Category: Reviews

Box Office Democracy: Mad Max: Fury Road

In 2009 my parents visited me in Los Angeles for the first time and I needed to show them a movie as the Arclight chain of theaters because I wouldn’t shut up about how great they were. There wasn’t anything out that we were dying to see so we saw the latest movie from Jason Statham more because we liked him than because we thought we would see a fantastic movie. That was the first time I saw Crank: High Voltage and it changed what I wanted from an action movie: pace above all other things. I want a movie to move as fast and damn the audience if they can’t keep up. Mad Max: Fury Road is the first movie since that feels like it is genuinely pushing at the limits of the genre and it makes for a truly impactful filmgoing experience.

Mad Max: Fury Road is a 120-minute movie that has well over 110 minutes of action. Fast action at that, breakneck paced, innovative fire-belching action that constantly threatens to overwhelm the senses of the audience. Chase sequences so far above and beyond the norm that it feels like the cinematic equivalent of the invention of the steam engine and it’s like we skipped a thousand steps and went from farming to factories in no time at all. That they could do these choreographed ballets of explosions, high speeds, and flying bodies almost exclusively with practical effects defies belief. It all simultaneously looks like it would take a million takes to get right but would only really ever accommodate one. (more…)

Tweeks Acca-xpectations Met

PP2TweeksThumbnailYou’ll have to acca-scuse us for our excitement over Pitch Perfect 2.  The Elizabeth Banks directed musical comedy did not disappoint in giving us even more quotable lines and mash-ups to sing.   Here’s our Tweeks review, but don’t worry — we leave the singing to Rebel Wilson & Anna Kendrick in this video!

Mike Gold: Mad Max – Back In The Desert Again!

Today’s Zen question: Can a movie be called a sequel even if it has a cast that hadn’t been in the earlier three movies but it stars the same lead character and the worldview remains consistent with those movies and all four movies have the same director, but the last one was released 30 years ago?

Today’s Zen answer: Who the hell cares? Mad Max: Fury Road is an absolutely terrific movie.

I saw this epic with my ComicMix comrade Martha Thomases and our mutual pal, Michigan’s own Penelope Ruchman. It was the beginning of an amazingly astonishing pop entertainment day; I’d give you those details but you know how I absolutely hate to name-drop. I won’t speak for Martha or Penny except to say that Martha enjoyed the movie at least as much as I did and I believe Penny liked it even more. Yes, it really is the Gone With The Wind of action movies, except instead of torching Atlanta they trashed several megatons of George Metzger-esque decrepit vehicles traveling across the desert to… well, to nowhere. Action ensues.

And that’s about it for the plot. Usually, that is not a good sign. Here, somehow, it works. If somebody pitched this to me as a graphic novel I’d have rejected it – but on the screen, in George Miller’s more-than-capable hands, it soars. I did not notice one person in the crowded Manhattan theater leaving for food or a bathroom break. That’s better than “two thumbs up,” particularly when damn near the entire movie was set in the desert. You’d think people would need some water or soda or a Slurpee or something.

Tom Hardy is fine as Max. The role isn’t overwhelmingly dependent upon acting chops, but when needed Tom delivers. The true star of this movie, in every conceivable way, is Charlize Theron. She plays the other title character, Imperator Furiosa. She is the heart and the soul of the movie but, to the regret of a few morons, she and her women companions also carry the brunt of the action. They carry it right to your lap.

There’s a bit of a controversy contrived by these aforementioned morons about how Mad Max: Fury Road emasculates men. There is a phrase for this attitude: neurotic bullshit. If this movie made their balls shrivel up and fall to the ground, trust me: society is better off.

There’s a long-standing meme in Hollywood about how women can’t carry an action movie. Executives point to truly shitty movies such as Catwoman, Elektra, and Supergirl. It doesn’t occur to the cigar-chompers that if you rewrote these movies for a male lead, they would be just as shitty and only marginally more income-active. I have three things to say to these people:

  • Lucy
  • Mad Max: Fury Road
  • Greenlight the fucking Black Widow movie already.

Mad Max: Fury Road was co-written by comics great Brendan McCarthy, of 2000 AD fame. Particularly of Judge Dredd fame. The parallels between the Mad Max series and Dredd are, well, overwhelming. Jus’ sayin’. I thought Mick McMahon should have received royalties for The Road Warrior, but it is a great movie. Just like Road Fury.

This movie was so relentless and so compelling that even George Eastman’s parents should be proud.

Go see it. But first, stop by the ridiculously overpriced candy counter and buy vast quantities of consumable liquid. This time, it’s actually worth the money.

 

Marc Alan Fishman: The Mystery of Mr. Rhee

The whole time I’ve been on the creator side of Artist Alley here in the midwest, the name Dirk Manning has been omnipresent. The ebony-coifed, Cthulu-befriending, ne’er-do-well of independent horror comic writing fame has long been a stalwart presence on the periphery of my own indie tunnel-vision. Finally, I decided to be more than a passing conversation and Facebook poker and converted myself into a paying customer. And with his first volume of Tales of Mr. Rhee sitting proudly over the potty where I watch my toddlin’ son enjoy bathtime, I’ve consumed the initial batch of madness. I am elated to post that I didn’t carve a single mystic rune into my skull whilst enjoying it.

The book itself is a hoot. A collection of web-comics presented in the standard printed comic format, the series straddles the line of the occult somewhere between the blue collar and the black robe. “Mr. Rhee” himself is a tough-as-nails savior of the damned in the same vein as folks like Constantine or Hellboy. He’s got spells and a bad attitude to keep him safe from demented and deranged demons. In all, the first volume covers bits and pieces of the titular thaumaturgy, from his humble and tragic origin to his current dangers regarding the dastardly demons that lurk in Mr. Rhee’s barely-kept-closed-closet. Say that three times fast.

Upon completing the trade, I was left in a bit of a stupor. The forward, by fellow midwestern writer “Uncle” Raf Nieves – which I oddly chose to read last – dealt entirely with the damn, I wish I’d thought of that feeling a creator might get reading somebody else’s work. While I had none of those feelings, I get entirely what was being communicated. It’s actually what drew me into making comic books in the first place. Mr. Rhee and the universe he occupies shares so much space with so many other occult/horror universes that it left me pondering mostly how talents like Mr. Manning, Nieves, and the rest all end up traveling down the same dichotomous road.

As mentioned above, Tales of Mr. Rhee lives on the line between the blue collar workaday world and the epically macabre. The evil and horrific worlds created in horror comics (and TV shows, movies, what-have-you) rely heavily on balancing the mundane with the insane. A Friday the 13th movie without the overnight camp set-up is simply never worth your time. And even when a story shuffles harder towards the blue collar – like Hellboy or Goon – there’s always a strong undercurrent of truly wicked things that anchor the story down. The balance is the key to the quality.

And for those seeking to dispel my thesis with Ghostbusters… go watch the boogyman episodes of The Real Ghostbusters and get slimed. But I digress.

The best scares – like the best laughs, or even action beats – come when you least expect it, and hit at issues underneath the surface. The best terror one might ever feel (aside from the kind you get when you sign your first mortgage) contains a large portion of plausibility, with the right dash of the impossible. A spider catching you off guard might make you jump. A spider that whispers to you that you’ve always been a failure is terrifying.

Tales of Mr. Rhee begins as an unassuming monster hunter rag. So true that it ultimately excels when the supernatural takes form as annoying neighbors, transitory spirits hanging at the bar, and even within the crevices of land purposely sold to a unassuming family to spare those in-the-know from the potential danger. The tales themselves are presented all without backstory, and finish as quickly as they start. As chapters tick off, the creeping crescendo of the final reveal ultimately provides the biggest scare of them all: We thought these tales were merely random short idiosyncratic occurrences, devoid of greater machinations. All-the-while, amidst his own decaying network of former associates, Mr. Rhee, unyielding bad-ass we thought him to be, is caught with nary an alacazam to mutter in the face of the evil that lurked underneath him the entire volume. Plausible, with that pinch of the impossible you say?

Chilling indeed.

 

Molly Jackson: Cracking the Stack

Probably everyone I know has that stack of books in their home just waiting to be read. You know, that stack of books that you bought at an event, or saw at the bookstore, or a friend gave you as a must-read! Well, my stack has grown to become an amorphous blob of books, overtaking my apartment like an alien virus. It’s about time I get cracking some spines open.

So, I started with Strong Female Protagonist http://strongfemaleprotagonist.com/, which I admittedly was first interested in totally based on the name. Because, it’s about time we saw more female comic leads. Like I always just started saying, if the Big Two won’t provide, go to the indie comics!

SFP is a web comic (yes, you can read it for free! but since I spend a good chunk of my life on the subway unground sans Internet, I just bought the book to get me started) starring Allison, a former superhero who is just trying to figure out who she is with, or even despite, her powers. We follow Allison as she interacts with the world and the people around her, some with powers and some without.

This story, by Brennan Lee Mulligan and Molly Ostertag, pays off in that Allison’s questions aren’t specific to a superhero with powers or even to a woman. They apply to everyone and anyone could relate to this story. It was a fantastic read, and I immediately jumped right onto the web to read what happened next.

The downside of reading it was the knowledge I had waited so long to read it. I had heard of Strong Female Protagonist for years but failed to follow through on actually reading it. Everything we read affects who were are as people, so I can only wonder who I would have been if I had more strong female characters in comics.

At least, I’ve learned my lesson. That stack of books is going to shrink, even as I continue to add to it.

 

Box Office Democracy: Hot Pursuit

It was easy to deduce that no one involved believed that Hot Pursuit was a good movie. Reese Witherspoon is fresh off an Academy Award nomination for Wild, Sofia Vergara stars in a TV show widely credited, however accurately, as reviving the sitcom, and, if internet coverage is any indication, people are clamoring for comedies with predominately female leads. If Hot Pursuit were any good at all it would get a big release at a time where it could do big business, not thrown in the wake of Avengers: Age of Ultron where it will sink anonymously. You can know before you see it that Hot Pursuit is a bad movie, but even that might not prepare you for just how drab and boring it truly is.

Basically every joke in Hot Pursuit is based on the Odd Couple-esque relationship between Reese Witherspoon and Sofia Vergara and it just fails over and over again. Witherspoon plays the regulation-obsessed police officer with all the believability of a bad improv performer, she talks less like a police office and more like an alien from another planet who has never heard of colloquialisms or compound words. They also keep referencing a faint mustache that makeup apparently couldn’t be bothered to give her. Vergara is more or less playing the only character I’ve ever seen her play, the beautiful snobby diva with a surprise twist to make her relatable in the third act. There’s no difference in her here than in any plot she drives on an episode of Modern Family. Neither character feels like a real person to me so the jokes feel very abstract and they, for the most part, don’t hit. The most successful joke in the whole movie comes from the two women grossing men out about their periods, and while it isn’t the most original joke I’ve ever heard it’s at least coming from a relatable place.

The plot is thin, which is honestly an accomplishment for an 87-minute movie. The heroes make what appear to be clean escapes from the bad guys chasing them and go to some out of the way places only to have to escape at a moment’s notice again. There are character turns that come out of nowhere and that they seem to expect to have impact, but the characters they come from only had expository lines up until now so it’s hard to care about them being evil. They also expect me to believe that the main characters bond not over the stressful circumstance they’re in but that they’ve both had family members die. I hardly think there’s a secret fraternity of people who have had relatives die or it would include just about every person on earth.

The most damning criticism I can make of Hot Pursuit is that it feels like three episodes of a sitcom run back-to-back. With the exception of one slumming A-list actor there’s nothing here that couldn’t be found on a night watching CBS. The material isn’t funnier, the scope isn’t larger, the production values aren’t better, and it’s just a bland collection of elements I could get for free and don’t even want then. Hot Pursuit is what happens when a cash grab comedy goes off the rails and becomes a festering pit where comedy goes to die. It’s like an Adam Sandler movie with marginally better gender politics.

Marc Alan Fishman: Loving Age of Ultron

Oh, Avengers: Age of Ultron, how I loved you so! From the moment the pre-movie Ant-Man trailer began to the last second of Whedon-tinted footage befell my eyes, I was a happy camper. Before I roll up my sleeves and dive in to the nitty-gritty details that made the movie for me, I’d be remiss if I didn’t shout from the rafters that this week’s column is chock full of spoilers. So, consider yourself warned. But I digress. Let the love-in begin!

Remembering Where It All Began.

More than once during Age of Ultron, the lingering ideas of Iron Man permeated the plot line. This attention to detail – taking the theme of Tony’s war-mongering past as the driving force for all that has followed – helped create a sequel born of the cinematic MCU, rather than being plucked directly from the proverbial pulp.

That Pietro and Wanda would stare a Stark explosive in the face for several days of mental anguish, would lead them to their nearly permissible antagonistic actions showed a deft hand in the writer’s room. Pair this with the birth of Ultron himself and you have a wealth of villains to combat without it feeling like a bloated mess. I’m looking at you, Spider-Man 3, Amazing Spider-Man, and any other multi-villain movie menagerie. Here, Tony Stark is the spark for the unfurling events. It’s an organic plotline that pays dividends through believable character interaction. Astonishing, no?

Exploring The Details Of The Under-Players.

In the first Avengers movie, Black Widow and Hawkeye were mostly there to flesh out the cast. Believably placed for the ties to S.H.I.E.L.D., Natasha and Clint had their moments, but their placement on the team at large seemed more or less to add a human element to an inhuman team. No, not those Inhumans.

Here in Ultron, our truly human Avengers showcase that it was their humanity that was their superpower all along. Hawkeye the family man and the Black Widow the no-baby-mama helped anchor their gifted counterparts when things got too explody. That we would see Hawkeye leap into battle knowing he leaves a wife and kids behind – because he knows his worth and importance to the team – hit me as a parent right in the feels. As for Natasha revealing a secret shame to Bruce Banner in an effort to prove that her budding feelings for Tony Stark’s best science-bro matched his outer monsterhood with her own perceived faults… well, it was a touching and mature a concept placed in a movie I wouldn’t have pegged as either of those adjectives.

A Master Plan Worthy Of A Mean Child.

Loki, granted the mind-gem by Thanos in an effort to conquer Earth, hatched an invasion pitted against  a handful of misguided do-gooders. His machinations included mind-control, sabotage, and ultimately brute force. In contrast, Ultron – very much a child, with more mental capacity and power then he can truly control – opts instead to smash the earth with a big rock. Sure, there’s more to it than that… but really, there isn’t. And it’s a brilliant move. When we first meet him, Ultron seeks to evolve. He sets about his plan not unlike Loki – using mind-control and psychic attack to distract – but when he’s denied his prize, there’s little left to do but start killing. That he was able to create a network of thrusters underneath an entire city in what feel like a few days? Well, I guess that’s what makes him a super-villain.

What I love most about it though, is that the end-game motivations of Ultron end up immature and thuggish when he’s left without the toy he wanted in the first place. We are reminded at the tail-end of the movie that both he and The Vision are very much new to the world. No amount of knowledge can replace wisdom. Again, this is a little detail in a large moving plot that escalates a would-be blockbuster into something that rises above my personal expectations.

And Last, But Not Least… The Promise Of The Future.

When the dust settles, it’s apropo that there’s no schwarma to be had. The Avengers fall into their more natural state. If I might beat this dead horse one last time: the actions presented all felt in line with the characters we’ve seen built in front of us now for the last seven years. Of course Captain America and Black Widow will remain Avengers set to train the first class of new heroes. Tony Stark, tail between his legs, retreats to his vast fortune and his machine shop to ponder where he goes next. Thor returns to his homeland to seek answers, and likely build towards Infinity Wars. Hawkeye gets his well-deserved family time.

And our incredible Hulk? He’ll incredibly sulk for a while, until he’s needed again, I suppose. Given that he turned down the opportunity for a romantic connection in lieu of a martyrs’ life makes sense. He did try to commit suicide only a year or two ago. He’s not ready to move on.

And after a nuanced movie like Age of Ultron? Neither am I. Excelsior indeed.

 

Tweeks: Avengers Age of Ultron Squeee-view

Of course, we saw Avengers: Age of Ultron on opening weekend and of course you did too — or else why do you watch a comic geek vlog? But in case you didn’t get to it yet, do that soon and be careful watching our video, because you know….SPOILERS!

What we’ve done this week instead of a classic review is to answer some questions our friends asked us after the movie. If you haven’t been reading the comics and or watched all the Marvel Cinematic Universe’s offerings, you might have had these same questions as well. And if you already know everything there is to know about Marvel, maybe you can kindly (very nicely & respectfully because we are only kids & we can’t be expected to pass the 7th grade AND read & see everything in a time span that started before our parents were even born) expand on our points. We also talk about Avengers: Infinity Wars and our favorite MCU ships (#CaptainCarter #ScarletVision) and the one that sank during Ultron (you gotta watch to find out).

REVIEW: Taken 3

 

Taken 3The Taken franchise has worked at all thanks to two people: Luc Besson and Liam Neeson. Besson has seemingly been coasting since 1994’s The Professional and certainly has returned to familiar territory with this franchise. Neeson has stopped showing his considerable acting chops by going the action route pretty much since he picked up a lightsaber. Despite its utter predictability, the first Taken proved enormously popular, especially considering its early 2009 release date.

The inevitable sequel, Taken 2, mined much the same ground although it varied things just enough that the rescued daughter (Maggie Grace) now helps dad find their missing mom Lenore (Famke Janssen). Enough seemed to be enough and Neeson thought a third chapter was out of the question. 20th Century-Fox thought otherwise and asked Neeson and cowriter Robert Mark Kamen for one more. We were told things would go in another direction but I doubt anyone anticipated it going even lower, down the rabbit hole as it were.

Taken 3, out now on home video from 20th Century Home Entertainment, has Neeson’s rep held hostage and he has to spend nearly two hours trying to reclaim his good name or be arrested for seemingly killing his ex-wife. Of course he didn’t do it and he has to figure out who killed her and why pin it on him? As a result, we have the usual set pieces, the action chases and action fights that keep good stunt people employed. Olivier Megaton is back for his second consecutive turn behind the camera but like the script, brings nothing new to the table. Everything looks swell and blows up just fine but everything about the production feels worn out. Thankfully, the negative criticism and weak box office means Maggie Grace’s newborn baby at the film’s end will be safe from a sequel.

About the best that can be said of this production is that Besson and Kamen knew it needed something more and they tried to actually develop the characters somewhat but it was far too little and way too late.

The Blu-ray transfer is perfectly fine without much to complain about so is swell to look at and the lossless DTS-HD Master Audio 5.1 sound is a solid match.

The Special Features feel just as worn as the feature. The best may be the unrated, extended version that adds about seven minutes of mayhem but you’d be hard pressed to identify those minutes.

There is the “Flashback Malankove” (7:16) deleted scene from the theatrical release followed by Sam’s Bunker, A.K.A. The Rabbit Hole (3:01), a mindless animated “tour” through Neeson’s secret hideaway and its armory. There is also the location-focused Taken to L.A. (4:16); A Taken Legacy (4:54); a Gallery (1:05); and Theatrical Trailer (2:15).

Box Office Democracy: “Avengers: Age of Ultron”

It’s almost impossible for me to be too positive about Avengers: Age of Ultron. It’s a movie that would have been the movie of my dreams when I was 10 years old, when I was 20 I would have told you there was no chance it would ever happen, even at 25 I would have thought it was far too optimistic. It is as good as superhero movies get and as a life long fan of superheroes I loved it to pieces. I love how the fight sequences feel like playing with a big box of action figures but with a quarter billion dollar budget. I love Joss Whedon’s banter and the performances he gets from his actors each of whom feels perfectly cast. I even love it for the flaws, that it’s a little too packed with winks and teases, that there’s a pervasive refusal to call people by their code names, the dawning realization that I don’t care about Iron Man at all. I’m overjoyed that I’ve been able to see comic book movies get to where they are right now that when the standard bearer for the genre comes back I can only stand back in awe.

James Spader is so unbelievably good as Ultron. I thought Ultron was a mistake as a villain, I just didn’t believe he was interesting enough to pull an entire movie when I never cared for his comics, but Spader is so good I literally couldn’t remember Tom Hiddleston’s name when it was over. Spader turns a character I frequently thought had no personality (and I’ve read very few Ultron stories so it might not be a fair assessment) and turned him in to a character that had a sense of humor, and more importantly a real point of view. There’s a moment early in the film where Ultron accuses Tony Stark of not wanting peace but quiet and after the events of this week in Baltimore that hit particularly hard. While Spader is the glittering jewel of the new cast Elizabeth Olsen is also a treasure, she provides some human emotion to moments that would otherwise feel too large and fantastical to connect with and I’m quite thrilled to have her in the Don Cheadle level of the Marvel Cinematic Universe.

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