben Linus on my favorite show, appears as one of the Pinkertons wearing muttonchops.

The movie most excels at its action. It may not be as frequent as the previous films, but the fight scenes are wondrously choreographed, and the final showdown is a standout among train-related conclusions. Some of it can be downright ridiculous, like a horse jumping onto a moving train (though the horse’s reaction to what comes next is priceless), but the climactic explosion is truly spectacular. I was annoyed at several mentions of the “Confederate” states when the Confederacy had not been formed in 1850, but overall the film is not as bad as many critics made it out to be, so it really is a shame that there were no further Zorro sequels. Since Hollywood has been redoing just about every franchise lately, I’m sure they’ll get around to rebooting Zorro sooner or later, though I can’t see anyone else satisfactorily replacing the two leads.

Best line: (Joaquin, not knowing his father’s secret, after his father defeats a bunch of prison guards) “Where did you learn to do that?” (Alejandro) “Prison changes a man.”

 
Artistry: 5
Characters/Actors: 7
Entertainment: 8
Visual Effects: 8
Originality: 6
Watchability: 7
Other (violence and aforementioned issues): -2
 
TOTAL: 39 out of 60
 

Next: #226 – Forget Paris

© 2014 S. G. Liput

115 Followers and Counting

 

#230: X2: X-Men United (2003)

24 Saturday May 2014

Posted by sgliput in Movies, Poetry, Reviews, Writing

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Action, Drama, Sci-fi, Superhero

A teleporting mutant tries to kill the President,
Which makes them think all mutants maybe have the same intent.
A Colonel William Stryker gets the President to rule
That he can send a team into a certain mutant school.
 
Professor X, meanwhile, visits his magnetic foe
And learns that Stryker questioned the imprisoned Magneto.
It seems that Stryker has a drug that mutants can’t withstand.
Magneto stated everything the Colonel would demand.
 
As Cyclops and Xavier are being apprehended,
Professor X’s school is being raided and defended.
Though Stryker’s soldiers capture some before their blitz is seen,
They’re quickly overwhelmed when they encounter Wolverine.
 
Most kids succeed in getting out, but Logan tries to stay
For he remembers Stryker, although how he cannot say.
Yet Logan flees with Rogue and Bobby, her new icy beau,
As well as John, whose fire powers dub the lad Pyro.
 
Meanwhile, Storm and Jean are searching for the teleporter,
And find him very different from a mutant rights supporter.
A Catholic called Nightcrawler, he has no desire to kill
And was compelled to strike the President against his will.
 
When Wolverine and friends drive up to Bobby’s family,
His parents learn their son’s a mutant who can freeze their tea.
Police arrive and so does Jean to spirit them away
To locate Stryker’s fortress, but to missiles they fall prey.
 
They’re rescued by Magneto, whom Mystique had shrewdly freed,
And the foes combine their forces to prevent the villain’s deed.
For Stryker’s used his son to brainwash Charles with a show
That will make him kill all mutants with a copied Cerebro.
 
As the mutants make their way inside a dam, where lies his lair,
They split up to search the place and find opponents waiting there.
Once Wolverine remembers Stryker gave him metal claws,
He’s forced to fight his bodyguard while Stryker then withdraws.
 
Jean also battles Cyclops, who has been brainwashed as well,
While Nightcrawler and Storm save captured students from their cell.
Magneto finds Xavier and changes things a bit
So he will target humans with a worldwide mental hit.
 
Storm and Nightcrawler prevent this as Magneto gets away,
Taking Pyro as an ally who will fight another day.
Stryker’s injured and abandoned by the Wolverine he made,
And the good guys try escaping as the dam starts to cascade.
 
When the jet cannot lift off, Jean goes outside to help it rise
And aids her friends’ escape before her final sacrifice.
They fly to meet the President to tell him not to fear.
There is evil on both sides, but still the good is also near.
(They all think that Jean is gone, but there’s a chance she’ll reappear.)
____________________
 

Considering how much I love comic book movies, it may seem odd that all the X-Men films are fairly close together and rather low on my list. The X-Men are a memorable superhero team, but their world is one of very realistic strife, which, while timely, sometimes detracts from the fun of watching people with superpowers. They’re also more edgy and violent than Marvel’s other properties. Nevertheless, this sequel to the first X-Men is the best of the bunch with many layers to the plot and characters.

Director Bryan Singer pulls off an amazing balancing act as he crams so many characters into one film. There’s Professor X (Patrick Stewart), Magneto (Ian McKellan), Wolverine (Hugh Jackman), Jean Grey (Famke Janssen), Storm (Halle Berry), Cyclops (James Marsden), Mystique (Rebecca Romijn), Nightcrawler (Alan Cumming), Rogue (Anna Paquin), Iceman (Shawn Ashmore), Pyro (Aaron Stanford), Lady Deathstrike (Kelly Hu), and a sinister Brian Cox as the bad guy William Stryker. Compare this list with any other superhero film’s cast, and one cannot help but admire the skill it took to handle such an expansive and varied ensemble. While some stand out more than others, every character is given a scene to shine, from Wolverine’s awesome showdown with his female counterpart to Pyro’s flame assault to Jean’s climactic sacrifice. (For the record, Cyclops remains the least developed, having little personality other than his unremarkable relationship with Jean. The third film didn’t help that.)

The filmmakers also made some laudable decisions in what they included. Stryker was originally a mutant-hating reverend in the graphic novel God Loves, Man Kills, but they avoided religious demonizing by making him a rogue military man instead. Plus, religion actually gets a good word from Nightcrawler, who follows an inexplicable mention of angelic symbols from Gabriel with a praiseworthy defense of faith.

The movie admittedly feels very long, but it builds to a marvelous cliffhanger that made everyone look forward to the next film. That next film was X-Men: The Last Stand, which I consider one of the worst movies I’ve seen, offering extremely unsatisfying conclusions for three separate characters (though one has been resurrected for Days of Future Past). Needless to say, you won’t see Last Stand on this list, but X2 remains an impressive achievement among comic book films and the best X-Men film so far (though I’ll be seeing Days of Future Past soon).

Best line: (Nightcrawler) “Someone so beautiful should not be so angry.”
(Storm) “Sometimes anger can help you survive. “
(Nightcrawler) “So can faith.”

 

Artistry: 7
Characters/Actors: 6
Entertainment: 8
Visual Effects: 8
Originality: 7
Watchability: 6
Other (violence): -3
 
TOTAL: 39 out of 60
 

Next: #229 – Brave Little Toaster

© 2014 S. G. Liput

113 Followers and Counting

 

Unbreakable (2000)

17 Saturday May 2014

Posted by sgliput in Movies, Poetry, Reviews, Writing

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Drama, Superhero, Thriller

When David Dunn is on a train,
Which crashes, all aboard are slain,
But David walks away unharmed,
Which leaves him puzzled and alarmed
How he alone survived the wreck.
 
He finds a simple note, concise,
From comic fan Elijah Price,
That questions David to explore
If he’s been ever sick before.
This irks and pushes him to check.
 
He meets with Price, whose bones, alas,
Are broken easily, like glass.
Price then suggests that Dunn may be
A superhuman possibly.
 
Price watched the news: a crashing plane,
A hotel fire, and then the train.
And Dunn alone has cheated death,
But David says to save his breath.
 
Through tests of instinct and his might,
He starts to think Price may be right.
His past confirms what Price has known;
Dunn’s never had a broken bone.
 
His failing marriage lacks romance,
But Dunn’s wife grants a second chance.
His son insists that Price is right
And tries to prove it with a fright.
 
At last when David thinks it’s true,
He tries to see what he can do.
He stops an evil home invader
As a hooded night crusader.
 
He feels at last he’s found it all,
His purpose, thanks to Price’s call,
But David senses through his skill
That “Mr. Glass” has secrets still.
__________________
 

Before M. Night Shyamalan’s reputation went down the tubes, he created Unbreakable, an amazingly nuanced take on the superhero film, which had high expectations coming right on the heels of his smash hit The Sixth Sense. Bringing back Bruce Willis as the star and James Newton Howard as composer, Shyamalan’s artistry is out of this world. The film is replete with framed shots meant to look like comic book panels, a much more effective and subtle technique than Ang Lee’s attempt at the same thing in Hulk. Repeated use of upside-down shots, mirrored shots, and Shyamalan’s distinctive application of bright colors in a drab world make repeated watchings worthwhile, if only to notice them all like Easter eggs, and, of course, there’s the surprise ending, which may not be as mind-blowing as in The Sixth Sense but definitely comes as a game-changing surprise on the first viewing.

Bruce Willis is at his subdued best as David Dunn, and Robin Wright Penn as his wife Audrey and Spencer Treat Clark as son Joseph are likewise exemplary. Samuel L. Jackson steals every scene he’s in, and it’s not just because of his hairdo. His role may be very different from his more recent comic book films (Nick Fury), but he manages great vulnerability as well as potential psychosis.

Although Unbreakable is considered a superhero film, it doesn’t even attempt the unfettered entertainment of movies like Spider-Man, Iron Man, or The Avengers. David’s one stab at heroism is too horrific to be really enjoyable, though it remains timely in light of the Ariel Castro kidnappings that recently came to light in Cleveland. Plus, while The Sixth Sense ended on a bittersweet but hopeful note, Unbreakable’s twist ending is more dismal and depressing.

There are no explosions, no jaw-dropping stunts, just exceptional acting, skillful cinematography, and some genuinely tense scenes. I love the attention to little details, such as the brief scene of The Powerpuff Girls episode “Mommy Fearest,” which features both breaking glass and a plot analogous to the film’s. Unbreakable isn’t the kind of film I like to watch often, but it’s certainly worth watching and perhaps even studying.

Best line: (Elijah Price) “Do you know what the scariest thing is? To not know your place in this world, to not know why you’re here.”

 
Artistry: 10
Characters/Actors: 9
Entertainment: 5
Visual Effects: 6
Originality: 8
Watchability: 5
Other (language and a bloodless but brutal death scene): -5
 
TOTAL: 38 out of 60
 

Next: #236 – Wuthering Heights (1970)

© 2014 S. G. Liput

106 Followers and Counting

 

X-Men (2000)

06 Tuesday May 2014

Posted by sgliput in Movies, Poetry, Reviews, Writing

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Action, Drama, Sci-fi, Superhero

Mankind is evolving, I hear,
To mutants with powers unclear.
This world on the brink
Doesn’t know what to think,
But most are responding with fear.
 
Young Rogue is disturbed by the fact
That she cannot have human contact.
Those touching her skin
Are then sapped from within,
Often causing a harmful impact.
 
She flees to the North’s wilderness,
And watches a man have success
On the cage-fighting scene;
He is called Wolverine
And has long metal claws that impress.
 
The pair is attacked in the snow
By a Sabretooth man they don’t know.
They are rescued by two
Mutant patriots, who
Take them both far away from the foe.
 
Wolverine (also Logan) awakes
In a school built for mutant kids’ sakes.
He is urged by Jean Grey,
A smart psychic, to stay,
But flees until told of the stakes.
 
Professor Xavier founded
This school for young mutants, surrounded
By those who have banned
What they don’t understand,
Which may provoke hatred unbounded.
 
The metal-controlling kingpin
Magneto wants mutants to win.
He threatens mankind
With the team he’s combined;
His latest plan’s due to begin.
 
His shape-shifting henchgirl Mystique
Nabs Kelly, who’s known to critique.
A machine in a tower
Magneto can power
Mutates Kelly into a freak.
 
Magneto kidnaps Rogue as well,
For reasons they can’t at first tell.
Then, after debate,
They fear he’ll mutate
World leaders and their personnel.
 
Once Kelly is dead from the change,
A death both horrific and strange,
They fly to New York,
Where Magneto’s at work
To metamorphose all in range.
 
The Statue of Liberty sees
Some tense and hard-fought victories.
The good mutants halt
The bad mutants’ assault
Through metal claws, lasers, and breeze.
 
Though Rogue nearly dies from the load,
Magneto’s machine they explode.
He’s captured and jailed,
But Mystique escapes, veiled,
And Logan gets back on the road.
____________________
 

X-Men was one of the first superhero movies of the new millennium, and it reinvigorated the genre, leading to ever greater comic book films since. As the beginning of this new string of superhero blockbusters, it’s less spectacular and ambitious than more recent films but brought enough memorable characters to the screen to warrant three sequels, a prequel, and a reboot (see three posts ago).

Some characters are perfectly cast, including Patrick Stewart as Professor Charles Xavier and Ian McKellan as Magneto; others are respectable enough and given room to grow in sequels, such as Famke Janssen as Jean Grey, James Marsden as Cyclops, and Anna Paquin as Rogue; and, as typical of films stuffed with characters, some are just space fillers for fight scenes, namely Halle Berry as Storm and Magneto’s two lackeys Sabretooth and Toad. The best character, though, goes to Hugh Jackman as Wolverine, a role that continues to define his career to this year. My VC and I thought it would typecast him as the tough guy with claws, but his recent performance in Les Miserables showed how versatile an actor he is. (Cool fact: Russell Crowe, who starred with Jackman in Les Mis, was the original choice for Wolverine. That would have been…interesting.) Wolverine and Rogue offer the bulk of the character development, but the two old English actors do wonders with less central roles.

Having seen X-Men Origins: Wolverine, I wish there were some indication that Wolverine and Sabretooth knew each other and were in fact half-brothers. (I know Logan wouldn’t remember, but the most Sabretooth/Victor Creed does is pick up Logan’s dog tags. Also, since Sabretooth had Wolverine’s healing powers, his supposed demise shouldn’t really have killed him.)

The special effects are just good, not stupendous or awe-inspiring like other superhero films, and the writing ranges from thought-provoking to cheesy (Storm’s line upon beating Toad is one of the lamest I’ve ever heard). Joss Whedon wrote an initial script that was mostly rejected, but I think it’s notable that he was involved at the beginning of the superhero craze, as well as directing its culmination in The Avengers. X-Men offers a great ensemble, some inside jokes, and an ending wide open for more installments. Now, fourteen years later, we’re awaiting the hopefully awesome Days of Future Past so it’s only fair to give credit to the film that started it all.

Best line: (Rogue) “You know, you should wear your seat belt.” (Wolverine) “Now look, kid, I don’t need advice on auto…” (Boom—Logan’s truck crashes)

 
Artistry: 6
Characters/Actors: 7
Entertainment: 7
Visual Effects: 6
Originality: 8
Watchability: 6
Other (some language and violence): -3
 
TOTAL: 37 out of 60
 

Next: #244 – Sheffey

© 2014 S. G. Liput

100 Followers and Counting

 

X-Men: First Class (2011)

03 Saturday May 2014

Posted by sgliput in Movies, Poetry, Reviews, Writing

≈ Leave a comment

Tags

Action, Sci-fi, Superhero

Long before ol’ Wolverine
Met Professor X’s team,
Long before young Rogue and Jean
And Cyclops fought Magneto’s scheme,
There was Erik Lehnsherr.
He saw an evil man named Shaw
Shoot his mother as a test
Of his response to what he saw,
Violent, yes, but it impressed
And sparked a misadventure.
 
Psychic Charles Xavier
Grew up with Raven (soon Mystique).
Close as siblings, these two were,
Even though she was a freak,
Hiding with disguises.
Moira, with the CIA,
Is searching for a fishy clue.
She perceives, to her dismay,
Shaw and other mutants, who
Present some new surprises.
 
She and Charles then present
Mutants to the CIA,
Concerning them to some extent,
But one man gives them his okay.
Soon they’re at a base.
Apprehending Shaw and friends
Doesn’t go as they had planned,
Yet, as their encounter ends,
Erik tries to make his stand
To kill Shaw and give chase.
 
Vengeance has to wait a bit.
Charles and fierce Erik meet;
Friendship soon grows out of it
As they get back on their feet.
Soon they are recruiting.
Finding mutants left and right,
Both soon have a young, new team.
Shaw attacks one fateful night,
Claiming mutants are supreme.
There’s much death and shooting.
 
Charles’s home is where they flee
To train and exercise each gift.
Erik helps Mystique to see
Her “beauty,” which provokes a rift
Between both Charles and her.
Shaw and friends are planning, though,
To start the Cuban Missile Crisis,
Forcing an uneasy show
Of rival nuclear devices.
World war may occur.
 
Charles and his mutant team
Fly to Cuba in a jet.
All of them defeat Shaw’s scheme
By extinguishing a threat.
Shaw is soon exposed.
As the good guys fight the bad,
Flying, beaming to and fro,
Shaw taunts Erik, who is mad,
And takes vengeance on his foe.
Shaw is now deposed.
 
Erik quickly has Shaw’s minions
And attempts to prove his power.
Charles has diverse opinions
And stops Erik in his hour.
Erik brings him pain.
Charles’s legs are paralyzed,
But he founds his mutant school,
Which he knows must be disguised.
Erik, though, has plans to rule
And starts his own campaign.
_________________
 

X-Men: First Class offers a compelling look at Professor X and Magneto in their youth. The beginning and straining of their friendship are the backbone of the film, and James McAvoy as Charles Xavier and Michael Fassbender as Erik Lehnsherr do an excellent job as younger versions of the roles previously embodied by Patrick Stewart and Ian McKellan. Other roles are either well-cast (Nicholas Hoult as Hank McCoy/Beast, Jennifer Lawrence as Raven/Mystique) or pretty flat and just an excuse for cool special effects (Zoe Kravitz as Angel, January Jones as Emma Frost). Kevin Bacon is decent, though not particularly memorable, as the villain Sebastian Shaw, though his comeuppance is both gruesome and well-deserved.

One thing that somewhat bothers me is the way this film fits in with the original X-Men films and the comics. There are references to the previous movies, such as the father of Colonel William Stryker from X2 and the opening scene of young Erik in the concentration camp. Yet, now that we know that Beast and Mystique were attracted to each other and especially that Charles and Mystique grew up together, I must ask why there was no indication of this in the first three films. Plus, there’s that big eyebrow-raiser in the horrible third movie: the scene in which Patrick Stewart’s Charles is seen walking, even though his paralysis is shown to have happened here when he was young. Who knows? In addition, Alex Summer/Havoc is the younger brother of Scott Summers/Cyclops in the comics, yet the filmmakers threw him in First Class (as perhaps Scott’s father) just because they could.

As typical of X-Men films, there are lots of characters and subplots, but First Class feels somehow edgier than the previous ones. Yes, there is the angst of the more youthful characters, but there are also profanity, quite a bit of comic book violence, and many scantily clothed women, all of which were totally unnecessary. There’s even a great unexpected cameo midway through that is rather spoiled by the lone F-bomb in the film.

Overall, X-Men: First Class doesn’t hit all the right notes, but it hits the most important, namely the relationship between Professor X and Magneto. It’s an impressive beginning to the rebooted X-Men trilogy and makes me eager to see X-Men: Days of Future Past this summer.

Best line: (Hank, as Charles is testing the Cerebro headgear) “You’re sure I can’t shave your head?” (Charles) “Don’t touch my hair.”

 
Artistry: 5
Characters/Actors: 6
Entertainment: 8
Visual Effects: 9
Originality: 8
Watchability: 7
Other (language, sex, violence): -6
 
TOTAL: 37 out of 60
 

Next: #247 – Cloudy with a Chance of Meatballs

© 2014 S. G. Liput

95 Followers and Counting

 

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