Glenn Walker is a writer who knows pop culture. He loves, hates, and lives pop culture. He knows too freaking much about pop culture, and here's where he talks about it all: movies, music, comics, television, and the rest... Welcome to Hell.
Valerian and the City of a Thousand Planets ~ I have been waiting for this flick since my brother-in-law hipped me to it several months back. We're both, as are millions of others, fans of another Luc Bessom film, The Fifth Element, a movie which thematically and visually Valerian resembles. Based on that, we were psyched, as well we should have been. This is a stunning film, with two major problems that spoiled it for me. Still, by all means, you should see this movie. It's a popcorn blockbuster and a treat for the eyes, and yes, 3-D is recommended if available, I don't say this often, but it’s worth it.
Based on the French/Belgian comic series Valerian and Laureline, and therein lies one of my problems with this flick. There are two lead protagonists in this film, and yet only the male one gets title billing. Laureline is just as much a lead and a hero, in some cases a better hero than Valerian, and yet, where is her name in the title? Besson, and whoever else might be responsible, should have kept to the source material on this one point.
What aggravates this seemingly small point is that this is Luc Besson, a man who in previous films like Lucy, The Messenger, La Femme Nikita, The Professional, Kiss of the Dragon, and especially The Fifth Element, has presented strong female protagonists in empowered roles. Laureline is still a strong female protagonist, yet relegated to a back seat and no billing in the movie version of the comic in which she at least gets second. Disappointing.
The other problem I have with Valerian is the actor in the titular lead role of this flick, Dane DeHaan. He is at best a Reggie in a movie that requires an Archie. And anyone who has seen him in Chronicle or the painful The Amazing Spider-Man 2, knows that his mischievous eyes and sneering grin are far more applicable to villainous roles than heroic. Often here he comes off as disingenuous or hiding something. It's just in his face and his manner - I was never able to fully trust him as the hero. Couple this with the character's less than stellar romantic streak, and he's definitely not your usual white hat.
And while DeHaan tries earnestly to be the hero he was cast as, Cara Delevingne pulls it off easily as Laureline, despite her previous roles. She was in the critically acclaimed Paper Towns, and also recently and more notably played the creepy Enchantress from Suicide Squad - or was she just Junie Moon, I forget, either way, both roles were creepy. And yet, I believe her more as the hero that DeHaan should have been. Also in the mix are Herbie Hancock, Ethan Hawke, and Rihanna shining as a shapeshifting pole dancer.
Don't get me wrong and bunch me in with the other critics who inexplicably didn't like this flick, because I loved it despite the problems I had with it. Valerian is fast-paced, exciting, fun, and visually stunning. The aliens are a spectacular special effects triumph blending Besson's Fifth Element sensibilities with Avatar caliber realism. The story of two federal agents in the future uncovering the mystery of a lost civilization in the future is as refreshing as it is simplistic, and highly watchable.
I had problems, yes, but they didn't affect the wonder and amazement I felt watching this movie. This is top of the line science fiction adventure, and if I'm being honest, I wish recent Star Wars flicks had a bit more of this and were less powered by nostalgia. Valerian is a great flick, recommended.
I'm saddened to announce here that actress, author, screenwriter, and producer Carrie Fisher has passed away after having a heart attack a few days back. Born the daughter of Debbie Reynolds and Eddie Fisher, she was best known for her role as Princess Leia Organa of the Star Wars franchise.
I remember seeing Star Wars for the first time, the real, original Star Wars, and Carrie Fisher's Princess Leia was one of the things I marveled at. Here was a princess, but breaking down all the stereotypes we thought of when we thought of princesses, and Carrie's attitude and gutsiness was no small part in that role. We loved her, and we loved her romance with Harrison Ford' Han Solo, and loved it even more when we recently found their affair on set was real. And even today, the day after I saw Rogue One, where she appeared as her young self to last year's triumphant return as the character in The Force Awakens, she is still perfect, and still beautiful, and now, more the template for a princess than the stereotype breaker.
I've loved Carrie in other films, especially one of my favorites, The Blues Brothers, and read a couple of her books, and always enjoyed seeing her participation in other film and TV projects. She had made quite a comeback in recent years, and become a crusader for mental health and drug recovery, and we still loved her. The outpouring of concern when she had her heart attack on board a plane last week showed that love worldwide. Carrie Fisher, our Princess Leia, will be missed.
20,000 Leagues Under the Sea ~ For a kid, tales of Jules Verne, and especially Captain Nemo, just fire the imagination, and this film has always been a grail for me in this way. I of course had read the books, but I had seen the movie Mysterious Island, with its great Ray Harryhausen effects, first, with Nemo as a peripheral character and yet so large - I wanted more. When I finally saw the 1954 Disney version of the real Nemo saga, I was thrilled.
Originally imagined as an animated feature over a decade before, Walt Disney eventually decided to make the move to live-action with this story, investing much in special effects, and winning Academy Awards for the effort. Coupled with an all-star cast - James Mason, Peter Lorre, and Kirk Douglas - this was a sure-fire hit, although the truth is it took several re-issues to get its money back. Either way, it remains a pinnacle of the genre, inspiring generations, just as the source material of Jules Verne did.
I got the chance to see this on the big screen recently at the 2016 TCM Classic Cruise, and it was introduced by Craig Barron and Ben Burtt, two of the men behind the special effects on the Star Wars movies, who were also spurred by this film to become the SPFX wizards they are today. The boys gave a 30-minute presentation about the making of the film, the special effects, and the miniatures, which was fantastic, featuring footage from the Disney vaults never before seen.
The cast is simply stunning, with James Mason as the prototypical Bond villain a good decade before they really hit the screen, as Captain Nemo. The camaraderie between Douglas and Lorre, and Douglas and Esmeralda the seal too, as a matter of fact make this a buddy movie before its time as well. Kirk Douglas' Ned Land is flamboyant, loud, and lovable, and we do love him, and root for this hero throughout the movie. We love him so much that the wonderfully addictive and simultaneously obnoxious "Whale of a Tale" song is even excusable. You will be humming it for days after seeing it.
Highly recommended, a classic Disney adventure that we have rarely seen since.
Finding Dory ~ The general parallels to the Star Wars franchise are hard to ignore here in this sequel to Finding Nemo. In the original movie it was a quest, a learning journey, with few signs of seriousness or darkness - not to say it wasn't serious - but this was a different movie than its sequel. Nemo was about parenting and about learning, but Dory gets downright dark and serious, much like The Empire Strikes Back. The fish have grown up.
We all laughed at the character of Dory, voiced by Ellen Degeneres, and her extremely short-term memory in the first film. As long as you don't know someone like that, or think about how she got that way, it's funny, but really, it's quite tragic. We find that like Marlin (Albert Brooks) lost his son Nemo and went to search for him, ultimately finding him - Dory wandered away from her parents, and never found them again, and never knew if they were looking for her. When you really think about it, it gives a whole new meaning to the film's title, Finding Dory.
The film begins with her losing her parents (or her parents losing her) in the past, then in the present day, follows her journey from there. After remembering one thing, she is off to first find her parents, and then save her friends. It's a fun road trip, but as I said, a bit darker than its predecessor.
I've been a fan of writer/director Andrew Stanton (also the voice of Crush) since John Carter, so I'll watch just about anything he's involved in. This was no disappointment, highly recommended, but be warned, tears alert. Also, don't forget to watch Piper, the Pixar short that accompanies it, it's awesome, as they all are.
Sharknado: The 4th Awakens ~ Hey folks, it's that time of year again, in what has become an annual tradition, it's Sharknado time again. Unlike lightning, the Sharknado can strike once, twice, three times, and now a fourth. Can Thunder Levin and The Asylum keep it going for a fourth installment? I think that's a no-brainer, but that's the kind of fun Sharknado is.
After an amazing Star Wars opening with the scrolling introduction off into the stars, we learn that it's now five years later from the end of Sharknado 3: Oh Hell No!. There are no more Sharknadoes thanks to AstroX run by Tommy Davidson, who has now put their space money into a clean energy, and a Shark World hotel in Las Vegas. It's just too bad that our hero Fin Shepherd, played by Ian Ziering is also headed there for a family reunion. Predictably the fun starts very quickly, with a dust devil made of sharks. Yes, a dust devil, made, of sharks. Just go with it, folks.
This sandstorm full of sharks is apparently possible because it has no water, what Astro X was capable of preventing. As long as there's no water, they can't stop these storms. So the storm chasing Fin and his family morphs as it tracks him across the United States, changing into a boulder-nado, a fire-nado, a twine-nado, and finally a nuke-nado before Fin has a final showdown with the shark-filled beast at Niagara Falls, but not before it leaves a trail of destruction in its path.
The guest star parade is incessant, much like the window cameos in the 1966 "Batman" TV series, everyone wants to be part of Sharknado. "The Today Show" hosts are back, as are Jedward, joining, among many, many others like Vince Neil of Motley Crue, Wayne Newton, Cheryl Tiegs, Gilbert Gottfried as Ron McDonald (insert your own joke), Dog the Bounty Hunter, Dr. Drew Pinsky, Lloyd Kaufman, Carrot Top, Paul Shaffer, Corey Taylor of Slipknot, Seth Rollins, Jillian Barberie, Adrian Zmed, and Christine, Stephen King's possessed 1958 Plymouth Fury.
On the minus side, the Xfinity X1 commercials within the movie itself were just embarrassing. Dodge was obvious product placement, but at least their commercial outside the flick were amusing. Really, Xfinity, really?
This one has it all - pirate ships, shark-bergs, cyborg Tara Reid, shark-fribulators, a "Baywatch" reunion, and Gary Busey and David Hasselhoff. I loved the comic book credit sequence, and I even loved the Tara Reid homage to the cover of Action Comics #1. The movie is just fun, and if it has any flaws (other than Xfinity) it's where this Sharknado takes itself seriously or gets caught up in its own franchise continuity. Otherwise it's awesome. Bring on Sharknado 5!
Another week passed before I picked up watching "Jessica Jones" again. I tired of the moronic plot twists and Jessica's increasingly idiotic plans, and longed for the early episodes that were so good. But I figured I got on this horse, I should finish circling the track at least once, and watch the entire series. There are only four episodes left after all, but then again, it all just fell apart in only three. Sigh. Onward.
As the episode opens, it's seconds after the end of "AKA Sin Bin," and Kilgrave is staggering out of the warehouse where his cell was. Whether by convenient or ridiculous coincidence, Jeri is driving by on her own escape from the madness, and he enthralls her. Offscreen, it should be remembered, they made a deal while he was in that cell. Things don't look good for Hogarth's soon-to-be ex-wife at this point...
Meanwhile inside, it's bedlam. Kilgrave's mother is dead, his father is dying if not dead, Trish is trying to put a bullet in her head, and Clemons has a broken wrist and a Jess-kick to the face. Jessica herself is a mess. Kilgrave got away again. On the plus side, she seems to have broken Kilgrave's control, Jessica is immune.
When it's brought up, Kilgrave's father, who's not quite dead, but still wants to cut his own heart out, intimates he might be able to concoct a cure for Kilgrave from Jessica's blood. Apparently his power isn't mutant, metahuman, or pheromonic - it's a virus. I'm stunned, and feel the same way I felt when I heard about midi-chlorians, or that Santa Claus wasn't real.
Jeri Hogarth brings Kilgrave home to her wife, not to eff with her as one would assume - at least not yet - but for her medical skills. He's been shot and needs help. I have to say it's a bit of brilliance to have the Purple Man act as negotiator between this couple snapping at each other, especially when they must do as he says. Simple phrases like 'tell the truth' and 'shut up' have new power in such conversations. And to cover his escape, once bandaged up, Kilgrave orders wife Wendy to cut Jeri a thousand times.
Back at the holding cell where Clemons is securing the scene, Will Simpson arrives. Not sure if he's now Nuke, still under the Purple Man's control, or just overdosed on two many red pills, but Simpson wants to know where Kilgrave and Trish are. Once he knows, he puts a bullet in Clemons' forehead. Something tells me Jessica has a new adversary.
Two moments, however brief, remind me of what the show once was. There's Malcolm helping Robyn put up 'missing' posters for her brother Ruben, it reflects his change. He wants to tell her, but he can't, so he helps her. Having something to do keeps her on track, even though he knows that Ruben is dead.
The other one is that Pam, now in custody for Wendy's murder, sees Jeri Hogarth for exactly what kind of person she is. She's figured out what Jeri did and what Kilgrave had to do with it - and now she wants nothing to do with Jeri. These two character bits stand out where the main plot, that of Jessica and Kilgrave, has become an implausible sitcom with lives at stake.
When Jessica goes home, yeah, she's apparently got nothing better to do than go home and chill, Kilgrave is there. We find out why he loves her and thinks he can get her, as well as the fact he's known for some time she's immune to his power - obviously part of the attraction. Now that she's free of fear, it almost seems to make this whole trip unnecessary. I'm tired of it.
While Jessica makes plans to trade Kilgrave's father for Hope's freedom, another threat is rising. Malcolm finally opens up to the support group about Ruben, but unfortunately Robyn is eavesdropping. She riles them up, rightfully bringing up that Kilgrave would not have messed with any of them if not for Jessica Jones. Great, now that Kilgrave is close to being neutered, Jessica will have both Nuke and mob rule to contend with.
From there the episode runs quickly like whirlpool to its depressing end. Between Hope's suicide and Jessica's vow to kill the Purple Man, it's no longer a question of is it time for the good guys to win yet, but why am I watching this. If this was not meant to be binge watched, and was a week to week broadcast series, this would be my last episode.
When Inaluable: The World's Premier Auctions asked me what my favorite dream movie prop to own would be, I came up with several possibilities. I started at the top however, with my favorite films.
My favorite film of all time is The Great Race, and props from that are it easy to pick from. Perhaps one of the sabers used by the Great Leslie and Baron Von Stuppe in their duel, or half of Professor Fate's frozen mustache, or best of all, perhaps the miniature of the Hannibal Twin-8. Dream props from other fave movies might be Conrad Birdie's guitar from Bye Bye Birdie or the robot Maria from Metropolis, or even the puppet miniatures of the two kaiju combatants in 1964's Mothra Vs. Godzilla.
If we're going genre, I might want Thor's Uru hammer Mjolnir or Captain America's shield from the Marvel Cinematic Universe. The comic book shown in the beginning of Superman The Movie would be awesome, as would a can of Shark Repellant Bat-Spray from 1966's Batman. But of I'm going to choose a movie prop from that movie, it would have to be the Batmobile, one of the coolest vehicles on Earth, even if I couldn't drive it in the rain.
Of course, if I did want to drive in the rain, I would pick another movie prop that's a famous convertible - definitely the coolest car on Earth - the Mach Five from Speed Racer. One push of the D button on the steering wheel and the cockpit is sealed to the elements. And that's not even mentioning the auto jacks and cutter blades. The Mach Five rules, and would be my ultimate dream movie prop.
This blog entry was inspired by Invaluable and if you'd like to see more favorite movie props, check out their collectibles section here, including a recent auction of Han Solo's blaster here. Thanks again to Invaluable. Now what are your favorite movie props?
I reviewed Marvel's The Avengers right after I saw it, three years ago, and although I have seen it numerous times since then, I thought it might be fun to take a new look at it on the eve of Avengers: Age of Ultron.
The movies have many franchises, among the biggest and longest are James Bond and Godzilla, but neither really depends on any kind of serious internal continuity or connection to each other. To an extent, the Universal horrors worked the same. Each film represents its own story and doesn't really need the others to be seen. Star Wars and later Star Trek play it differently as you do need to see the others, as it's more of a longform movie serial.
No one really tried to do an internal continuity on this scale until the Marvel Cinematic Universe. All of their 'phase one' led up to this moment - Marvel's The Avengers. This is House of Frankenstein as an endgame. We can't wait to see our heroes, and then we can't wait to see them together. Everyone is given room to move, time to shine, and still we are wanting more. From Iron Man's AC/DC entrance to Black Widow turning the tables on a brutal interrogation to Captain America going hand to hand with Loki - everyone gets a chance to shine solo until it's time to work together.
Then there's the reality of what we're really seeing. This is a S.H.I.E.L.D. movie, this is the S.H.I.E.L.D. movie. Had the series been like this, it would have been a surefire hit. Witness the majestic Star Trek-like launch of the Helicarrier, the huge bridge, the glee and command that Coulson has in the flick, all of this should have been the basis for the "Agents of S.H.I.E.L.D." TV show, rather than what we got.
This is the S.H.I.E.L.D. show we wanted. Did they dismantle the Helicarrier set as soon as filming was done? They could have used that. Maybe Samuel L. Jackson or Cobie Smulders could have recorded more footage for the show, but from other locations rather than going to the series set. And would we have really minded recycled footage from this movie in the show? I think not.
There is joy in the chemistry of the characters, and the actors. Without the shadow of Civil War over them, Captain America and Iron Man are friends and partners, Hawkeye and the Black Widow share moments, and Mark Ruffalo subtly steals the show as the buffer between all parties, even his CGI counterpart does his share of scene stealing. Loki is delicious, Fury is perfect, and the movie remains the best comic book superhero movie ever…
…at least until I see Avengers: Age of Ultron later tonight…
The big cliffhanger last time on "Arrow" was the seeming death of Thea at the hands of R'as Al Ghul. This was obvious the Demon's endgame in getting Oliver to do what he wants. And what does R'as want? He wants a heir, similar to his motives as a Batman foe, but some things have been unclear.
R'as indicates he's been the Demon's Head for hundreds of years, but never comes right out and says he's immortal. If he's immortal why does he need an heir, and why imply this transition has occurred before? The "Arrow" showrunners have been very careful not to use the proper term from the comics of R'as' resurrections - the Lazarus Pit. Instead, they have implied he has access to waters that heal, a fountain of youth if you will. They break that rule this episode.
We open on Oliver finding Thea, rushing her to the hospital, where they can only stabilize her to a vegetative state, comatose, dying slowly. When he sees Maseo signaling a meeting, Oliver is told that R'as will revive Thea, if Oliver takes his place as heir to the Demon.
When he discusses the choice with Team Arrow, Malcolm explains about, and uses the term, the Lazarus Pit, for the first time. It can rejuvenate, and restore the dead to life, but he warns that the one who is lost is not the one who comes back. They are changed, in their soul. Whether it works or not, Team Arrow is going to Nanda Parbat.
After a teary breakup and goodbye between Ray and Felicity, and terse words between Oliver and Malcolm, Team Arrow is off, assumedly with the Atom watching over Starling just in case the super-villain of the week is on schedule. It's notable I think that after she breaks up with Ray, Felicity boards the plane with her hair down, as she previously had for Barry and Ray, as opposed to up, as she usually does with Oliver.
The brief encounter between Diggle and Maseo is intense and telling, especially between two fathers and friends of Oliver. It is character moments like this, that stand above the soap stuff, and elevate "Arrow," and there have been damn few this season.
My first encounter with R'as Al Ghul in the comics, from Batman #244, which I've talked about before, also featured an emergence of R'as from the Lazarus Pit. The Demon was enraged, mad, violent, and possessed of superhuman strength. I was impressed to see that version of the Pit's effects carried over to the TV version. If only momentarily, Thea is a crazed animal, followed by confusion.
And then... "so that happened." After confronting and threatening R'as, the Demon tells Felicity she needs to tell Oliver how she feels before it's too late. She does, and what we've been waiting for for so long happens. Ollicity consummated. I'm glad it happened finally, and was done so well and tastefully for TV, but one thing really irks me. It happened because R'as pushed Felicity. There's just something both wrong and icky about that.
As if making love to Oliver wasn't insane enough, what Felicity does next is totally cray-cray. She drugs him into unconsciousness and tries, with the help of Team Arrow, and Maseo, whose chat with Diggle weighed on his soul, to smuggle him out of Nanda Parbat. Oliver wakes up however and puts a stop to it. And same old one-night-stand stubborn Ollie sends them on their way, while he stays, ready to be transformed into Al Sah-Him, heir to the Demon.
The parallel storyline in Flashback Hong Kong involves Oliver, Maseo, and Katana trying to stop General Shrieve from attacking China with a deadly bio-weapon. Like a Superboy story from the 1950s, this is a flashback that doesn't hold much bite. Just as we know Superboy grows up to be Superman, we know China isn't hit with a bio-weapon. I was also amused by all the gunplay in the one chase scene - no one involved appeared to be able hit anything, it was like everyone was a Stormtrooper. No real cliffhanger there.
Next: "Al Sah-Him!"
For my other reviews of the entire "Arrow" series, click here. And if you'd like to discuss this episode and anything else in the Arrowverse, please join the Arrow Discussion Group on Facebook.
The Lego Movie ~ Some have derided this flick as one long commercial for Lego, but I would strongly disagree. Lego is merely the medium through which the story is told and the animation is done. I don't think anyone is going to be running out and buying Legos after seeing this unless they are already into Lego. Maybe it worked on me, but I dig Lego, and I also dig this movie a lot too.
In a well organized world, Lord Business runs things with a well sorted attitude. Everything has its place, everyone has their job, and of course, Everything Is Awesome. Then an average guy finds the "Piece of Resistance," meets the girl of his dreams, Wyldstyle, and is swept up in an underground revolution against Business, where his fellow freedom fighters think he is "The Special," a legendary savior.
The voice cast is terrific. There's Morgan Freeman, Elizabeth Banks, Will Farrell, Chris Pratt, Alison Brie, and even Biff Bam Pop!'s own Leiki Veskimets (check out her terrific wrap-up on the Oscars from earlier today). Liam Neeson is great as Bad Cop, and Will Arnett steals the whole movie as Batman. I also loved the bits with Superman and Green Lantern, and the Millennium Falcon.
This movie was a lot of fun, and I can't wait for the sequel coming in 2017. Now, if you excuse me, I'm going to go play with my Legos, especially my Batman...
Actor, writer, and director, Harold Ramis passed away today, much too young, at the age of 69. The name might not ring a bell at first for some folks, but for others, the man defined comedy for a generation.
I first became aware of Harold Ramis from "SCTV." In my youth, the show aired a 1 AM, right after the original "Saturday Night Live," and was known by me and my friends as 'the secret SNL.' We called it that because most folks turned off the TV when SNL was over, they didn't know about this treasure. "SCTV" was a skit show set under the premise of a fictional Canadian TV network, and featured performers from Chicago's improv troupe, Second City, from which coincidentally half of the original SNL cast was from as well.
Harold Ramis was the head writer of the show, as well as working for Playboy and National Lampoon. From this starting point, he began form his comedy technique, and began writing film. Animal House, Stripes, Meatballs, and Caddyshack (which he also directed) all came before Ghostbusters.
Ghostbusters was huge when it came out, I don't know if anyone remembers how big it was. At the time it had a pop cultural impact similar to Star Wars, everyone knew the lines, and everybody had the t-shirts, and everybody was humming the song that would eventually make Huey Lewis richer.
Later he would come into his own as a director and producer as well, with such films as Vacation, Analyze This, a favorite of mine, Someone to Eat Cheese With, and The Ice Harvest. He would also do his final film with Bill Murray, probably their best film, Groundhog Day, a piece of brilliance that the two men disagreed on how it should be done. To this day, it's probably what has kept Ghostbusters 3 from happening.
We've lost one of the greats, both behind and in front of the camera, who made us laugh and made us think. Harold Ramis will be missed.
Thor The Dark World ~ Any Marvel movie at this point is an event, not just a promised blockbuster, but a legitimate mainstream event. Everyone wants to see the next big Marvel movie, and with the news this past week of Netflix's picking up five different Marvel Comics projects as live action additions to their streaming own line-up that includes "House of Cards," "Orange Is the New Black," and "Arrested Development," the next Marvel movie is big, and that movie is Thor The Dark World, a movie so big, it opened alone this weekend.
One thing I was happy to see, that even though the Marvel superheroes are now part of everyday pop culture and even your grandmom is aware of Thor, the powers that be aren't afraid to mine the source material for ideas rather than going off on a weird Hollywood tangent. One of the best Thor runs in the comics, other than the classic Stan Lee/Jack Kirby originals, would be the Walt Simonson run in the 1980s. Simonson did so much in his short run. He brought the character back to his roots, removed Don Blake from the equation, turned our hero into a frog, froze the planet, brought on both Surtur and the Midgard Serpent - and he also created Malekith and Kurse.
These two new characters were among the most powerful and dangerous the god of thunder had ever fought in the comics, making them more than adequate fodder for movie villains. I was more than pleased with former Doctor Christopher Eccleston as Malekith and Adewale Akinnuoye-Agbaje from HBO's "Oz" as Kurse, but I just wish they had had more to do and less make-up, as they're both terrific actors. In both cases, Kurse more so, the make up hindered their performances.
Sadly, what I said about source material goes by the wayside quite quickly. In the comics, Malekith releases Surtur and opens the Cask of Ancient Winters amongst other evils, but here, it is a mysterious aether that is the MacGuffin and magical weapon of choice. I really got the sense, especially when seeing that a different group of folks wrote the screenplay than wrote the story, that this was a plot from something else that had been transplanted into this Thor movie - sort of like how 1987's Masters of the Universe flick was a rewritten abandoned New Gods script.
Nevertheless, I like Thor The Dark World quite a bit. The cast was back in full force, and Chris Hemsworth seemed more comfortable in the title role this time, Natalie Portman was not as annoying, and as always Tom Hiddleston steals the show as Loki. I did think Anthony Hopkins looked a bit tired, and I was glad to see Idris Elba getting more screen time as Heimdall. I like Kat Dennings more every time I see her, sigh, I guess I'll have to break down and watch that "2 Broke Girls" show. I was also delighted to see Chris O'Dowd, as well as (spoilers) Chris Evans.
I really enjoyed the movie, despite it sorta taking a lighter, more Avengers tone than the first Kenneth Branaugh directed film. I liked the new language of the Dark Elves, I liked their spaceships, and their weapons, especially the space warp bombs. It was a bit of a distraction to have guns going 'pew-pew' and I freely admit to saying out loud at one point, "Coruscant is under attack, where're the Jedis?" Now, that said, the first movie made a concerted effort to explain that Asgard was not magic, but technology so advanced it appeared to be magic, so this does fit the Marvel Cinematic continuity.
Thor The Dark World was really cool, I'd see it again, and I'll definitely get it for home viewing when it comes out. I didn't think it needed much improvement, but female friends we ran into after the flick, as well as The Bride, all commented on the same thing regarding Chris Hemsworth. More bare chest. And butt, more butt. On that note, don't forget to stay for the after credits stingers, this time there are two.
MR. ROBOTO VS. EMPRESS AVIARA! TRELENA 12 SEEKS SANCTUARY!
BOOTY JAIL ON DISCO PLANET CARILLON!
Tonight, Wednesday, July 17th, doors open at 10 PM, show time is 11 PM sharp!
…at Bob and Barbara's, 1509 South Street, Philadelphia PA. 215-545-4511
$1.99 to get in, must be age 21 and up!
Last day, Capricorn 15s, year of the city, 2274, in a galaxy far, far away… hapless Trelena 12 obsesses about uninterested drug smuggling hunk, Starbuck 6. Her foolish attention is lost on him as he has his eyes on Trelena 12’s BFF, Tatiana 8.
Just as Starbuck 6 leaves on a secret mission, mechanical evildoer, Mr. Roboto and his fembot cohorts, R2FU and C3PU, seek the unloved heart and innocence of Trelena 12 for power and galactic domination. Trelena 12 must dodge nefarious attacks while seeking wisdom from Exstacia the Enchanter and Empress Aviara.
But what kinds of trouble await Trelena 12 on the disco planet of Carillon? Will she be sent to Booty Jail or fed to the daggets for being a socialator? And who is behind a deadly attack of meteor showers?
Destroy your life crystal, prepare to energize but beware of mouth sores in - “STAR WHOREZ”!
A portion of proceeds from this event benefit
InLiquid.org, a 501(c)(3) nonprofit organization committed to creating opportunities and exposure for visual artists.
You can also check out The Dumpsta Players on YouTube and Facebook, as well as on PhillyCAM television.
I'm saddened to announce here that actress, author, screenwriter, and producer Carrie Fisher has passed away after having a heart attack a few days back. Born the daughter of Debbie Reynolds and Eddie Fisher, she was best known for her role as Princess Leia Organa of the Star Wars franchise.
The cast is simply stunning, with James Mason as the prototypical Bond villain a good decade before they really hit the screen, as Captain Nemo. The camaraderie between Douglas and Lorre, and Douglas and Esmeralda the seal too, as a matter of fact make this a buddy movie before its time as well. Kirk Douglas' Ned Land is flamboyant, loud, and lovable, and we do love him, and root for this hero throughout the movie. We love him so much that the wonderfully addictive and simultaneously obnoxious "Whale of a Tale" song is even excusable. You will be humming it for days after seeing it.
I've been a fan of writer/director Andrew Stanton (also the voice of Crush) since John Carter, so I'll watch just about anything he's involved in. This was no disappointment, highly recommended, but be warned, tears alert. Also, don't forget to watch Piper, the Pixar short that accompanies it, it's awesome, as they all are.
My first encounter with R'as Al Ghul in the comics, from Batman #244, which I've talked about before, also featured an emergence of R'as from the Lazarus Pit. The Demon was enraged, mad, violent, and possessed of superhuman strength. I was impressed to see that version of the Pit's effects carried over to the TV version. If only momentarily, Thea is a crazed animal, followed by confusion.
I first became aware of Harold Ramis from "SCTV." In my youth, the show aired a 1 AM, right after the original "Saturday Night Live," and was known by me and my friends as 'the secret SNL.' We called it that because most folks turned off the TV when SNL was over, they didn't know about this treasure. "SCTV" was a skit show set under the premise of a fictional Canadian TV network, and featured performers from Chicago's improv troupe, Second City, from which coincidentally half of the original SNL cast was from as well.
Later he would come into his own as a director and producer as well, with such films as Vacation, Analyze This, a favorite of mine, Someone to Eat Cheese With, and The Ice Harvest. He would also do his final film with Bill Murray, probably their best film, Groundhog Day, a piece of brilliance that the two men disagreed on how it should be done. To this day, it's probably what has kept Ghostbusters 3 from happening.
