Audiences are rewarding “The Amazing Spider-Man” for being a very, very good film.
The fourth film in the Sony franchise faced high skepticism as the producers resorted to rebooting Spider-Man for the second time in a decade — and as “The Avengers” and “The Dark Knight Rises” have loomed large as the summer’s superhero tentpoles.
Turns out, Peter Parker’s origin story, in the right hands, is as resilient as a wrist-packed monofilament — even as the Marvel webslinger turns 50 this year.
“Amazing Spider-Man” continued to soar above studio projections by grossing $65-million domestically to win the weekend — doubling the take of last week’s champ, “Ted” — and lifting its six-day start to $140-million, according to studio estimates released Sunday. Final numbers are due Monday.
Buoyed significantly by the winning performances of Andrew Garfield (who has inherited the super-suit from Tobey Maguire for his own newly announced trilogy) and Emma Stone (as Gwen Stacy), “Amazing Spider-Man” has now grossed a strong $341.6-million worldwide.
As Spider-Man co-creator Stan Lee told Comic Riffs: Whoever decided to cast the talented Garfield as the new teen “Everyguy” should get a medal.
“Amazing Spider-Man” performed well right out of the gate, grossing $7.5-million Tuesday from midnight screenings; and through the Fourth of July, “Amazing Spider-Man” had grossed $58.3-million domestically and $108-million overall, according to the site BoxOfficeMojo.
“What a spectacular relaunch,” Sony worldwide distribution President Rory Bruer told the Hollywood Reporter, citing “the chemistry between Andrew and Emma” and “the out-of-the-box direction of Marc Webb,” who until now was best known for directiong “(500) Days of Summer.”
“Amazing Spider-Man” also benefited from its popularity with “family” demographics (25-percent of the film’s audience); its generally positive critical reviews and filmgoer scores; and its haul at IMAX theaters ($14.3-million).
”Spider-Man’s” performance dwarfed the domestic debuts of “Savages” (fourth at $16.2-million) and “Katy Perry: Part of Me” (eighth; $7.15-million).
Seth MacFarlane’s CGI/live-action “Ted” strengthened its claim as the R-rated comedy hit of the summer, grossing $32.6-million to raise its domestic total to $120.2-million. And Pixar’s animated “Brave” also remained strong, grossing $20.1-million to boost its domestic take to $174-million.
FUN WITH NUMBERS
Sony’s four Spider-Man films have now grossed $1.25-billion domestically and $2.83-billion worldwide.
“Amazing Spider-Man” had the fourth-best Independence Day weekend ever (not adjusted for inflation) — behind only two “Transformers” film (“Dark of the Moon” tops the list with $97.8-million) and “Spider-Man 2” ($88-million).
“Amazing Spider-Man” had the 12th-best weekend opening ever for Marvel character film — barely trailing last year’s “Thor” ($65.7-million) and “Captain America: The First Avenger”($68.05-million), though those two films didn’t open on a Tuesday.
And “Amazing Spider-Man” just beat the average opening for a Marvel character film: $65.57-million.
Before you head out to see “The Amazing Spider-Man,” now in theaters and IMAX 3D, watch Spidey’s creator Stan “The Man” Lee as he shares more about his cameo in the film in a special vignette below!
Check out the full clip right here on Marvel.com, and for more Webslinging-action, see Spidey outrun New York’s finest or school Flash Thompson in some basketball. Better yet, get a glimpse of the villainous Lizard as he terrorizes Gwen Stacy!
The world seen through the eyes of a teenager is an overly complex place, spoiled but adults who overly nuance everything while teens see it all with unjaded clarity. Such a worldview can be permanently altered by a single action and the resulting repercussions, which ripple in waves, touching many in unexpected ways. From that premise comes writer/director Kenneth Lonergan’s Margaret, a film whose making is as tortured as its premise.
Originally scheduled for release by Fox Searchlight in 2007, Lonergan (You Can Count on Me) labored over the production and then the editing until the release date came and went, prompting law suits. He finally delivered a cut totaling 3:06, far longer than the 2:30 the studio insisted upon, which became a part of the suit. Finally, Martin Scorsese and Thelma Schoonmaker stepped in to craft a cut that the director and studio could live with and the movie opened in December.
You missed it. You probably never heard of it or vaguely recall it was something Anna Paquin shot before True Blood made her a superstar. Before that series though, she was always an accomplished actress rarely given the right roles to demonstrate that but Lonergan wrote Lisa Cohen with Paquin in mind and she delivers a riveting performance worthy of your attention. Fortunately, the film is available as a Blu-ray Combo Pack on Tuesday and comes complete with both cuts of the film.
Twentieth Century Home Entertainment recently sent me a screener of the studio cut and it is extremely powerful and moving. Lisa is a 17 year old girl living with her divorced mother Joan (J. Smith-Cameron), an actress, and younger brother. Preparing to spend the summer at a ranch with Dad, she is seeking the proper cowboy hat when she spots one atop bus driver Jason “Maretti” Berstone (Mark Ruffalo). Chasing the bus in the hopes of boarding it and talking to him, he is distracted long enough to run a red light and strike a pedestrian (Alison Janney). Margaret comforts the woman whose life quickly ebbs away and with that the movie is launched.
Margaret gives a false statement, at Joan’s urging, to the police and the guilt weighs on her. She struggles with the memory of the event, the lie, the lack of justice in a cruel world and questions the meaning of life itself. As a result, she is adrift, thrashing out at friends and family alike. She is distanced from her mother, who is distracted first by the impending opening of her Broadway show and then an unlikely romance with a foreign businessman (Jean Reno). Lisa confides in her math teacher (Matt Damon) and ignores her English teacher (Matthew Broderick) and best friend (Olivia Thirlby). She does, though, make a conscious decision to lose her virginity to a stoner (Kieran Culkin) in what has to be one of the most honest lovemaking scenes in a long time.
Eventually, the weight of the lie and lack of proper closure eat at Lisa who connects with Emily (Jeannie Berlin), the victim’s closest friend, and together an odd bond is formed. Lisa confronts Jason, berates the police who have closed the case, and seeks legal remedies. She has made Jason losing his job, protecting potential victims, her mission and focuses solely on that with dramatic results.
As you can see, this has a hefty cast that underplay their parts. Emily is brittle and rude and not terribly warm to Lisa but they’re in this together, a relationship Joan has trouble accepting. No adult can say the right things or make the right moves to salve Lisa’s fevered conscience and Paquin runs with it. Lisa is appealing and sympathetic for the most part, but far from ideal and perfect.
The movie is heavy and dramatic but Lonergan brings a precision to the dialogue and storytelling, making it feel honest and real. He lets his characters argue, including some nice scenes in high school where the kids debate current events and Shakespeare with fervor. There’s one false note, a blunt statement Lisa makes to two of her teachers late in the film that feels out of left field with no follow up. Still, the movie is well worth your attention.
As for who Margaret is, she is a character in Gerard Manley Hopkins’ poem “Spring and Fall: To a Young Child”.
My thanks to Martha Thomases for her column this week. In it she confessed to having a fondness for the 1980 Flash Gordon film that started the immortal Sam Jones and Max Van Sydow. It’s bad film and she knows it but she has legit reasons for her fondness of it. Martha, just so you know, the 2007 SyFy TV series is much worse, not even having space ships, for crying out loud! Flash Gordon without space ships?! Talk about not getting the concept!
I say thank you because I had no idea what I was going to do for my column this week and now I do. There are bad films and one CD that I know are horrible but I felt a compulsion to go out and buy a copy of them. This isn’t the same as the weird films of which I own a copy and that I like – things such as Incident At Loch Ness, Get Crazy and, soon, Troll Hunter. These are all justifiable. Not the ones I’m about to talk about; uh-uh, these are plain bad and they are not recommended for viewing. Just to be clear about that.
First up – Barb Wire starring Pamela Lee Anderson. I may have talked about this one before but I stumbled on it one late night on TV while scanning the cable for something to occupy my sleepless mind.
The movie is based on a comic put out by Dark Horse at one point, part of their Heroes Greatest World series of superheroes. I wrote one of those comics for a while and I knew all the other titles. As I said, Pamela Lee Anderson starred in the movie and I lingered, waiting to see if she would take off her clothes, which is the main reason for any guy to watch a Pamela Lee Anderson movie.
I came in after the film started and then watched in horror as I became aware that the movie was an update of Casablanca into a future setting and featuring Pammie in the Humphrey Bogart part. ‘Nuff said? Nuff said.
And then there’s The Return Of Captain Invincible from 1983, a superhero spoof from Australia starring Adam Arkin in tights as the titular hero and Christopher Lee as his archenemy, Mister Midnight. Lee sings in this, by the way. Did I mention there are some songs sprinkled throughout? Not enough to make it a musical, just enough to not make sense – which fits right in with the rest of the movie. The lyrics to some of them were done by Richard O’Brien who wrote the original musical play of Rocky Horror Show and as an actor he was also in, among other things, Martha’s guilty pleasure, Flash Gordon.
I could run through the plot of Captain Invincible but – why?
Next on my list of very dubious pleasures – Jesus Christ, Vampire Hunter. Yes, you read that right. It’s a kung fu movie that has Jesus returning to Earth and winding up fighting as a king fu warrior against hordes of vampires, including lesbian ones, with the aide of a masked Mexican wrestler, Santo Enmascardo de Plata. Hmm. I may need to re-write that sentence; it makes the film sound too interesting.
Oh, and it also has a song in it. One. Right in the middle of the film. Why? Who knows.
Finally, there’s a CD – Pat Boone’s In A Metal Mood: No More Mr. Nice Guy from 1997 in which Pat covers heavy metal and hard rock songs with big band arrangements. Oh, and on the cover he wears black leather pants and matching vest – no shirt. Get that picture out of your mind if you can.
I don’t know if I’ve ever listened to the whole thing.
My friend, Bill Nutt, used to have a weekly radio show and, on occasion, I would be invited in as a guest and allowed to select some of the music. I told My Mary one such time to listen in because I would be dedicating a song to her.
That week I also played one of the cuts from In A Metal Mood and it played before Mary’s song came on. When I got back home, Mary demanded why I made her listen to the Pat Boone cut. In an unwise moment, I admitted neither Bill nor I had actually listened to it; we turned down the studio monitor once it came on.
That did not go down well. She has since forgiven me but I doubt she will ever forget my doing that to her.
What unites all these choices is the fact that I own a copy of each and every one of them. I can’t explain to you why these and not the other very bad CDs and DVDs that are out there. The selection probably says something about me and its probably not good.
And, Martha? Flash Gordon is superior to any of them.
Get the Gringo, the latest action-comedy starring Mel Gibson, will be making its debut on Blu-ray, DVD and Digital Download July 17, 2012
Before the film comes home, it will be making an appearance at SDCC at Fox Booth #4313, where attendees can pre-order the film and participate in numerous activities. Fans will also be treated to loads of cool swag, including an exclusive mini-poster where fans are tasked to find the ‘Gringo’s’.
In addition to the mini-posters, Twentieth Century Fox Home Entertainment will be hosting a few fun activities to promote the release, including photo-ops with Lucha libre wrestlers and sexy ring girls (on Friday, July 13 and Saturday, July 14, 2012).
Attendees can also take part in the #GetheGringo San Diego Comic-con social media experience. The ring girls will be carrying posters with an exclusive QR code and fans who scan the code, post photos of the wrestlers via Twitter (using #GettheGringo) or upload pictures to Facebook, will receive a voucher for a free taco from Lucha Libre Taco Shop in San Diego.
Fans are also be encouraged to ‘like’ Get the gringo on Facebook via: https://www.facebook.com/GetTheGringo
*****
Written produced by and starring Mel Gibson, Get the Gringo is an explosive action filmed infused with dark comedy directed by Adrian Grunberg from a screenplay he co-wrote with Mel Gibson and produced by Mel Gibson, Bruce Davey and Stacy Perskie. Filmed in Mexico, the multi-lingual film also stars Daniel Gimenez Cacho, Jesus Ochoa, Roberto Sosa, Dolores Heredia, Kevin Hernandez, Fernando Becerril, Mayra Serbullo, Mario Zaragoza, Gerardo Taracena, Tenoch Huerta and Peter Gerety.
During a high-speed car chase with the US Border Patrol and a bleeding body in his back seat, Driver (Mel Gibson) violently crashes his car into the border wall as he tries to outrun them. Driver survives the crash only to land inside a hard-core Mexican prison where he enters the strange and dangerous world of “El Pueblito.” He finds unlikely guidance from a 10-year-old kid who shows him the ropes.
Marvel Studios has announced that people with iPods and iPads can now download the Avengers Second Screen app to access additional bonus material to extend your Avengers film experience.
Here’s the fact sheet:
App Overview: Second Screen transforms the movie watching experience by allowing viewers to explore the story behind the film perfectly synched on a second device, like an iPad™ or laptop, without interrupting their enjoyment of the movie. By accessing the Second Screen companion application on their Internet-connected device, consumers are able to dive deeper into the film by engaging with key elements of the movie.
This groundbreaking new application allows users to interact with their Blu-ray™ player by simply starting the Blu-ray movie, and then syncing Second Screen to the film automatically by following the easy on-screen instructions. Once connected, they can explore interactive galleries, play games, and learn interesting facts about the scenes they’re watching.
Features: Enter the S.H.I.E.L.D. database on your second screen device accessing personnel files, comic book origins and exclusive interactive content with The Avengers Initiative: A Marvel Second Screen Experience. By downloading the app, you can:
– Become a S.H.I.E.L.D. agent and participate in the Item 47 Comic-Con experience either remotely or in the field.
– Examine the confidential files of the Avengers including heroes, agents and villains.
– Sync to the movie and explore exclusive behind-the-scenes interactive content such as visual effects labs where you can explore sequences layer by layer.
– Seamlessly link the characters, stories, and scenes of the movie back to their comic book origins through the interactive Marvel digital reader.
– View the major events of the Marvel Cinematic Universe – Phase 1 on the definitive timeline of all 6 movies.
Devices: iPad or PC/MAC computer with FLASH
Formats: Optimized for Blu-ray™ and included in Combo Pack releases.
Pop culture can be a funny thing. I don’t mean “Ha ha” funny, although that is also sometimes true. I mean funny as in a head-shaking “Ain’t that a bitch,” kind of way.
For example, yesterday I went to see Ted. I didn’t want to, but it was the Number One box office hit this weekend and my son, the genius, is doing a blog on the subject, and he was in town for the Del Close Marathon. It’s not a very good movie, in my opinion, but I’m not a huge fan of Seth McFarlane. He’s okay, and I will always support him because his work points out the blistering hypocrisy of our shared alma mater . And I like fart jokes more than the average little old Jewish lady.
Still, I found myself tearing up. Did the film have unexpected emotional depth? No. What it had was a million references to Flash Gordon.Flash Gordon is a terrible movie I saw in 1980 when it was released, with co-columnist Denny O’Neil. It was so deliberately and hilariously bad that I dragged my husband to see it immediately. We own it in at least two different formats. I got him a signed photo of Melody Anderson for an anniversary present. Over the years, we found more opportunities to exclaim “Not the bore worms!” than you would think could credibly arise.
We find each other through shared interests. I met my husband because we both admired Paul Krassner. We laughed at a lot of the same things. He wasn’t into comics, but we found common ground in our appreciation of R. Crumb and Gilbert Shelton’s Fabulous Furry Freak Brothers. Our tastes weren’t the same, but I was not surprised when he liked Scott McCloud’s Zot!at least as much as I did.
What really bonded us, however, was seeing Pinocchio together at the Annecy Animation Festival. It was 1979, our first trip to Europe together. Annecy is a lovely little town in the French Alps. We were staying in a room in a charming small hotel that, when we went to take a nap with the window open, filled with cats.
Frank Thomas and Ollie Johnson were guests of the festival, and we got to hang out with them. I hadn’t seen Pinocchio since I was a child, and couldn’t remember the way it ended at all (too frightening). Watching it with John, seeing what a perfect film it was, made me love him even more.
Love is about a lot of things, but if you can’t share pleasure, there’s not much point to it.
Thank you, Seth McFarlane, for reminding me of those fun times. And also, the Ryan Reynolds cameo. That was great.
In December, I had the pleasure of teaching fairy tales to seniors and we explored how the basic stories have been told and retold around the world and through the ages. The core concepts remain vital and can withstand wildly varying interpretations. Before Walt Disney began cementing a single version of each tale in the global consciousness, they were adapted time and again based on the culture and need of the ages.
I was reminded of this all over again when prime time offered us both Once Upon a Time and Grimm, which were vastly different takes on some of the most beloved fairy tales. The former obviously owes a lot to its corporate masters, Walt Disney, but even so, the versions of Snow White, the Queen, Pinocchio, and so on do not identically match their animated counterparts. Grimm uses the fairy tales as a launching point and goes in a wildly different direction.
Similarly, there are the competing Snow White epics that were released this year. The clear winner was the box office smash Snow White and the Huntsman, which is already spawning a sequel despite having some of the worst storytelling gaps I’ve seen in ages. At the other end of the spectrum was Mirror Mirror, which opened first and flopped badly despite having Julia Roberts as the Queen. Now out on DVD from 20th Century Home Entertainment, Mirror Mirror suffers poorly in comparison with its competitor and worse, with its own trailers.
The trailers showed us a slyly funny interpretation of the classic story and promised more but what we got was something silly and over the top and not especially clever. Tarsem Singh once more shows us, as he did in Immortals, that story is secondary to imagery. Marc Klein and Jason Keller tell a story that makes somewhat more sense than The Huntsman but they fail to make any of the characters particularly memorable nor does Singh elicit interesting performances allowing the cast to rise above the material.
Instead, a particularly strong cast is wasted looking fabulous in utterly absurd costuming. Roberts flounces about, vain and petty, but without real motivation. Lily Collins is a prettier Snow than Kristin Stewart and at least gets to train before fighting but has so little of note to do. Nathan Lane heads a supporting cast that is entirely flat and unoriginal. Even the seven dwarves are stereotypical and not especially funny. Having Lord Stark, that is Sean Bean, play the King in a wintry land invites poor comparisons with A Game of Thrones.
The movie lies flat and remains not particularly entertaining nor does it surprise us even once. And that’s a shame since the story could be played nicely for laughs, poking some gentle fun at the many interpretations or psychological motivations but it attempts nothing so interesting. There’s no motivation for the Queen’s cruel rule or explanation offered as the nature of the magic mirror and her more staid persona within the glass.
On the other hand, the Blu-ray edition looks particularly nice, so the costuming and sets look swell. It’s great to watch at home along with excellent sound.
The disc comes with a bunch of perfunctory extras such as the five deleted scenes which are not missed, including the alternate opening. Looking through the Mirror (12:58) tries to make you believe the cast and crew really think they’re making a good film. The end credits are accompanied with an over-the-top Bollywood production number and I Believe I Can Dance (11:01) is an overlong look at how choreographer Paul Becker taught Collins, Mare Winning ham, Michael Lerner, and others to dance. The silliest bonus is Prince and Puppies (1:59) as real puppies review Armie Hammer’s romantic side. The most interesting featurette is Mirror, Mirror Storybook, a remote-controlled “storybook” version of the film.
Given the potential in the cast and the source material, and knowing there was a competing version also in production, you would have thought Singh would have risen to the occasion, making this film all the more disappointing.
Glenn and Mike were at the movies – separately – just so they could have a heart-to-heart conversation about The Amazing Spider-Man. This time, each has a fairly different opinion.
Of course, there are spoilers ahead.
Glenn: So, this is going to be an interesting exercise. I believe I could hear your teeth grinding from Norwalk…
Mike: You liked it?
Glenn: Most of it, yes.
Mike: Jeez. I found only the last third the least bit tolerable. What did you like about it?
Glenn: The casting, for starters.
Mike: The casting was fine. But it was in service of a director who put everything he learned in community college up on the screen.
Glenn: Andrew Garfield won me over very quickly, with a naturalness that Tobey Maguire never quite seemed to have. Emma Stone could have carried the film even if she didn’t look just like a John Romita drawing.
Mike: The direction was amateurish and the script was worse. They’re lucky this wasn’t an adaptation of an Alan Moore story.
Glenn: I’m curious – what marked this as amateurish to you? The action scenes played fine, the character scenes worked to the actor’s credits – although I think the film may have trod a bit too much to the sort of aspirational stuff out of a Aaron Sorkin script… of course, that might have been a subconscious reaction to Uncle Ben Bartlett.
Mike: Gwen is the nexus of all coincidences. Her dad just happens to be a police chief in charge of the Spider-Man beat. She just happens to have an after-school job that gives her seemingly complete access to all areas and secrets of one of America’s largest high-science development companies – at 17 years-old – where she just happens to work for the arch-villain, who just happens to be the lab partner of the hero’s dead father.
Glenn: Yes, there’s a bunch of coincidences jammed there. But she was a science geek in the comics, just at the college level, and her dad was a police captain.
And yes, Connors and Richard Parker also happen to work for the upcoming big bad villain, too.
Mike: And all that was spread out over several years’ worth of comics. Here, this was all crammed into two hours – although, to be fair, it seemed like much longer. There’s coincidence, and there’s really bad storytelling. This is really bad storytelling. I really wanted to like this movie. Unfortunately, we knew two best actors weren’t going to make it out of the movie alive. There most certainly is such a thing as a great remake. The classic versions of Maltese Falcon and Wizard of Oz were both remakes. The Amazing Spider-Man is in absolutely no danger of joining this crowd. A remake has to answer the question “Why bother?” This movie, like the Superman remake, didn’t.
Glenn: Two best actors? I mean, we knew that Uncle Ben had to die. I can see a few reasons for retelling the story. For one thing, the effects work has improved a lot in places – the web-swinging in particular. Although the Lizard… well, you don’t always get it perfect.
Mike: Yeah, and we knew the Titanic was going to sink. But the latest movie was about a lot more than the sinking of a boat; ASM wasn’t about anything we hadn’t seen before. Why didn’t they show us Spidey actually using his powers? The webbing thing was fairly cool, but outside of that we rarely saw him in action. He’d be on the ground and there’d be a quick cut to him stuck to the ceiling. Web-slinging through the Manhattan cityscape? Nope; it was mostly long-shots or Peter’s point of view. You don’t have to get the villain perfect, just menacing. Certainly the Goblin looked less-than-stellar in the original.
Glenn: Just out of curiosity, did you see it in 3-D?
Mike: No, 2-D. Which doesn’t address a single one of my storytelling and direction complaints. You rarely saw Spider-Man being Spider-Man. Not even if he pops out of the screen and eats the popcorn out of your lap, 3-D has nothing to do with storytelling. Certainly not in this movie. It doesn’t come close to the Sixth Avenue shots in the first movie. Talk about your John Romita influence…
Glenn: The action sequences, web-slinging, etc. worked for me in 3-D. The Lizard – well, it’s a giant lizard. Hoping for emotion in a lizard’s face is going to be an uphill battle, no matter what insurance company mascots teach us.
Mike: You don’t have to get the villain perfect. Certainly the Green Goblin looked less-than-stellar in the original. But the Lizard looked like the Hulk had pooped out a baddie.
Glenn: Of course, there’s a point. How many times can Spider-Man lose his mask in this film?
Mike: About as often as they want the 12 year-old girls to go all Beatles over Garfield. Who, by the way, looks about 30. Did they cast Garfield and Stone because Dwayne Hickman and Tuesday Weld looked too young?
Glenn: Yeah, college age would have been easy to believe. High school?
Mike: And Peter, Gwen, and obviously ol’ Lizzieface certainly weren’t New Yorkers in the least. Flash might have been, Ben and May and Stacy certainly were, but the three leads seem like they never even visited New York. Conners had been there longer than Peter has been alive.
Glenn: I don’t think the Lizard was a poor choice of villain. Curt Connors was played well… except for that “must turn evil” bit, and even there, it played in character more than Doctor Octopus’s character turn in Spider-Man 2.
Mike:. It was in character for the original comics version that evolved over decades. In a two-hour movie (that played like an eight-day bicycle marathon), it was almost campy. At least Alfred Molena had the chops to pull Doc Ock off. I’d seen scarier villains on Doctor Who… in the black-and-white days!
Glenn: One thing that did work for me was the more naturalistic interactions between characters. Garfield and Stone clicked here in a way that Maguire and Dunst never quite did; for that matter, Garfield seemed more natural with everyone – Sally Field’s Aunt May, Martin Sheen’s Uncle Ben, Denis Leary’s Captain George Stacy, and even the crooks.
Mike: I agree, but those moments were brief. ASM wasn’t about the one-man Greek chorus, and that’s good. It’s about a 17 year-old, but only at times did they allow themselves to go there. Tell me. Did you like this movie as much this morning as you did last night?
Glenn: No, but I’ve had a morning that would make Pollyanna grumpy.
Mike: Did anybody applaud at the end? At my screening, absolutely nobody applauded. Not a one. Virtually everybody who wasn’t in the comics business left before the end of the credits.
Glenn: A decent amount of applause, nothing like the roar at the end of Avengers.
And I have to wonder how this plays in the rest of the country, since Spider-Man is really such a New York character.
Mike: That didn’t hurt the development and the success of Marvel Comics, which was almost entirely New York based for decades, and largely remains that way today. There was nothing particularly New Yorkish about the movie. It could have happened in Cleveland or Phoenix.
Glenn: There’s that same moment in this film that came in the first Spider-Man where New Yorkers pull together to help Spidey out.
Mike: New Yorkers like to think they live in the only city that pulls together in a crisis. It’s human nature. It’s what’s kept humans alive as a species. And wolves.
Glenn: Sadly, it didn’t work nearly as well as it did in the first one, mainly due to a big logic problem. There’s a helicopter right above him. Why doesn’t he just hitch a ride on that?
Mike: By the end of the movie I think only Flash Thompson didn’t know Peter was Spider-Man – and he was the one guy who should have figured that out, given all the scenes where Peter used his powers against him.
Glenn: Flash, despite his name, has never been that quick. And Aunt May – well, I don’t know if she knows or not.
Mike: I was never certain what Aunt May understood, except getting over her husband’s death right quick. Oh, and the costume really sucked. Seriously. Cirque du Soleil should stick to cribbing Mummenschanz.
Glenn: One of the nicer bits between Peter and Aunt May is there’s a lot of unspoken subtext there, with her obviously knowing there’s something Peter’s not telling her, but not knowing quite what – maybe that Peter’s suddenly going in for rough trade or something.
Mike: Sally Field handled each scene quite well; not once did I think “Flying Nun!” But together the movie made May Parker seem schizo.
Glenn: Was there anything you liked about this movie?
Mike: Denis Leary, both his performance and the way they handled his character.
Glenn: Agreed.
Mike: This movie will do well opening weekend because opening weekend lasts six days and has a major holiday in there. But I don’t see it conquering the world. I can understand Garfield wanting to be in Avengers 2. He wants to be in a good super-hero movie.
Glenn: I’m still thinking Sally Field is too young to play Aunt May, but that’s purely a construct that carries over from the comics that has almost no logical basis. Of course she shouldn’t be old enough to be his grandmother, but still.
Mike: You’re absolutely right – if May was Ben’s husband and Ben was Richard’s brother, then Sally was the right age. In the comics Aunt May was born sometime before Barnabas Collins. I should point out I liked this movie more than most of my companions. One, who’s about 17, said it was the worst movie he ever saw. Ric Meyers (who thought less of this than I did) and I replied in unison: “You’re still young.”
Glenn: And ironically, my companion is one of the surliest bastards in comics and prose (David A. Mack, the killer of the Borg) and he enjoyed it even more than I did. This may be the rare film where I can’t easily say in advance whether or not a particular viewer will enjoy themselves.
Mike: Yeah, well I give it a thumb’s up – where the sun don’t shine.
Glenn: I give it a thumb, index finger, and pinky up. Which makes for a very tough review. But hey, kids, go and find out for yourselves.
Walt Disney has sent us a 360 degree tour of the sets used fir the feature length version of Tim Burton’s Frankenweenie, opening October 5. The movie features the vocal talents of Catherine O’Hara, Martin Short, Martin Landau, Charlie Tahan, Atticus Shaffer, Robert Capron, Conchata Ferrell and Winona Ryder.
The stop-motion animated comedy was written by John August, expanding on the student film Burton made in 1984.
The official boilerplate reads:
From creative genius Tim Burton (Alice in Wonderland, The Nightmare Before Christmas) comes Frankenweenie, a heartwarming tale about a boy and his dog. After unexpectedly losing his beloved dog Sparky, young Victor harnesses the power of science to bring his best friend back to life—with just a few minor adjustments. He tries to hide his home-sewn creation, but when Sparky gets out, Victor’s fellow students, teachers and the entire town all learn that getting a new “leash on life” can be monstrous.
NOTES:
When Tim Burton originally conceived the idea for “Frankenweenie,” he envisioned it as a full-length, stop-motion animated film. Due to budget constraints, he instead directed it as a live-action short, released in 1984.
Frankenweenie follows in the footsteps of Tim Burton’s other stop-motion animated films Corpse Bride and The Nightmare Before Christmas—both of which were nominated for Academy Awards®.
Over 200 puppets and sets were created for the film.
The voice cast includes four actors who worked with Burton on previous films: Winona Ryder (Beetlejuice, Edward Scissorhands), Catherine O’Hara (Beetlejuice, The Nightmare Before Christmas), Martin Short (Mars Attacks!) and Martin Landau (Ed Wood, Sleepy Hollow).
Several of the character names—Victor, Elsa Van Helsing, Edgar “E” Gore and Mr. Burgemeister— were inspired by classic horror films.
