With the recent release of Mad Max: Fury Road, I thought it would be fun to look back on a manuscript I've written and post this thrilling action scene, inspired by the original Road Warrior.
My novel, Gods Among Men, depicts a future in which superheroes started appearing around the world, and they fought a major war against the human race. In the aftermath, they built a huge walled city, where heroes serve to protect men. Outside of the walled city is a lawless wasteland. In this setting, Troy Gaines is a man who wants to become a superhero, but has no special abilities; he relies on an invention to teleport himself, and to prove his worth, he goes on an investigation that leads him to the desert. Inevitably, he and his partner are captured by a violent wasteland gang. After surviving an arena fight, the two heroes hijack a vehicle and flee. What follows is a sprawling chase scene with vehicular carnage. Hope you enjoy it and have a lovely day!
This is all still part of the rough draft, and may be subject to change. I'm considering making one of the enemy vehicles an ice cream truck.
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Pushing as fast and far as he could, Troy [teleported] himself and Victor to the other side of the camp. They materialized in a penned area, where a number of motorized vehicles were kept. Most of the cars were broken and run-down, left as rusty wrecks sitting in the dusty ground.
Victor took the time to run by the vehicles, and he took in whatever electric energy he could from the batteries left in the cars. Troy ran to a buggy at the far end of the pen; despite its crude construction, the vehicle looked rugged, durable, and more aerodynamic than most of the others. Its wheels were well over two feet wide, with massive heavy treads. The canopy was well-enclosed, and appeared to have a roll-cage installed. Pleased with the vehicle, Troy jumped into it and regarded the dashboard. It was fully-fueled and charged; all he was missing were keys.
Then, a thug came up to the vehicle, dressed in filthy overalls. Troy looked up at the enemy; he was surprised to see that the mechanic was a woman, but even more shocked to see a full beard on her face.
Holding a wrench in her hands, the bearded lady demanded in a husky voice, “Where do you think you’re going, boy?”
Troy smirked and said, “It’s been a charming carnival, but it’s time for us to leave.”
“You’re going nowhere!” the enemy shouted, swinging her wrench at him.
The wrench made contact with the car’s frame, making a loud reverberating clang. Troy seized the mechanic’s hand and pulled on it, slamming her body into the vehicle’s side. While she was close, he reached into her front pocket and pulled out a set of keys. He then shoved her away, and she stumbled into the ground.
Fumbling the keys into the ignition, Troy turned it and started the vehicle up. After several seconds of sputtering, the car hummed to life. Victor ran up to the buggy and exclaimed, “They’re coming, Troy!”
“Get in,” Troy said. “I know I’ve had enough of this place. I never liked the circus anyway.”
Victor hopped into the passenger seat, and Troy rammed his foot into the gas pedal. As the tires spun, they kicked up a huge puff of dust. Jerking forward, the buggy raced through the camp. Driving the car south, Troy ran down several smaller tents, their fabric crumpling beneath the buggy’s huge wheels. Smashing through crates, tables, chairs, and chests full of junk, torrents of broken debris flew off of the buggy’s grille as it plowed forward.
Finally, the buggy cleared the camp and raced toward open land. A pair of towers made of crude scaffolding overlooked the southern border of the camp; snipers in each tower aimed carbines at the buggy as it rushed across the desert. Their shots rang out in the open air, and their bullets ricocheted off of the car’s armor plating and steel framework.
Driving forward for several seconds, the camp fell behind Troy and Victor and became a diminished cluster of specks in the distance. Patting Troy on the back, Victor laughed and said, “Man, that was crazy! I never thought we would have survived that!”
“That makes two of us,” Troy smirked. “How much electricity did you gather back there?”
“Maybe five kilowatts. It’s a little hard to draw power from vehicles that aren’t running.”
“What can five kilowatts do?”
“Aside from running a few cars? It could give a bad guy a good shock, or run a good-sized electric appliance. It could fill up your teleporter’s power reserve a good ways. Should I give you a charge?”
“Sure,” Troy said. “But I plan on saving it for when we really need it.”
Victor planted is hand on Troy’s chest, and transferred electricity into his vest. With electricity gently leaking from Victor’s hands, Troy squirmed and said, “It tingles.”
“So, do you have any idea where we’re going from here?” Victor asked.
“Anywhere but the Carnival. I’m hoping the Tierra de Muerta is ahead.”
Suddenly, loud gunshots could be heard echoing through the air behind them. Turning, Victor saw a narrow hovercraft gliding over the desert toward them. As it zoomed over the flat land, it left a trail of dust in its wake. The vehicle was as crudely-built as the other Carnival vehicles, and there were several gangsters lined up along its railings with guns in their hands.
Looking in the rear-view mirror, Troy saw more dust trails in the distance behind them. Even though they had a strong head start, the Carnival was relentlessly chasing them with their full fleet of vehicles. It would only be a matter of time before they caught up to them.
Pulling ahead, the hovercraft kept pace with the buggy, while the goons onboard started shooting at Troy. A hail of bullets rushed at the buggy, ricocheting off of the metal plating and framework with loud snaps. One shot came close to Troy’s head, whistling past his ear.
Swerving away from the hovercraft, Troy gained distance from it. The buggy suddenly rolled over a hill; the vehicle bounced heavily as it jumped from the hill and landed on the ground again. Troy and Victor were roughly jostled in their seats.
Watching the hovercraft, Victor said, “Take us closer. That thing is producing a good amount of power.”
Steering the buggy toward the hovercraft, Troy brought the vehicle side-by-side with the hovercraft. As he came closer, one of the gangsters jumped over and landed on the buggy’s roof. The enemy held on tightly to the frame, fighting against the rushing air and the buggy’s movements.
Reaching out, Victor sensed the hovercraft’s battery and drained it of its power. Electricity streamed from the vehicle’s hood and into his hands, blasting a smoldering hole in its chassis. When the vehicle ran out of power, its motors stopped working, and it slammed into the ground. Hitting the hard dry ground, the vehicle’s hood was crumpled in, before its body spiraled and spun in the air. All of its passengers were flung off, to land roughly on the ground.
Crawling on the buggy’s roof, the last goon appeared over the vehicle’s canopy. Taking a grenade from his vest, the villain pulled out its pin and dropped it into the buggy’s seat. It landed directly in Victor’s lap; he frantically grasped it and held onto its safety spoon tightly, to keep it from exploding.
With his free hand, Victor pointed to the thug on the roof and released an arc of electricity at him. With a short, high-voltage burst running through his body, the enemy shivered uncontrollably and lost control of his body. Unable to hold onto the buggy, he slipped off and tumbled into the ground behind the vehicle.
Still holding the grenade, Victor frantically cried, “Holy sh&t, what should I do with this?”
“The longer you cook it, the less of a fuse you have,” Troy warned. “Whatever you do, don’t let go.”
Ahead, there was a mesa that rose up sharply from the ground. Troy angled the buggy to the right, hoping to loop around the giant stone mound. As he curved and approached the stone, he saw that their pursuers were cutting across at an angle, trying to flank the buggy. It took only a matter of minutes for the swarm of Carnival vehicles to gain up on the buggy.
One enemy car bounced across the desert and cut in front of the buggy. As the car straightened, it fishtailed erratically, throwing a plume of dust up in front of the buggy. With the cloud stinging his eyes and filling his nostrils, Troy veered out of the car’s trail and pulled up beside it. With the car driving in between the buggy and the mesa’s cliff face, the car was sandwiched. Troy veered into the car and sideswiped it, sending it careening into the cliff side. As its side scraped against the rock, its panels were crunched in, before the car flipped and landed on its roof. The car skidded to a halt upside down.
Looking into the mirror, Troy saw several other vehicles chasing him; they all rolled in line behind him and started driving parallel to the mesa’s side. One of the trucks rammed into the crashed car, making it spin and throw shrapnel all around.
As the enemy vehicles chased the buggy, a number of goons stood and leaned out of their vehicles and fired their guns at Troy. Bullets zoomed past the buggy, occasionally ricocheting off of the buggy’s side and blasting holes in the side of the mesa. Troy weaved the vehicle side-to-side to evade the gunfire.
Still holding onto the grenade with one hand, Victor used his free hand to peel off a part of his rubber suit. He carefully wrapped the piece of rubber around the grenade, so tight that it kept the safety spoon depressed.
An enemy vehicle sped forward and pulled up beside the buggy: a windowless car rigged with large wheels and heavy armor plates. It veered over and rammed the buggy; the impact jerked the vehicle sideways toward the mesa wall. The buggy came within inches of hitting the stone surface; the stone howled past Troy’s ear.
Victor chucked the wrapped grenade at the vehicle; it bounced over the hood and landed directly in the driver’s lap. Panicking, the driver took his hands off the wheel to handle the grenade; the vehicle drifted toward the mesa wall, until the corner of the hood scraped against the rock. As the vehicle fell behind the buggy, the grenade went off, engulfing the entire chassis in fire. Pieces of metal flew from the explosion, bouncing off the ground and landing in the dirt. One metal plate spun into another vehicle, cleaving into the hood and rupturing the engine; the vehicle drifted away with smoke and liquid leaking from its ruptured front.
The buggy continued to drive around the base of the mesa, looping around it until it headed south. Pulling away from the rocky formation, Troy stamped on the gas pedal, and the buggy rocketed forward. The vehicle bounced roughly as it tumbled over rough ground and small hills. As all the enemy vehicles followed Troy in a line, they struggled against the uneven terrain to keep pace. One enemy car launched itself off a small hill and landed on top of a boulder; its front grille flew off as the chassis crunched against the stone.
One of the enemies pulled out a bazooka and aimed it at the buggy. With the rough movements of the cars, the enemy’s aim was erratic. When Troy saw the bazooka’s rocket pointing at him, he slammed on the brakes, and the buggy slid on the dirt. The other cars sped past him, just as the goon fired his bazooka. His rocket blasted away with a plume of smoke, and it struck the ground with a thunderous boom. The projectile left behind a crater, with pieces of dirt and rock raining all around it. One of the other enemy vehicles drove over the hole, causing its wheel to bounce up and send the car rolling onto its side.
Pressing on the gas again, Troy tried to pick up speed again. As the buggy started to roll forward, an enemy jeep rammed him in the rear, causing the buggy to lurch forward. More gunfire erupted, rattling against the buggy’s chassis.
Turning in his seat, Victor leaned his torso out of the window, and reached out toward the vehicle behind them. An electric arc sizzled between his fingers and the jeep; with its power drained, the jeep’s engine died with a sputter.
Still accelerating, Troy kept the gas pedal depressed as he swerved away from the main group of vehicles. As he arced further south, the enemies curved with him; one truck came up beside the buggy, armed with a 50-calibur machine gun on its bed. One of the goons manned the gun and started pummeling the buggy with gunfire; with each thumping of the weapon, giant holes appeared in the buggy’s metal armor plates.
Victor kept his head slumped behind the door panel, but he snaked his arm out the window and discharged an electric bolt. Lightning shot from his fingers and touched the machine gun; electricity curled around the weapon and ran through the gunman’s hands, making him shudder and convulse. As he shook, he fell to his knees, and swung the machine gun forward. As his finger muscles contracted, he gripped the gun’s trigger tighter, sending gunshots into the driver’s seat. A splash of blood shot across the hood, before the truck drifted away from the buggy. Rolling over a hump, the truck flew briefly in the air, before it came down into a ditch and landed hard on its side. The sounds of crunching, twisting metal filled the sky.
“That felt good,” Victor remarked. “I’m out of juice though. I need to drain more.”
“Don’t worry, I have some ‘juice’,” Troy winked. “Take the wheel for me.”
“What?”
In an instant, Troy grasped Victor by the shoulder, and they both teleported to trade spots. Finding himself in the driver’s seat so suddenly, Victor swore and frantically grabbed the steering wheel. While he kept the vehicle straight, Troy returned to a vaporous form, and floated out of the buggy.
Flying backwards, Troy’s essence free-floated for an instant, drifting toward one of the pursuing vehicles. He appeared on top of the car’s hood, and he promptly kicked the driver through the open window. Grabbing the steering wheel, Troy jerked it hard, and sent the car veering sharply sideways. He vanished just as the car smashed into another vehicle; both of them rolled and tumbled over the dirt, with metal debris and broken car parts spraying all over the place.
Only two vehicles remained, driving in tandem behind the buggy. One goon stuck his head out of the window of one of the cars and started shooting at Troy’s misty body with a pistol. The bullets pierced the air and passed through Troy’s cloud of particles. Swooping down toward the enemy, Troy appeared for a split-second just outside of the car. In that instant, he grabbed the gun out of the goon’s hands, and vanished with it.
Pushing himself ahead, Troy flew in front of the car and appeared on its hood. No sooner did he appear than the driver swerved the car side-to-side, shaking Troy off of the vehicle. He slid off the hood and teleported before he could hit the ground.
Moving ahead, Troy returned to the buggy and returned to human shape on the roof. With his legs firmly clenched around the vehicle’s frame, Troy aimed his stolen pistol and shot at the car. Sparks flew off the car’s roof as the bullets ricocheted off of it. One shot penetrated the car, passing through the driver’s head and killing him instantly. The passenger frantically grabbed the wheel to keep the vehicle straight.
At that moment, the other enemy car veered in between the two vehicles, directly in front of Troy. Its passenger threw something into the air at Troy; it looked to be a crude pipe bomb. Troy shot it in mid-air; the bullet struck the detonator and it detonated in the air. A puff of fire and smoke filled the air, and quickly fell behind them.
Aiming at the enemy, Troy fired his pistol. Gunshots sparked against the car’s roof with loud pings. After just a few shots, all the bullets ran out, and the gun stopped firing. Tossing the weapon away, Troy teleported himself into the car’s seat.
Appearing in between the driver and the passenger, Troy grabbed both men by their heads and slammed them against the dashboard. While the driver was stunned, Troy seized the passenger and heaved him over the dashboard; he skidded across the hood and fell over the grille. The vehicle bounced as the wheels ran him over.
Recovering from the attack, the driver swung his arm into Troy. Blocking the punch, Troy threw his fist out into the enemy’s cheek. His leg stamped on the driver’s foot, forcing him to depress the accelerator. As the car sped up, Troy grabbed the steering wheel and pulled on it suddenly.
The combination of speed and the sudden turn caused the car to drift across the desert; a trail of dust billowed from the car’s tracks. Its tires struck a large rock, causing it to jump in the air and roll. Even when the car landed, it continued to tumble along its side, its chassis becoming dented and wrecked. One of its tires was flung off, to land fifty yards away.
Teleporting out of the crashing car, Troy strolled on the cracked Earth and watched the vehicle come to a halt. Its twisted hulk made one last groan before it slumped on the ground; the driver hung out of the window with blood dribbling from his mouth.
Turning around, Victor drove the buggy back and pulled up beside Troy. Out the window, Victor said, “You do have this habit of leaping before looking.”
“Nonsense,” Troy smirked. “I do both at the same time.”
“How much power do you have left?”
Checking his wrist meter, Troy replied, “None.”
“I figured as much.”
“Don’t worry, it’s power well-spent. How much gas does the buggy have left?”
“About half a tank. It’s a real gas-guzzler, and I doubt we’ll be able to find a usable gas pump anywhere.”
“The nearest town I know of is Blood Gulch…probably a good five hundred miles to the east. Do you think we can make it?”
“Not in this beast,” Victor sighed. “No matter what we do, I think we will have no choice but to walk some of the way. I don’t know about you, but my desert survivalist skills aren’t that great.”
“Surviving in the wastelands isn’t hard, as long as you know what you’re doing,” Troy said, as he went around the vehicle and got in through the passenger door. “I grew up out here, so the desert doesn’t scare me. If we want to preserve gas, I recommend putting this thing into neutral and letting it roll for a while.”
As instructed, Victor drove the buggy a short distance before shutting off the engine and letting it run on neutral. The vehicle traversed a good ten miles on its own momentum, treading on the flat landscape. It rolled down a hill and gained substantial speed and distance.
Crossing another flat stretch of empty wastes, Victor probed, “So, was gas rare in your home town?”
“It’s rare everywhere. Why else do you think all city vehicles run on hydrogen fuel cells?”
“I mean, gas-powered cars are still used heavily out here, so you got to have a healthy supply of oil somewhere, right?”
“It’s all mostly scavenged from pre-war reserves, ruined gas stations, or the occasional wrecked tanker. Most of it is plundered by the various gangs and warlords all over the desert; another commodity they can control and sell to the various towns and settlements all over the place. There was a community that once took control of a working oil pump, but it was overrun by a gang, and it fell under the control of a man named Gordon Thurgs. He pumped the well completely dry, and that was the last of the oil that can ever be produced in this country. Whatever is left to be found out there are likely hoarded by gangs, like these Carnival freaks, for their own pleasure.”
“It makes me wonder what will happen when the very last of the oil in the wasteland is gone.”
“You’d be surprised as to how well people can adapt in the wasteland. Some of the cleverest people have already adopted electric vehicles. There are plenty of talented inventors and engineers who have built solar-power or fuel-cell vehicles using only scavenged parts.”
“Really?”
“How do you think my teleporter was made?” Troy indicated. “Good old Nash, he could make something out of anything. Some people called him the ‘Alchemist of the Wastes’ because of his skill.”
“If this Nash guy was so smart, why didn’t he make your suit solar-powered or anything?”
“This was the prototype, he said. He wanted to develop this design further, to incorporate the possibility of alternate methods of power regeneration. As it is, he said this thin, flimsy design only permitted dynamic motion generation. At the time, I felt it was more than enough for me.”
“You know, when I look back at what happened, I still feel a little p!ssed off that you led us all on,” Victor scorned. “If I knew that you were just another guy, we could have taken a Pantheon airship all the way out here.”
“We probably could have taken one regardless,” Troy sighed. “I was a little overconfident in the integrity of my own equipment. Understanding that none of us could have predicted what happened, I think it’s best to just forget about it, and focus on what we’re going to do now.”
“What are we going to do? Even if we find this Tierra de Muerta, how will we ever get back to Theopolis?”
“That is a question that is best left to fate, for we have no idea what we’ll find in the Tierra de Muerta.”
“Things would be a lot easier if your teleporter got fixed,” Victor suggested. “Any ideas about that?”
“We’d have to find Nash,” Troy explained. “I hope he’s still hanging around in Roswell. Of course, that’s a good distance past Blood Gulch, probably a good six hundred miles away.”
“There’s just nothing close, is there?” Victor sighed. “Alright, let’s just wait and see what comes up ahead here.”
For the next few miles, Victor continued to let the buggy coast along the flat, arid desert. When the vehicle slowed down too much, Troy and Victor both pushed in the buggy until it gained speed, and jumped into the seats. They continued in this fashion for another ten miles.
It was well after noon before they stopped the vehicle completely. Coming up to a cluster of cacti, Victor pressed on the brakes, while Troy jumped out of the buggy. He took the knife he had pocketed from the Carnival, and cut into one of the cactus. Water spurted from the stem immediately; Troy gathered some of it in his hand and slurped it. He then cut off a larger chunk of the stem and passed it to Victor, who sucked out its water and bit into its inside.
While they rested and ate, Troy became aware of a noise from the distance. It was the airy roar of a motorized vehicle, still far away from them. Looking to the horizon behind them, Troy could see a small trail of dust rising from the horizon, coming from a large black speck. The speck grew bigger as it came closer, and Troy realized with dread that it was another Carnival vehicle. It was particularly large and fast, and grew more menacing in appearance as it came closer.
Seeing the approaching vehicle, Victor immediately started up the buggy, and Troy jumped in. They took off at full throttle, frantic and desperate. Even after all the miles they had covered and all the enemies they eliminated, they were still being pursued.
Showing posts with label superhero. Show all posts
Showing posts with label superhero. Show all posts
May 24, 2015
May 16, 2015
Film Review: Avengers: Age of Ultron
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Ever since the coming of Marvel's Avengers, the world has not been the same. In the real world, the film set the gold standard for how to pull off the cinematic-universe model of filmmaking, and it did so with such iconic status that it'll remain a landmark for generations young and old. Within the universe Marvel created, the Avengers opened up the Earth to staggering possibilities of war with god-like entities from other worlds. Since then, the events of Iron Man 3, Thor: The Dark World, and Captain America: The Winter Soldier would cut the strings off of the Avengers team and force them to face a new challenge on their own.
The film immediately kicks off with a destructive brawl in Sokovia, where the Avengers come pre-assembled to pummel the hell out of a Hydra base. In the process, they run across more superpowered villains, and a stark vision of a dismal future. This leads to the rise of Ultron, a new breed of villain that actively splits the team apart from the inside out. The Avengers fight themselves, quite literally in a few scenes, including a chaotic sequence between the Hulk and Iron Man. They come together in the end for one lengthy climax that pits them against a whole army of machines, while the fate of the world hangs in the balance. With all of this going on, it goes without saying that there's definitely loads of superpowered action to behold. At the same time, the film is careful to keep things lightweight with bursts of witty banter and humor.
The story strikes me as being a grade more mature than the last Avengers film, which was little more than an alien invasion that prompted heroes to band together. Now, it's a robotpocalypse that threatens to tear the team apart; in spite of that, the characters are explored a little more in-depth, often with surprising insights into each characters' strengths and weaknesses. Not every viewer will enjoy the sudden relationship between Bruce Banner and Natasha Romanoff (and I agree that it's rather weird; she was practically afraid of the guy in the first film). Also, not every viewer will find Ultron a striking villain - he is not necessarily menacing like Ronan or a "bad guy we love to hate" the way Loki is - but I found him interesting and nuanced, especially as a "child" of Tony Stark who inherits some of his same traits, which gives him a twisted sense of purpose. Through Ultron and his motivations, the film unearths strong themes of evolution and the progress of mankind; themes that were common in the X-Men, but were rather implicit in the other Marvel films up to now. Parallels are blatantly drawn between Ultron and Pinocchio, but I couldn't help but to compare Ultron to V'Ger from Star Trek: The Motion Picture - they are both "child-like" intelligences that threaten mankind and strive for evolution, but while V'Ger meant no harm in the end, Ultron exudes hostility and angst beneath his playful sarcasm, and I think that makes him more remarkable. In spite of these insights, I thought the film's story was quite intriguing. Ultron's diabolical plot gives the Avengers team a twisty mystery and a larger-than-life spectacle, which might strain logic in a few places, but it also leads the characters into different directions by the end.
The film boasts pretty good photography. It tends to be very choppy and shaky in the action scenes, much unlike the first film, which felt much more smooth and solid. However, this film does have some good-looking shots. Color schemes are notably darker and more drab. Editing can be rather choppy. Acting is fine for what it is: Chris Evans, Robert Downey Jr., Mark Ruffalo, Scarlett Johansson, Jeremy Renner, and Samuel L. Jackson are as enjoyable to watch as ever. James Spader breathes life into Ultron superbly. Aaron Taylor-Johnson and Elizabeth Olsen are pretty good in their roles, and there are a few welcome cameos by Don Cheadle, Ibris Elba, Stellan Skarsgard, and Anthony Mackie. Writing is pretty decent. This production spares no expense on the sets, props, costumes, and special effects; it all looks a grade more polished and more real than the first film. The music score by Bryan Tyler and Danny Elfman reprises the same themes that Alan Silvestri introduced, but also contributes some strong compositions throughout the picture.
Avengers: Age of Ultron delivers bigger action, with an intriguing story that gives the titular team a more desperate fight. I don't think it's quite as breezy as the first film, and I find the first film's action scenes easier on the eyes. If you're following the Marvel movies, however, this is the apex of Phase 2, and it's worth the time.
4/5 (Entertainment: Good | Content: Very Good | Film: Good)
Film Review: Guardians of the Galaxy (Revisited)
"Why would you want to save the galaxy?""Because I'm one of the idiots who lives in it!" - Bradley Cooper and Chris Pratt
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Back when Marvel kicked in Phase 1 of its cinematic universe, we all knew who Iron Man, The Incredible Hulk, Thor, and Captain America were. All these films were destined to be hits to some degree. But...the Guardians of the Galaxy? Who are these a-holes? If you're like me and never read comics, you may be asking the same question. Seriously, a gun-totting raccoon? A walking tree? David Bautista? WTF?
If box office numbers are any indication, the risk paid off tremendously. The film wastes little time in plunging the audience into the deep end of the most outlandish and far-out reaches of the Marvel universe. From the desolate ruins of an abandoned planet to the thriving heart of an interstellar civilization, this space-faring adventure cuts across colorful nebulae and imaginative worlds, the likes of which have only ever been topped by the Star Wars universe. The film has no shortage of action, as characters fight with their fists, knives, and futuristic guns against an onslaught of bad guys. There is a huge all-out battle in the end, with thousands of space ships filling up the screen. In between the exciting parts, the film moves fast and fluidly with plenty of spot-on comedy, and just enough drama to give the characters a little more depth.
The story covers pretty basic ground, using the same old type of Macguffin that Avengers and Thor: The Dark World used. The villain of this film is a pretty flat, one-dimensional fellow who's best remembered for his presence, and little more. What makes this film stand out will be the protagonists. Peter Quill (the self-proclaimed "Star-Lord") has charm, but thanks to the film's opening scene, he provides an emotional anchor we can all latch onto. Drax is a warrior driven by vengeance, but is so blunt that he can't comprehend metaphors, and hilarity ensues. Gamora is a fierce fighter as well with an allure of her own. Rocket is a hard-drinking gun-happy raccoon with attitude. Groot is a walking tree, who can kick some butt, but also provides some of the most lovable moments. This whole gang is very much in the same vein of space outlaws as in Firefly or The Cowboy Bebop; each character provides enough emotional investment and attention so that they stand out and become heroes we can root for, no matter how bizarre or unlikely this union seems. The film is also loaded with a plethora of side characters, who all stand out in their own ways, to the point where I wished they could have had more to them (especially Thanos, who's obviously going to be a major player somewhere down the line; Nebula, who I thought was cooler than anything; the Collector, who's not given that much to do here; and Yondu, who clearly shares a history with Quill, but it's hard to tell where his loyalty is). Through the character interactions, the whole team emerges as a dysfunctional crew that stands up to tyranny in their own rebellious way, and their evolution from bickering individuals to literal Guardians of the Galaxy is quite the fun trip.
This film is crafted with solid and precise photography and editing. Acting is top-notch; you'd probably never expect much from this cast, but everybody does their best to make the characters stand out. Chris Pratt is not too shabby as the main hero; I enjoyed watching Zoe Saldana; Dave Bautista's performance is surprisingly solid; voices by Bradley Cooper and Vin Diesel get the job done well. Everybody else contributes admirably. Writing is pretty good. This production spares no expense on the outlandish and imaginative sets, props, costumes, and special effects. Music is decent.
Guardians of the Galaxy is one of the most well-rounded blockbusters since Marvel's own Avengers. It balances action, comedy, and storytelling very well. It defies all the odds and presents this obscure group of misfits as a thrilling new franchise for the masses..
5/5 (Entertainment: Perfect | Content: Very Good | Film: Very Good)
May 15, 2015
Film Review: Captain America: The Winter Soldier (Revisited)
Captain America's second film in the Marvel franchise is pretty much an action film with a strong political-thriller undercurrent that shifts character alliances and cranks the stakes to huge levels. It starts off with a thrilling hostage crisis on a boat, which sets off a series of events that causes the characters to go on the run and fight against massive odds. There are loads of great fight scenes, all fast-paced, hard-hitting, and choreographed with expert precision. The stuntwork is a thing of beauty. But that's not all; scenes in-between the action remain engaging thanks to the suspense and the personality of the characters. The film culminates with a fantastic climax involving a huge amount of mass destruction.
What really makes the film great, however, is the constant stream of peril the story dishes out. It is a huge challenge that makes for a very thrilling plot (and will undoubtedly serve as a paradigm shift for whatever may happen in Avengers: Age of Ultron). The film does take its time to let the characters shine a little (and character conflicts make up the most relevant dynamic for the various conflicts involved). Underneath it all, the film daringly underscores the threats of the modern world, so troubled by the loss of privacy and liberty through surveillance and technology. It's a world where Captain America finds himself way out of his element, but that's also what makes him the perfect hero for this story, because it's only his old-fashioned down-to-Earth mindset that gives everybody a chance. In the end, the film provides a relevant reflection on modern-day geopolitical issues, and the film hints at the scary notion that our world could be subverted. It's a captivating paranoia-thriller, inspired heavily by similar thrillers of the 1970s (such as Three Days of the Condor), but with big-scale action the likes of which only Marvel can dish out.
This film sports some fine photography; it's very solid most of the time, but tends to get jittery during the action scenes. Editing can be rather fast and hectic, but it gets the job done without being too overbearing. Acting is swell; Chris Evans is still apt as Captain America, and it is especially impressive seeing how physically demanding the fights must have been. Sebastian Stan elicits a good amount of sympathy for his character, and he has quite the presence. Scarlett Johansson is given quite a bit of screen time as the Black Widow; her character seems way more sarcastic than usual, but she's still easy on the eyes. Robert Redford is quite suitable in his role. Everybody else does alright. Writing is okay. This production features lots of good, slick-looking sets, props, costumes, and special effects. Music is okay too.
Despite having some shakey camera work in the action scenes, the film is pure excitement, and still has room to breathe and make a few relevant points on the characters and their ongoing struggles. As one of the better films in Marvel's repertoire, it comes casually recommended.
4.5/5 (Entertainment: Very Good | Story: Very Good | Film: Very Good)
Film Review: Thor: The Dark World (Revisited)
Naturally, there are loads of great action scenes throughout the film, with Asgardians, humans, and dark elves fighting on land, sea, air, and space. Among the film's highlights, the elves' raid on Asgard is a fantastic sequence with spaceships zooming around the city with dazzling laser beams and mass destruction. The final act presents a wildly imaginative sequence with characters duking it out across multiple worlds. In between, the film goes through plenty of compelling drama, but a lot of it is ultimately crushed by the comedy; hardly a moment goes by without something funny or ridiculous.
The story continues after the first Thor film and The Avengers in a logical manner, continuing the established character arcs. The plot goes through a pretty standard structure, but it is far from predictable; there are a few surprising twists and turns, and the film takes the characters to bold new directions. A lot of the characters are fairly one-dimensional (especially Thor himself, the main antagonist, and the scientist characters, who are there mostly for comic relief), but everybody's favorite supervillain, Loki, easily steals the spotlight. Fortunately, most of these characters are likable (save for Darcy, who I think is cute, but many complain is overbearing). It's largely the villain who comes out as the weakest link, lacking in depth or range.
This film pretty standard photography, with some good movements and angles, which let the action scenes flow and speak for themselves. Editing struck me as being a little screwy in a few scenes, but is mostly spot-on. Acting is good: Chris Hemsworth, Tom Hiddleston, and Anthony Hopkins all reprise their roles admirably (Hiddleston has especially grown into his role most comfortably). Natalie Portman continues to play a rather ditzy love interest, but she is given more to do in this film. Everybody else is decent, although I don't think Christopher Eccleston stood out much at all. Writing is not bad, although I felt that the film's explanation of the Aether and its connection with things like dark matter and the universe in general was pretty weak (pretty much technobabble just for the sake of it). This production has decent-looking sets, props, and costumes. Most special effects are cool, but I thought that some of the backgrounds and starfields looked a little low-rez. Music is alright.
I find Thor: The Dark World is a grade more enjoyable than the first film, and it's worth seeing to see the characters' progression and plenty of otherworldly action. It's an easy recommendation for fans of the Marvel films.
4/5 (Entertainment: Good | Story: Pretty Good | Film: Good)
May 14, 2015
Film Review: Iron Man 3 (Revisited)
The third Iron Man film pits Tony Stark against more challenges, which elevates the stakes to a more personal level. He has his home taken away, before his friends and loved ones are thrown into peril, and he's forced to find answers on his own. It all culminates in a final gambit that involves an attack on the entire nation, and the emergence of a powerful new race of people. The endgame is a chaotic sequence in which multiple Iron Man suits wreak havoc on a freighter loaded with Extremis terrorists, and it is quite the explosive setpiece.
There is definitely a ton of action and quality special effects to behold here, but unfortunately, the pacing tends to sag between the action scenes. Aside from some sporadic action and comedy, very little of the film stands out, especially when compared to the last two films. In fact, the film's tone, atmosphere, and style never seems to mesh well with Jon Favreau's work, and as a result, the film is overshadowed.
The story that Iron Man 3 tells is full of high stakes, and it is notable how it rounds off Tony Stark's progression through the whole saga, providing some satisfactory closure. However, the film explicitly states that he's a changed man, but it's hard to really see such change; he remains his same old self throughout the whole runtime. He is a character so full of color and personality that he's entertaining to watch, but he ultimately delivers more of the same. The villains he confronts lack such personality, and elicit no sympathy; there is a twist behind the Mandarin's character that has upset countless film fans, and other characters never really stand out.
This film is competently-made with good photography and editing. Acting is as great as ever; Robert Downey Jr. is still apt as the title character, Gweneth Paltrow is still great, and so is Don Cheadle (although his role is rather limited). Ben Kingsley is rather cheesy, albeit on purpose, and I found him amusing that way. Guy Pearce is superb, even if his character is less memorable. The writing is generally good. This production has plenty of fine-looking sets, props, costumes, and special effects. Music is pretty cool.
Iron Man 3 has its moments, and it feels like it tries to be bigger and more relevant than its predecessors. Unfortunately, it's not as memorable, not as fun, and the substance isn't quite as deep. It will satisfy some and disappoint others, so I'd only recommend it as a rental to fans.
3/5 (Entertainment: Average | Story: Mixed | Film: Pretty Good)
May 8, 2015
Film Review: Thor (Revisited)
Thor throws us into a world where Norse myth collides with science-fiction in a surprisingly sublime fashion. In this unique universe, we are introduced to the title character, who battles giants and mortal men alike with thunderous force. There is plenty of action throughout this flick, and lots of beautiful special effects. Even when Thor isn’t bashing the hell out of things, there’s enough character-driven drama to keep it strong. And of course, nothing’s more amusing than watching an archaic deity walking among modern men, acting like a total Viking in the modern world. Action is not quite as huge of a standout as it is in other Marvel films, but there's enough spectacle, humor, and dramatic tension to satisfy.
The story’s a little predictable, especially if you’re already familiar with the comics or Norse myth. The story has the merit of introducing Thor as a bit of a brute, who has to learn humility and control in order to realize his full potential. He learns these things on Earth, before taking the fight back to Asgard to resolve a larger struggle. In the end, it's a fine and satisfying fantasy adventure with just enough character building to make it endearing.
The film has good photography for the most part. The frost-giant battle shows some rather jittery camera work and editing, but afterwards it’s all solid. Some shots have some really funky crooked angles, but I think it’s cool. Acting is great; I loved Chris Hemsworth and Natalie Portman in their roles, and Anthony Hopkins is a naturally good choice for Odin. Writing is not terribly sophisticated, but it gets the job done. Production value is phenomenal, with loads of excellent sets, props, costumes, and some very imaginative settings. It’s especially impressive how the designers have adopted Norse myth into the story and designs to fit into a sci-fi niche, and still make sense. Special effects look great, but they aren't always the best. The music score is not bad.
Thor's first feature film has its moments, both exciting and cute. It won't blow anybody away, but it is entertaining all the same.
3.5/5 (Entertainment: Good | Story: Okay | Film: Pretty Good)
May 7, 2015
Film Review: Iron Man 2
Among the high points of the film, Iron Man confronts a new villain that pops up out of the blue, who trashes some race cars and sends them flying down the track. The film's climax pits Iron Man against a whole contingent of drones, before Iron Man and War Machine team up in an explosive all-out fighting sequence. All this action is really cool, but the film still dishes out plenty of amusing banter and interesting thematic material to keep everything even.
Unfortunately, the film suffers a few low points. In spite of the dramatic issues the film tackles, the pacing is not always perfect; scenes in-between the action can be a hit-or-a-miss. This is because the film juggles a lot of different things in its plot. It is notable how the film continues to track Tony Stark's growth, for even though he embraced a new identity as a hero, he still has his ego to contend with, and it gets him into all kinds of trouble in this film. These scenes do dig up significant levels of conflict, and ultimately, it presents a compelling account of how Tony's obsession with technology and fame gradually erodes his soul and isolates him from the people around him. However, the film also tosses in other random elements - including a Russian bad guy who has no real relevance to the story's main conflicts, and some random scenes with Black Widow and Nick Fury that only serve to whet audiences' appetites for 2012's Avengers. In spite of these haphazard plot points, the film doesn't necessarily congeal well, making for a rather uneven story.
Fortunately, the film looks good, with decent photography and editing. Robert Downey Jr. continues to excel as the main character, while Gweneth Paltrow, Don Cheadle, Sam Rockwell, Scarlett Johansson, and Samuel L. Jackson are all fun to watch. Mickey Rourke has some cheesy parts (especially with his "I vant my boid" line), but I think he's good most of the time. Writing is okay, but probably could have used more refinement. This production features good-looking sets, props, costumes, and special effects. John Debney's music score is pretty awesome.
Iron Man 2 is decently-entertaining and its story has a few significant points to make, but it is rather mixed, and it has led many viewers to regard it as an inferior sequel. Regardless of its issues, I find the film perfectly enjoyable.
4/5 (Entertainment: Good | Story: Mixed | Film: Very Good)
May 6, 2015
Film Review: The Incredible Hulk (2008)
The bulk of this story revolves around Bruce Banner's continuing struggle to control his own power, which in turn correlates to his inner struggle with emotions and rage. Inevitably, he loses control a few times, resulting in several scenes of mass carnage. When the Hulk busts loose, he goes on to toss cars and bash buildings with impunity. The rampage in the university campus is probably the coolest scene, as the military pulls out sonic weapons while the Hulk bashes up hum-vees into tiny pieces. It all builds up to a lengthy city battle, where the Hulk clashes with a more monstrous opponent; their battle rips up the streets and causes so much carnage, it's incredible.
While there is definitely enough action to satiate action fans, the film evens itself out by occasionally focusing on the characters as they go on the run and connect the dots. Bruce Banner proves to be a compelling character that we can empathize with and root for; he's quite the sight when he hulks out and smashes things, but it's also touching to watch him temper the beast and try to set things right. His relationship with Betty is also touching, and the two form a very nice Beauty and the Beast type of relationship. All the bad guys are pretty one-dimensional. The plot breezes through several exotic locations before settling on the finale; it's not necessarily a great story, but the characters and action keep it fresh.
This film boasts splendid, colorful photography and solid editing. Acting seemed great at the time, for the cast is very notable. Edward Norton is a guy I enjoy watching; he looks rather scrawny when compared to other Hulk actors, but his performance isn't too terrible. I've always had a soft spot for Liv Tyler and William Hurt. Tim Roth is appropriately mean-spirited in his role. Writing is generally okay. This production uses good-looking locales, sets, props, and costumes. Special effects seemed really cool at the time, but haven't all aged well. Music is okay.
The Incredible Hulk is a perfectly enjoyable romp, but with quality characterization and a slick style that makes it one of the best by far.
4/5 (Entertainment: Good | Story: Pretty Good | Film: Pretty Good)
May 4, 2015
Film Review: Iron Man
From start to finish, this is one cool film. It is very sharply-made, with a very slick and high-quality look and feel. It's evenly-paced, with equal parts color, comedy, and action. And when the action hits, it is really cool stuff, without going too far overboard. Among Iron Man's heroics, my favorite scene shows him rocketing to the other side of the world, to use his high-tech suit to beat up violent extremists to protect the innocent (blowing up a tank in the process, before being pursued by American jets in a great high-speed air chase scene). The film's climax features an all-out fight between two high-powered suits, during which there's plenty of mass destruction. Even when there aren't guns and rockets going off, the film is still a blast with its colorful inter-character exchanges, funny suit-testing scenes, tense inter-corporate conspiracies.
The story this film tells is a great one. The origins of Iron Man is inherently compelling, as it takes a greedy, narcissistic arms dealer and flips him on his head to turn him into a hero. The film does so by plunging the character into the heart of the very problems he's created (in a war-town part of the world nonetheless). Once Tony Stark dedicates himself to being Iron Man, the conflict shifts to him confronting everybody else around him. Through all the struggles he endures, the film lays out rich characterization and interesting thematic material worth exploring.
This film looks splendid, with quality photography and editing. Acting is quite spot-on: Robert Downey Jr. is perfectly cast as the title character, and he remains iconic through every other Marvel project he's in from here on out. Gweneth Paltrow, Jeff Bridges, Terrence Howard, Shaun Toub, and everybody else is great to watch as well. Writing is pretty good and sharp. This production uses spectacular-looking sets, props, and costumes. Most special effects hold up well, and are awesome to behold. Ramin Djawadi's music score is pretty cool too.
The first Iron Man film has everything you can ask for in a superhero film: thrilling action, amusing humor, a decent story, and characters we can care about. Even after having numerous other Marvel films come out since, this is still the biggest must-see of the lot.
5/5 (Entertainment: Perfect | Story: Very Good | Film: Very Good)
August 5, 2014
Film Review: Guardians of the Galaxy
"Because I'm one of the idiots who lives in it!" - Bradley Cooper and Chris Pratt
Back when Marvel kicked in Phase 1 of its cinematic universe, we all knew who Iron Man, The Incredible Hulk, Thor, and Captain America were. All these films were destined to be hits to some degree. But...the Guardians of the Galaxy? Who are these a-holes? If you're like me and never read comics, you may be asking the same question. Seriously, a gun-totting raccoon? A walking tree? David Bautista? And the guy who directed Slither? Marvel is taking some serious risks...
If box office numbers are any indication, the risk paid off tremendously. The film wastes little time in plunging the audience into the deep end of the most outlandish and far-out reaches of the Marvel universe. From the desolate ruins of an abandoned planet to the thriving heart of an interstellar civilization, this space-faring adventure cuts across colorful nebulae and imaginative worlds, the likes of which have only ever been topped by the Star Wars universe. The film has no shortage of action, as characters fight with their fists, knives, and futuristic guns against an onslaught of bad guys. There is a huge all-out battle in the end, with thousands of space ships filling up the screen. In between the exciting parts, the film moves fast and fluidly with plenty of spot-on comedy, and just enough drama to give the characters a little more depth.
The story covers pretty basic ground, using the same old type of Macguffin that Avengers and Thor: The Dark World used. The villain of this film is a pretty flat, one-dimensional fellow who's best remembered for his presence, and little more. What makes this film stand out will be the protagonists. Peter Quill (the self-proclaimed "Star-Lord") has charm, but thanks to the film's opening scene, he provides an emotional anchor we can all latch onto. Drax is a warrior driven by vengeance, but is so blunt that he can't comprehend metaphors, and hilarity ensues. Gamora is a fierce fighter as well with an allure of her own. Rocket is a hard-drinking gun-happy raccoon with attitude. Groot is a walking tree, who can kick some butt, but also provides some of the most lovable moments. This whole gang is very much in the same vein of space outlaws as in Firefly or The Cowboy Bebop; each character provides enough emotional investment and attention so that they stand out and become heroes we can root for, no matter how bizarre or unlikely this union seems. The film is also loaded with a plethora of side characters, who all stand out in their own ways, to the point where I wished they could have had more to them (especially Thanos, who's obviously going to be a major player somewhere down the line; Nebula, who I thought was cooler than anything; the Collector, who's not given that much to do here; and Yondu, who clearly shares a history with Quill).
This film is crafted with solid and precise photography and editing. Acting is top-notch; you'd probably never expect much from this cast, but everybody does their best to make the characters stand out. Chris Pratt is not too shabby as the main hero; I enjoyed watching Zoe Saldana; Dave Bautista's performance is surprisingly solid; voices by Bradley Cooper and Vin Diesel get the job done well. Everybody else contributes admirably. Writing is pretty good. This production spares no expense on the outlandish and imaginative sets, props, costumes, and special effects. Music is alright.
Guardians of the Galaxy is one of the most well-rounded blockbusters since Marvel's own Avengers. It balances action, comedy, and storytelling very well. It defies all the odds and presents this obscure group of misfits as a thrilling new franchise for the masses. Best of all, it does so with diligent attention to the characters.
Recommended!
4.5/5 (Entertainment: Very Good | Story: Good | Film: Very Good)
June 16, 2014
Film Review: The Wolverine (Revisited)
This film is nowhere near as overblown as other X-Men films: the action is confined to just a few fights. Some of the highlights include a fight on top of a high-speed bullet-train, confrontations with a small army of ninjas, and a final showdown with a giant armored samurai suit. These are fairly cool fights that show off quality choreography and a few cool weapons, but there's very little wow factor. The film does satisfy in the same way thrillers like The Man From Nowhere or Crying Freeman do, but it feels far less like a superhero movie, or even an X-Men movie. Those searching for big, explosive action might be let down, but there is still merit in this moody, slow-burning drama.
The Wolverine takes its time to breathe, giving a steady focus on the title character. It is a much-needed character study; as a sequel to X-Men: The Last Stand, Wolverine is a broken man, tormented by guilt and deprived of purpose. As he travels to Japan and becomes caught up in a major conspiracy, he is revealed to be a figurative ronin: a master-less samurai struggling to regain his honor, perhaps even through death. Due to these issues, and with the threat of taking away his healing powers, this is Wolverine at his most vulnerable, and it makes for a very intense struggle. The conflict runs good and hard throughout the story, and the plot is well-structured. The story has a dense layer of conspiracy that's not exactly easy to comprehend, especially with so many side characters, but other parts are predictable. At the film's core, however, strong parallels are drawn between Wolverine and the Bushido code, and it makes for a rather compelling show.
This film uses pretty straightforward photography and editing, and it's refreshing that way. Acting is good: Hugh Jackman is still perfect as Wolverine, and the rest of the cast is decent and feels authentic. Writing is good. This production uses good-looking sets, props, and costumes. Locales in particular look authentic, and it helps, since the setting plays a major role in this story. Music is not bad either.
The Wolverine is the film the character deserves, with emphasis on "THE" to indicate that this is not just another plain ol' superhero flick, but an exploration on the character and his quest for absolution. Viewers might find this dull, but it exceeded my expectations in spite of the dramatic aspects. In the end, I enjoyed watching the character, both for the action and for the melodrama. It is a worthwhile experience overall.
This film has an extended cut available on specific home video editions. It is an evenly-paced cut that boasts some longer dialogue and longer action scenes (primarily with the ninja fight toward the end), including a little more R-rated cursing and a bit more bloodshed. For mature audiences, it's not a bad cut of the movie.
4/5 (Entertainment: Pretty Good | Story: Good | Film: Good)
June 15, 2014
Film Review: X-Men: First Class
Even though character drama tends to take the front stage, this film still has a phenomenal share of action and spectacle. Most of these scenes are short and tight, but every character gets a chance to shine and show off their powers. The fights are frequent and fun, but with the Cuban Missile Crisis as the centerpiece, the stakes are ramped up really well, before reaching an inspiring climax.
However, much like the first couple of X-Men films, the action never really drowns out the story or characters. In First Class, the focus remains firmly on showing how the original mutants came together, sowing the seeds for the conflicts that would come in the future. Some characters have more development than others, but each one do have scenes worth showing, and enough attention is given to the main ones to make them stand out. The film covers a lot of ground, but it does so swiftly and attentively, so the storytelling becomes endearing and faithful.
This film is crafted with decent photography. A lot of shots are wide-angle, but the film is composed well. Editing can be a bit choppy in some parts, but is otherwise solid (the scene with the coin at the end is specially inspiring in the way it's cut). Some scenes have overlays and transitions that gives the film a more uniquely dynamic style. Acting is phenomenal; James McAvoy and Michael Fassbender are the most perfect choices for their characters since the days of Patrick Stewart and Ian McKellen, and the rest of the cast pulls their weight well. Writing is okay. This production uses good-looking sets, props, and costumes. Special effects vary from being okay to being rather poor, but they are very well-conceived. Henry Jackman's score is excellent, and is especially wicked when Magneto is on screen.
Forget X-Men Origins: Wolverine. First Class is the most endearing and satisfying prequel to the series. It is densely-packed with action and storytelling, and in spite of that, it stands as one of the best in the franchise.
4/5 (Entertainment: Very Good | Story: Good | Film: Good)
June 12, 2014
Film Review: X-Men
As the first-ever X-Men film, it has its share of limitations, especially compared to later films. Action is kept to a minimum; the biggest highlights being the train station scenes and the big climax on Liberty Island. Special effects are plentiful, but used sparingly. What really matters is that you get to see a whole world of mutants showing off their varied powers. The film blasts so many memorable details with sporadic bursts of short scenes, crafting just enough spectacle to wow us, but also just enough to tell the story it needs to.
It is a decent enough story. The film takes its time tracking various characters and bringing them together, so we get a solid and well-composed introduction to the X-Men and the world they inhabit. There are a ton of characters involved, but the film juggles them well enough. A good amount of attention is given to Wolverine, Rogue, Magneto and Professor X, who are all endearing characters we can appreciate. Most of the others tend to be lacking; there is no real development involved with Storm, Cyclops, Jean Grey, or Mystique (and Toad and Sabretooth stand as two of the weakest villains in the franchise, for they are lacking in presence and depth). All things considering, the film covers so much ground that there's really no room for extraneous character beats; what matters the most is the plot, which is intriguing, as it builds up to a fairly decent climax. At its core, it's a film that underscores themes of prejudice, which provides all the dynamics for the character and the conflicts they go through.
This film is very tightly-composed, with excellent photography and very rapid editing. It is especially noteworthy how the film manages to relay so much information with a constant stream of short, revealing images. Acting is a little dry, but the casting choices are mostly perfect. Hugh Jackman is easily the most iconic character of the lot, thanks to his perfect portrayal of Wolverine. Patrick Stewart, Ian McKellen, Anna Paquin, and Bruce Davidson are great in their roles, and I enjoyed watching Famke Janssen and Rebecca Romijn-Stamos. I got to admit that the more I watch this film, the more I dislike Halle Berry as Storm (she does deliver one of the worst lines ever in this film). Writing is pretty blunt, but it gets the job done. This production uses some very slick and cool-looking sets, props, and costumes. Special effects hold up mostly well, with just a few weaknesses. The music score is alright.
The first original X-Men film was an inspiring hit at its time, but would only be a small taste of even greater things to come. It still holds up thanks to its storytelling and nuanced attention to detail. It's worth seeing at least once, especially for genre fans.
4/5 (Entertainment: Good | Story: Good | Film: Good)
June 11, 2014
Film Review: X-Men Origins: Wolverine
In hindsight, this proved to be a futile move; despite the film's commercial success, it is easily one of the worst films of the series, and plans to make more Origins films fell through. The film is one hot mess: a haphazard blend of rip-roaring action and plot contrivances.
The good news is that the film is still very tight, highly entertaining, and it does have some great moments. It is really cool to watch Wolverine rampaging through whole hoards of bad guys, taking out hum-vees and helicopters on a motorbike, and fighting mutants around a nuclear reactor plant. The film moves fast and is never skimpy on the action or style.
The story involved in inherently compelling, thanks entirely to the allure of the title character. It is a tragic tale of love, betrayal, and vengeance that helps shape Wolverine into the berserker we all know and love. The plot covers some of the same ground we've seen before in the original X-Men films, but this time you get to see the full background on how Wolverine got suckered into Colonel Stryker's plans. There are a few major twists, which will seem contrived at first glance, but do hold up on repeat viewings. The plot suffers the most with a number of scenes that don't really contribute; many of the action scenes are frivolous, and scenes involving a young Cyclops seem to the thrown in just for the hell of it.
A lot of the film's biggest issues rests with the editing, which is extremely choppy and screwy. A lot of shots are cheaply-cut to cover up deficiencies in the action. Worst yet, most scenes do not transition well from one to another, causing characters to appear at seemingly random places (such as Gambit suddenly appearing on a rooftop, or Victor appearing at the final fight out of nowhere). It is clear that the conflicts between the studio and the director have contributed to a film that's at conflict with itself, unable to find a balance between the heartfelt drama and the hardcore action.
On the plus side, photography is mostly-solid. Performances are a bit of a mixed bag: Hugh Jackman continues to excel at playing his iconic character, and Liev Schreiber is superb as Victor Creed. I enjoyed Danny Huston's and Lynn Collins' performances. Most of the other actors playing the side characters are pretty weak. The writing is pretty weak. This production uses okay sets, props, and costumes. Special effects vary from good to terrible. Music seems uninspired as well.
Wolverine's stand-alone film is not an inherently bad story; in fact, its potential is more effectively conveyed in the film's corresponding video game. Somewhere along the line it got mucked-up, and I blame it mostly on too much post-production tinkering. I still value the film as a guilty pleasure, and it does make for a satisfying stand-alone action flick. In an X-Men marathon, however, it doesn't fit as smoothly with the other films (especially since events in X-Men: First Class contradict this one). Diehard fans will probably want to check this out once, but for casual audiences, you can do better.
3.5/5 (Entertainment: Very Good | Story: Average | Film: Marginal)
April 15, 2014
Film Review: Captain America: The Winter Soldier
Captain America's second film in the Marvel franchise is pretty much a straightforward action film. It starts off with a thrilling hostage crisis on a boat, which sets off a series of events that causes the characters to go on the run and fight against massive odds. There are loads of great fight scenes, all fast-paced, hard-hitting, and choreographed with expert precision. The stuntwork is a thing of beauty. But that's not all; the film culminates with a fantastic climax involving a huge amount of mass destruction.
What really makes the film great, however, is the constant stream of peril the story dishes out. It is a huge challenge that makes for a very thrilling plot (and will undoubtedly serve as a paradigm shift for whatever may happen in Avengers: Age of Ultron). In between the action and plot twists, the film does take its time to let the characters shine a little (and character conflicts make up the most relevant dynamic for the various conflicts involved). Underneath it all, the film daringly underscores the threats of the modern world, so troubled by the loss of privacy and liberty through surveillance and technology. It's a world where Captain America finds himself way out of his element, but that's also what makes him the perfect hero for this story, because it's only his old-fashioned down-to-Earth mindset that gives everybody a chance. In the end, the film provides a relevant reflection on modern-day geopolitical issues, and the film hints at the scary notion that our world could be subverted.
All that being said, it's still not a foolproof story; there are many small parts that are hard to believe, and other parts that are simply glossed over (many parts where characters hop from one scene to the next without much explanation). The movie flows fast because of these shortcuts, but the logos of it suffers a little.
This film sports some fine photography; it's very solid most of the time, but tends to get jittery during the action scenes. Editing is not bad. Actors do their best; Chris Evans is still apt as Captain America, and it is especially impressive seeing how physically demanding the fights must have been. Scarlett Johansson is given quite a bit of screen time as the Black Widdow, which I personally welcome. Everybody else does alright. Writing is okay. This production features lots of good, slick-looking sets, props, costumes, and special effects. Music is okay too.
Despite a few minor plot holes and having some shakey camera work in the action scenes, the film is pure excitement, and still has room to breathe and make a few relevant points on the characters and their ongoing struggles. As one of the better films in Marvel's repertoire, it comes casually recommended.
4/5 (Entertainment: Very Good | Story: Good | Film: Good)
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