Tagged: Age Of Ulton

Martha Thomases Reviews Marvel’s The Avengers: Age of Ultron

UltronLucky for me, it was the “friends and family” screening of Avengers: Age of Ulton.

First of all, I was lucky because I got to go. I was lucky to hear Joe Quesada introduce the film, not only because he was amusing but he was gracious enough to thank the event planners before he thanked the Hollywood bosses. Trust me, as someone who has worked events for more than 20 years, it’s unusual when someone says “Thank you.” He also thanked all the people who worked on the books, the source material for the movies.

And I was lucky because of the audience. The people in Manhattan’s Ziegfeld Theater on Tuesday were Marvel (and Disney) employees, freelancers, and their plus-ones. It was the kind of audience that cheered the coming attractions (Ant-Man), of course. They cheered the created-by credits. They cheered Stan Lee. From their cheers, I could tell that I picked up all the Easter eggs, thrown in for the fans in the audience by the fans who made the film.

The film. How was it? There may be SPOILERS, depending on how you define the term, although I will try to avoid the big ones.

If you haven’t seen the first Avengers movie, you might have some problems jumping into the plot of this one. If you haven’t seen any of the Iron Man, Thor or Captain America movies, you may miss a few key character developments. And if you didn’t watch Marvel’s Agents of S.H.I.E.L.D. this week, you missed the set-up.

None of this was a problem for me. I’m going to guess, given the name of this site, that it isn’t a problem for you either.

The plot, as you might surmise from the title, concerns the creation of Ultron, using the Infinity Stone from Loki’s staff (from the first Avengers movie) and Tony Stark’s tech. Ultron runs amok, and the rest of the movie involves our heroes trying to stop him/it. As they do, they first fight and then team-up with Quicksilver and the Scarlet Witch. In the process, many, many places suffer severe damage, including Wakanda.

(During the fight in Wakanda, our heroes must deal with the local police and, later, the military. In both cases, the first faces we see in uniform are white. Given current events, this took me out of the narrative for a beat.)

If I approach this review with my English class lessons, it is difficult to describe. There is no single protagonist, no character who has a transformative story arc. My future husband, Robert Downey, Jr., and the other heroes with their own film franchises (i.e. Captain America and Thor) do very little other than fight and trade quips, once they get past the exposition parts of the dialogue.

Instead, the revealing character moments belong to the Hulk, to Hawkeye, and the Black Widow. If anything is going to rile up the fanboys, it is the changes the movie makes to Hawkeye. Since I haven’t followed the character in the comics (although I’ve enjoyed a bunch of the new version), I wasn’t offended. I think it works for the character in the movie. It explains a lot about his relationship with Black Widow.

Here’s my favorite thing about the version of the Black Widow we get in these movies, a part of her character I credit to Joss Whedon (based on Buffy and Firefly): she not only holds her own with the male characters, but she has relationships with them that are collegial, not romantic. She is, first and foremost, a friend and an ally. While there seems to be some suggestion that she and Bruce Banner might click, even that possibility comes from the trust and respect they have for each other as teammates, not hot bodies.

Ultimately, The Avengers: Age of Ultron suffers from the fate of most middle films in a trilogy. There can’t be a real resolution because then there would be no need for the third movie. Still, there are a lot of pretty people doing a lot of pretty spectacular things, with plenty of explosions and lots and lots of fight scenes in exotic scenery.

Go. You’ll have a good time. Just don’t try to write an English theme about it.

 

Mindy Newell: EW Does SDCC

Nick Fury

My geek overdrive continues to overwhelm me. But I’m not the only one.

Less than a week away from this year’s San Diego ComicCon (which opens its doors this Thursday, July 24th, and closes them on Sunday, July 27th) Entertainment Weekly joins the national geek fest that is summertime with a bang-up double-size issue featuring a cover shot of Robert Downey, Jr. as Iron Man and Chris Evans as Captain America with Ultron looming behind them. The issue is a stuffed-to-the-gills San Diego Comic Con preview…

And I read every single page. Including the adverts.

Now I know how those fans at the 1976 SDCC felt when Charles Lippincott (then head of Lucasfilm’s marketing, advertising and publicity department) showed some of the first production slides of Star Wars, and (writer) Roy Thomas and (artist) Howard Chaykin previewed their Marvel Comics adaptation of the film, because the cover story,an “exclusive first look” at Avengers: Age Of Ulton, does an admirable job of leaking just enough info to make me want to go out and see the move right now – only, goddamn!, it’s not due to hit the theatres for a frakking ten months! (May 1, 2015, which makes it nine months and 12 days, to be exact, and if I counted right.)

That’s incredibly unfair, EW!

By the way, that Star Wars teaser was the beginning of SDCC becoming the first exit ramp on the expressway to marketing love and box office bonanzas, for better or for worse. Most comics fans believing it was for worse, as SDCC has increasingly become more and more about film and television and less and less about the four-color world.

Along with articles on upcoming films, small and large (The Hobbit: The Battle Of The Five Armies; Air; Mad Max; Fury Road; Horns) and television shows – which Mike Gold did a wonderful job of discussing here. Although you missed Outlander, Mike, an adaptation of Diana Gabaldon’s eight-volume (so far, according to EW) saga which successfully – based on its millions plus fan base and its mega-profitability for the author and her publisher – blends the genres of romance and science fiction, and which Battlestar: Galactica rebooter Ronald D. Moore is exec-producing for cable channel Starz. It premieres this summer on Saturday, August 9th, although you can stream the first episode on the channel’s website, starting on August 2nd

Excuse me. I got diverted… to paraphrase Peter David.

A nice surprise in the issue is a piece about Jim Steranko. Now a lot of you may be to young to remember Mr. Steranko, but many, many professionals and fans say that it was his work on Nick Fury: Agent Of Shield in the ‘60s (that decade of the Beatles, Andy Warhol, “tuning in, dropping out, and turning on,” the pill, Vietnam, burning bras, the Chicago Democratic Convention… that decade of social revolution) which bumped up comics from pulp rags to line the birdcage with to a new American literary and artistic medium.

Me, I was too young to understand just how revolutionary Mr. Steranko’s work was, but it definitely sunk into the deeper reaches of my pre-adolescent psyche, influencing my (much) later work in the field, i.e., Mr. Steranko was – and is – an individual in the very best (and maybe sometimes the very worse) sense of the word, “travelling to the beat of a different drum,” as Linda Ronstadt and the Stone Poneys sang in 1967. (Here’s a question for you music trivia buffs out there. Who wrote “Different Drum?”*)

There’s also an oral history of The Terminator, which is interesting, but a little sycophantic, IMHO, although in fairness these types of interviews usually are, and also because I’m not really a fan of Mr. Cameron’s, who has become a Hollywood financial powerhouse and player despite the constant charges of plagiarism leveled against him. Notably Avatar, but also Titanic and the above-mentioned Terminator.

Don’t get me wrong. I love his Titanic. It’s compelling and historically pretty damn accurate. But many film aficionados, including director and writer Peter Bogdanovich, noted the *ahem* similarity between Cameron’s 1997 film and History Is Made At Night, a 1937 film by Walter Wanger, directed by Frank Borzage, which tells the story of a love triangle between a financial magnate (Colin Clive), his beautiful (and unhappy) wife (Jean Arthur) and a French headwaiter (Charles Boyer). Just where do Jean and Charles meet? On an ocean liner. On her maiden voyage. And guess what? The ship hits an iceberg.

And I love Terminator. But have you ever sat through the credits and seen the acknowledgement to Harlan Ellison? Do you know why? Mr. Ellison filed a suit that complained that elements of the film were sourced from two episodes of The Outer Limits that Mr. Ellison wrote, “Soldier,” and “Demon with a Glass Hand.” Hemdale, Terminator’s production company, and Orion Pictures, its distributor, settled out of court with Mr. Ellison. Part of the settlement included that film credit.

You’d have to ask Bob Ingersoll, who writes The Law Is An Ass column here at ComicMix, about this, but it’s always indicated some degree of guilt to me. Meaning that it’s not worth the hassle and the mucho dinero and time to the defendant to fight a charge that contains enough truth in it that the defendant could conceivably lose.

I wouldn’t do it.

I’d give the money and run.

Wouldn’t you?

*Mike Nesmith of The Monkees wrote “Different Drum.”

•     •     •     •     •

As I filed this week’s column, I heard about the passing of James Garner, 86, on Saturday, July 19, 2014. Though perhaps best known as gambler Brett Maverick and cantankerous private detective Jim Rockford on the eponymous television shows, my favorite Garner roles were U.S. Army Major Jeff Pike in 36 Hours, Lt. Bob “The Scrounger” Hendley in The Great Escape, and King Marchand in Victor Victoria. He will be missed.

James Garner