Today begins the start of what I hope to continue for a long time. There’s tons of funny comic strips and pieces of art that poke fun of the superhero genre – and what kind of fan would I be if I wasn’t willing to make fun of comics as well? I understand how ridiculous the genre can be. So, as a way of supporting the superhero spoofs, here’s the first installment of Saturday Morning Funnies!
Archive for June, 2012
This was WAY to good not to post here. Hilarious and Amazing!
This kind of makes you sympathize with the Rancor trainer huh? I always assumed he had some connection with the beast, and loved it as well, but it’s interesting (and funny) to look at their relationship in this degree. To find out more about the history and biology of the Rancors, visit their Wikipedia page.
Release Date: June 22, 2012
Studio: 20th Century Fox
Director: Timur Bekmambetov
Screenwriter: Seth Grahame-Smith
Starring: Benjamin Walker, Dominic Cooper, Anthony Mackie, Mary Elizabeth Winstead, Jimmi Simpson, Robin McLeavy, Alan Tudyk, Rufus Sewell
Genre: Horror, Supernatural Thriller
MPAA Rating: R (for violence throughout and brief sexuality)
Academia has been in an uproar ever since it was announced that Seth Grahame-Smith’s wonderfully odd vampire novel was coming to the big screen. True, the story itself verges on dishonoring a man so revered and respected in the eyes of Americans that wish to rid this country anything that slanders his name and the fight for the freedom of blacks. Yet I wonder if it justifies the outrage and mutterings from historians and Lincoln fans.
Of course, that’s the point, is it not? How often do we see a historical figure used in fiction to such an odd degree? Only in Men in Black would we expect to see Abraham Lincoln as an alien, or some other form of creature that we aren’t familiar with. Of course, in a movie like Men in Black, it would be acceptable. In this film, however, Grahame-Smith writes honest Abe’s “new” story as if it were actual history. Knowing, of course, that it isn’t REAL history, it makes the interest in the story (at least for me) build up that much more.
Known for his ability to revamp classic literature into hilariously horrifying stories, Grahame-Smith took a chance with Abraham Lincoln, putting a twist on his legacy that no one (besides Smith) could ever have conjured up. His gag in the form of “Pride and Prejudice and Zombies” proved him the master of making a joke last a lot longer than we expected it to while keeping it enjoyable at the same time.
In the story, Abraham Lincoln is a model citizen with a dark undertone – having witnessed the murder of his mother at the hands of a vampire. Years had past, and he vowed to avenge his mother’s death by training in the art of vampire slaying. With his skills in axe slinging and his natural ability to pump out profound public oratory, he leads two lives, one in shadow and one in public service, hiding his night life of killing “devils.”
This is not a film for those who are unable to use their understanding of disbelief when it comes to historical revamping. The final battle scene at Gettysburg shows a different look at how the South was able to survive the Civil War as long as they did – with Stephen A. Douglas making deals with Vampires. If honoring the men who died fighting in this war is too important to you, then you might not enjoy the climactic final battle sequence. But as a lover of vampire stories and folklore, I ate this up! I could barely contain my laughter when Jefferson Davis is shown dealing with those “of his kind” to win the Civil War. Again, if you have so much respect for history (and maybe even Jefferson Davis) this might irk you to the point of no return.
“Abraham Lincoln: Vampire Hunter” is arguably the best vampire film to hit the big screen since “Interview with a Vampire!” And to be honest, Abe Lincoln might just be the best Vampire film I’ve ever seen! The clever rounding about with history, messing with historical fact, and using a historical icon to rejuvenate this part of America’s history was a unique joy to behold. Dan Simmons wrote a book title “Children of the Night” where the concept of the political vampire was born. In this film, we see a revival of political vamps and demons. It’s hard to make any vampire story relevant to a modern audience – so when tied to an expression of social injustice and slavery of the body, soul, and spirit, vampire literature can become a much more powerful story to enjoy.
The story helps explain the reason why vampires became more publicly known as the years rolled forward. Blacks were used as crops the vampires could feed on – easy prey meant happy blood suckers, keeping them away from the rich white folk. However, with Lincoln pushing for the freedom of the blacks, whites would no longer have anything to barter with, forcing the vampires to expand on their culinary vocabulary. This is not an expressively supported theme in the film, merely hinted at in unintentional ways.
The mash-up of historical fact and science fiction are certainly not unknown cinematic territories. In fact, this mash-up has been a successful plot device that has given birth to many great films. What makes this story so unique and different is how slavery is directly connected to the needs of vampires, as well as stringing Lincoln’s vendetta against vampires to his quest to abolish slavery.
Making this film even more enjoyable are its visual aspects. The cinematography is wonderful and realistic as can be. Sure, much of what you see is obviously CGI’d, but it never seems out of place or inappropriate. Moments of sepia toned scenery give this film a much older and classic feel, helping to create the mood. Likewise, epic scenes like the burning train rolling down the collapsing tracks, the bloody fight scenes where vampire faces contort and contract, and a 50 year old man swinging his ax around decapitating vampires was excellently executed and top notch.
Benjamin Walker has certainly done Honest Abe justice and made a name for himself with the role – he portrays the confidence we imagine Abe Lincoln having with the utmost fervor and might. The rest of the cast is amazing too, with no one producing a poor performance in the least.
Although the film takes some (many) liberties with the original plot, there isn’t a single moment where I felt the film dishonored the novel. Much of what transcends from book to film were little blips – much more elaborate and descriptive in the novel, yet they find their place in the film quite nicely. There’s a twist at the end that’s neither surprising nor expected, yet doesn’t downplay the film at all.
As stated above, this is quite possibly the best vampire film ever made. The issues occur only in tiny instances where you aren’t quite sure what Joshua Speed is thinking and/or hoping for. For you naysayers, don’t drive a stake into the heart of this film just yet – give it a chance and see what you think. If nothing else, you can always watch an episode of Buffy to counter your dislike for any bastardization of history. Then again, it was Abe that started the tradition of the slayer now wasn’t it?
Colored by: Jose Villarrubia
Lettered by: Rob Leigh
The revelation of having to save the world from yourself is a concept those only in the world of science fiction can comprehend. Not only does the Cap’N have to fight against a monstrous version of himself, but he also has to cope with his futuristic alter-egos that develop god complexes as the generations move forward.
Due to his evidently increasing power based on his future selves, the people begin to look upon Captain Atom as a God, and Captain Atom uses this (in the future) as a way of properly communicating to his “followers.” However, as the generations continue roll forward, Atom lives out this roll to the fullest, concluding that the best way to defend planet Earth and its people…is by destroying it – the result of the beastly form he takes in the future. A typical Sci-Fi trope, yes, but excellently executed none-the-less.
It’s hard to make out sometimes, the blue-against-blue motif with all the different Captain Atoms floating about in the storm of white and purple. Minor complaints, or course, and in no way should it take away from the shear destructive beauty of Freddie Williams II’s art…
I used to criticize Freddie Williams II relentlessly back during the days of the JSA All-Stars before the reboot – he was known for (and still is) making each character so muscular, they were pruny. It’s nice to see Williams II moving from a poorly artistic visual side to the incredible mastery of the human form being displayed in Captain Atom right now. He seems to have much more control over his art and knows how to draw characters without loosing sight of his own creative style. But, for those of you still swooning over the overly endowed Power Girl from JSA All-Stars, here’s a trip down memory lane.
However, there were a few moments where the coloring in this issue didn’t make a lot of sense. But maybe I’m just a racist S.O.B. You tell me, is that a black Wonder Woman and Superman?
The story itself is fairly weighty and dark, delivering an ending that is neither joyful or wanted…yet it WAS neccesary.
In order to counter the oncoming attack from himself, one of the other versions of Captain Atom travels back in time to find the source of his god complex. As he travels further and further back, Captain Atom discovers the beginning of the end in a hospital room…with a boy’s incurable cancer.
The present day Captain Atom was left unaware of the future Captain Atom’s actions in stopping the removal of the cyst, which makes it easier to accept seeing as how his human characteristics are significantly less than the Captain we’re more familiar with. However, It’s hard to accept that the only way to save the world is to sacrifice the life of a little boy. Truly a dark ending no one wants to see, but makes for a great twist to the story.
In the end, Captain Atom is faced with a dilemma – his involvement with other people jeopardizes their livelihood, happiness, and life all together. However, Captain Atom sees the value and happiness that his humanity has provided for those he loves. In turn, the Captain makes a decision that is certainly as mind blowing as it is disturbing. I won’t give anything away, but be warned, you may be witnessing the beginning of a Dr. Manhattan type of Captain Atom.
This was a fantastic read and is slowly becoming one of my favorite titles, as well as J.T. Krul becoming one of my favorite authors. His writing style mirrors my interests in stories that don’t always have a happy ending, but a perplexing one that makes you question the choices that were made. What do you do when you’re faced with two options, both of which jeopardize someone in the process?
Captain Atom keeps getting better with every issue – please bring more Mr. Krul, this title is great!
9 out of 10 stars
Love Is In The Air
Love is in the air everywhere I look around
Love is in the air every sight and every sound
And I don’t know if I’m being foolish
I don’t know if I’m being wise
But it’s something that I must believe in
And it’s there when I look in your eyes.
Tom Jone’s famous song certainly speaks true to this issue, even if the themes in #10 are a tad bit different. And it’s time to wrap things up for the marriage from Hell.
With the union of Wonder Woman and Hades at the cusp of occurrence, it’s time for the inevitable climax where we find out if she’ll spend the rest of her life with the Devil, or somehow get out of it. Azzarello certainly delivers one Hell of a read, but the even greater success is not so much within the climax of the story, but rather in the concept of love that permeates throughout this issue.
It’s nice to see the Devil as more than a simple evil character. Azzarello turns him into a creature we can sympathize with. Greek Mythology has a way of weaving human characteristics into its deities quite effortlessly. In fact, the entire mythological realm of Greece has had their humanizing moments in every issue ever since this arc began, and Azzarello couldn’t have made it more effortlessly so.
As predictable as it was, it’s still a pleasant reveal in how Wonder Woman tricks her own lasso of truth. It’s a justifiable cause to love everyone, even if they are pure evil. This is a very important stage in the life of the New 52 Wonder Woman as it’ll define her character and actions for the rest of her life. (until the next reboot of course.) It’s really not that much different from pre-52 Wonder Woman, yet it’s still nice to know we are getting more of the same thing.
There were a few little glitches in the dialog, awkward and silly. But this isn’t too strange if you’re familiar with Azzarello’s work. Still, you might chuckle after reading them…
“Meat? Meet and Amazon”
“Can’t it just be MY mess?”
I also wasn’t clear as to why Wonder Woman felt the need to constantly refuse or reject the help of those who offered it. Of course, I wasn’t even sure how this was ONLY Wonder Woman’s fight as she stated multiple times. I guess I was simply waiting patiently for the reasoning behind this arc other than setting Wonder Woman’s “New 52″ character up. Nothing in this arc set the stage for future entanglements with Hades. It’s only Strife that has a future in Wonder Woman’s list of potential returning villains, and she was the one I had hoped would never come back at all. Oh well.
The art is gorgeous. The color of Diana’s skin within the halls of Hell, as well as the garb she was made to wear made her seem dead, as if she were already a member of the afterlife’s quorum. Yet Kano and Akins toggling back and forth was a flawless portrayal of beauty that gave Wonder Woman the semblance of confidence and strength. I’m not certain I understand the skulled Wonder Woman on the cover however, but I’m not going to complain.
I had thought Gail Simone spoiled my enjoyment of Wonder Woman, and only her portrayal of the heroine would be enjoyable. Azzarello, however, has shown me that as long as you’re a good writer, enjoyment of her story is endless. We still have two more issues to go before the one year mark, and I can’t wait for the next year of Azzarello type stories!
Release Date: June 22, 2012 (3D/2D theaters)
Director: Mark Andrews, Brenda Chapman
Screenwriter: Mark Andrews, Steve Purcell, Brenda Chapman, Irene Mecchi
Starring: Kelly Macdonald, Emma Thompson, Billy Connolly, Julie Walters, Kevin McKidd, Craig Ferguson, Robbie Coltrane
Genre: Adventure, Animation, Comedy
MPAA Rating: PG (for some scary action and rude humor)
Official Website: Disney.com/Brave
The glories of Scotland can be fully realized in “Brave” to any who’ve never visited the forested land with a rich and vibrant poetic and militaristic history. Since ancient times, the mystical stories of Scotland’s epic battles have leaked through the generational cracks and into the hearts of children to this day. In Pixar’s “Brave,” a new tale unfolds about a young and adventurous girl whose personality and spirit was ahead of its time.
Princess Merida (Kelly Macdonald) is faced with the terrible burden of being raised as royalty. Her mother, Queen Elinor (Emma Thompson) constantly barks the fact that Merida is a princess who must act accordingly. But Merida refuses to accept her fate, hoping to change it. Defying tradition and destiny, Merida rides out into the woods to the mystical side of the land where she finds an old witch and requests a spell to change her fate. However things are not always as they seem in the world of cinema and Merida is faced with a terrible dilemma that she must rectify before the second sunrise. Time’s a wastin’, and Merida may not be ready to meet the challenge.
To start off, “Brave” marks many firsts for the acclaimed animation studio, most notably having a powerful female lead driving the story forward. Merida’s gorgeous spirit and vibrant personality makes her one of the most intriguing and sensational character’s in animation history, especially with her wavy red hair. But there’s also the princess themed aspect of the story. Pixar’s never taken the typical Disney approach to their films, and making Merida a princess in that same tradition is an interesting move. Not bad, just interesting. This 13th feature for Pixar is also its debut period piece, setting the stage in pre-medieval Scottland. All of which served the film adequately.
As I state in all my reviews of any Pixar film, Brave reminds us why they rule the world of animation with an iron fist. No doubt, Brave is the most beautiful animated film to date. There’s this photo-realistic status that Brave upholds while not forgetting the poetic nature of animating realistically – something Avatar failed to accomplish. There’s a definite attention to detail in the cinematic lighting flowing throughout the film and how it radiates against Merida’s glowing red hair. Likewise, the realistic look of each animal was masterful – Merida’s horse was especially well done. Yet Pixar appropriately animates a certain level of cartoon-styled eyes, lips, and stature in every beast, maintaining its “cartooniness.’ It may look real, but this is still a cartoon, and the animators at Pixar are the masters of combining the two aspects into one beautiful feature length film.
With the release of Up!, containing adult themes and mature content, Pixar was given full license to do whatever they wanted! In Brave we are presented a story as dark as any tale I’ve read or seen before. Mostly radiating from the evil bear, Brave maintains a dark undertone, supported by the misty part of the woods and the mysterious will-o the wisps. In fact, there’s so much about Brave that’s “mysterious” you’ll walk out of that theater wishing you knew more about the film’s side stories. Thus lie the flaws in Brave – the inability to tell the full story.
I fully understand the need to keep certain things anonymous – The major flaw in Tim Burton’s “Batman” was revealing the identity of the Thomas and Martha Wayne shooter as the Joker, forgetting that it was the anonymous nature of the shooter which gave the Batman origin story such a strong will. However, Brave left almost too much open-ended. What was the significance of the wisps besides being the guiding light for Merida? What was the history of the spell given to Merida for her mother? What was the old witch’s story and how was she connected to the four brothers of the ancient kingdom? Is their more to be learned about Mor’Du and his “beastly” condition? This woodland region seems to have a vast history, and 90 minutes wasn’t enough time for it to be fleshed out. So much is yet to be told, which left much of the film in a state of uncertainty. It needed more time.
In addition, the choice of gags and humor in Brave felt cheap and out of place. It’s possible, due to the intense and dark nature of the story, that Mark Andrews and Brenda Chapman decided this type of humor was needed to keep the tension at a much lower level as not to scare the kids TOO much. It went into a toggling pattern which followed this – masterfully written story, cheap gags, masterfully written story, cheap gags - and so on and so forth. I suspect many people my age will walk out of the theater trying to figure if they actually enjoyed Brave or not due to this very inconsistent aspect of the script.
There’s also a very unclear purpose within the script. The film has trouble living up to its title, staying on the safe side rather than being brave and taking a few risks. The film had the potential of being Pixar’s best if it weren’t for the constant out of place themes. As funny as it was in the beginning, the slapstick ruckus caused by the men became very cumbersome. Sure, this is how most men want to act, but it was a running gag that became too much of a good thing. Likewise, in the Queen’s transformation from human to bear, I wondered when her constant state of panic would end. These two major thematic aspects of the film were only a fraction of the writing flaws. Most of Pixar’s movies have a glimmer of the unexpected, both in plot and tone. Brave has this, but unlike its predecessors, the film never comes to a comprehensible closure to its side stories. But, again I state, it all had to do with limited screen time.
Please note, parents, that this is a very violent film; Bears are going at it tooth and claw, men are constantly punching each other for the sake of showing who’s the better man, and this film has one of the scariest creatures I’ve ever seen in an animated movie. If you were one of those parents who took issue with Cars 2 and the torture scene, then be careful with this one…you may have another conniption.
Aside from the fact that this is Pixar’s greatest visual achievement in its history, Brave fails to deliver the type of story Pixar has become known for. As far as the script and humor are concerned, Brave reminded me more of a Dreamworks animated film – still enjoyable, yet very dry.
That being said, however, Brave still mops the floor with most other animated films outside the Pixar regime. I guess that’s the trouble you face when you’ve become the standard that every one else tries to mimic.
It’s a geek movie weekend! And on my list of “to-see” movies are Pixar’s “Brave” and “Abraham Lincoln: Vampire Hunter.”
Brave hasn’t received stellar reviews as of yet from pre-viewings, which makes me wonder if this is either a story that’s way past what Pixar has typically done, and the critics just didn’t get it, or if this really is a film that reflects the same mediocre quality of Cars 2. With Pixar’s track record, I suspect it will be a joy to watch, and the reviewers simply didn’t get it.
I’ve read the first part of Colonial vampire hunter’s novel and it’s been a fantastic read! I’m wondering how they’re going to turn this into a movie however as the book is very much a fictional, yet academic read and not entirely (at least it seems this way) translatable to the big screen. We’ll see how “hollywooded” up this film will be.
This will be a MAJOR geek-out week as I’m a huge animated film guru and a lover of vampire literature. This is going to be great weekend to go to the theater. It’s off to the movies!!!
While there will always remain this perplexing dichotomy between the purpose of the new 52 and the Green Lantern universe – seeing as how the wielders of the light didn’t partake in the reboot – Geoff Johns finally makes this title exciting!
The jungle presents a lot of challenges, at least it seems that way in the plethora of films, stories, and books where the jungle is the main setting. From it rises a series of moments involving the divine and humility, where the characters involved reveal the deep, dark secrets plaguing their minds. Here, we find Sinestro and Hal going at it in a jeep construct through such a place. It’s interesting to watch this conversation play out with no denial from either one while they listen to each other talk about why the other person’s wrong. Yet, in their faces, we see a hint of understanding; Sinestro seems to be figuring out that his methods aren’t necessarily a welcome aspect, while Hal never denies Sinestro always being “right.”
And then conversation leads to the discovery of an Indigo Tribe member who looks amazingly like an old, worn out Guardian. It’s been too long since the two worked together as a team, and Sinestro accepts Hal’s reasoning that FEAR isn’t the correct course of action in saving the day.
But there’s definitely a bigger mystery to be solved here which deals with the longevity of Sinestro’s cooperation. And the Indigos aren’t going to let him go without some reassurance that Hal can “save” Sinestro from his fear mongering and murderous ways. Of course, I highly doubt that Sinestro will make a complete move away from his Corps, (or what’s left of it anyway) to come back to the one that fathered his light wielding abilities. But this is an interesting question, can Sinestro become a hero again?
This issue leads us to believe that Sinestro DOES in fact have a sense of justice lingering somewhere inside; he has convictions, and a strong sense of doing what MUST be done for a cause. The Indigos seem to have almost lost all hope in that idea, but not completely and are willing to free Sinestro from their control if Hal can make that change occur. It took 10 issues, but we’re finally seeing the purpose behind this arc…a change is about to occur within one of the title’s key players that will alter this title for good. What that IS is hard say, but it is coming, and I’m pumped to see how it ends!
Doug Mahnke blows it out of the park despite the lack of support on the colorized front. If anything were to be lacking in this story, color shouldn’t be it. Thank goodness for the final pages where Black Hand rises, (again) receiving his black ring once more after the purple one left to find a suitable replacement. Black Hand was so loyal to the Black that he was willing to die to escape the oncoming Indigo ring. Whether or not he KNEW he would rise as a Black Lantern is another story.
This is a great issue finally deeming itself worthy to be titled “Green Lantern.” Keep up the good work Johns!
9 out of 10 stars
Batman is taking it to the MAN!!! Or rather, to the MEN. He’s had it with the Court and their constant attacks on him and those he cares about, so it’s “off come the gloves” time with Batman prepared to bring in every drop of his training to bring the Court down to its knees. He even states his intention of wiping them from the Gotham City history books. Does this mean the beat down will be so bad that history will be too embarrassed to acknowledge the Court’s existence? Bat’s scare tactics and abrupt breaking-an-entering certainly speak true to this potential. The build up in the first seven pages is excruciating, and I couldn’t wait until the actual confrontation. It was so exciting that I had to hold onto the arm of my chair with anticipation. As Batman broke the wooden Owls, stairwell, and the doors, I turned the page to climactic reveal to see…
The Court completely dead due to self sacrifice.
And the tension that was built up inside me blew a breath of relief allowing my body to relax and enjoy the rest of the book – which, by the way, is utterly fantastic!
Thankfully, in preparing this review, I had the privilege of reading Mr. Martin’s wonderfully glowing review of the same issue, and I have to agree with his sentiments about Thomas Wayne Jr.
Yes, I did say Thomas Wayne Jr. Apparently the two parents had a second child in which Thomas Wayne Sr. took his own name and dubbed his second child as a Jr. Why would Thomas do this with his second child, and not the first? This, by no means, ruins the issue for me, I’m simply stating my skepticism in the unbelievability it all. It’s still just as shocking as anything the Batman title has ever revealed before, despite the tiny visual the reveal is encased in.
Snyder is having a blast with this arc, continually throwing us as many twists as he can without becoming cumbersome. There’s a nice little relaxing moment with Bruce being uncertain of where he missed the mark after seeing the Court’s dead bodies at the dinner table. My guess was the Mad Hatter might have had a hand in the suicidal moment, but that would be too obvious wouldn’t it? There’s a nice, yet typical conversation where Alfred (as always) tries to prove to Bruce that his “Greatest Detective” status is not an infallible role.
But, as we all know, Bats figures out where he went wrong. And too be honest, I’m never quite sure how Batman comes to some of his conclusions right before the big shebang. I felt like I missed a clue revealed in Batsey’s inner monologues, and no amount of rereading back through the pages can help me with this. However, the twist, as unbelievable as it is, will still make you do a double take and go ’round in circles trying to concoct HOW this is possible…and that’s always proof of a well written comic.
And the book’s end delivers and interesting flashback story, giving us more information about Mr. Lincoln March’s (Jr.) origins. It’s been an interesting journey seeing how involved the Court has been in every aspect of Gotham City’s life, now we see their involvement with the Wayne family. But I suspect that Thomas and Martha didn’t submit their second child (SKEPTICISM!!!) to an orphanage – the Court simply took Baby Thomas away sometime shortly after the parent’s death. (Did Bruce just forget the fact his mom was pregnant?)
My skepticism aside, as well as Bruce’s, this is truly a dynamite issue! Is this really going to end next month? Say it ain’t so!
9 out of 10 stars
Does this bring back some memories or what?!?!
Release Date: June 8, 2012 (3D/2D theaters and IMAX 3D)
Studio: 20th Century Fox
Director: Ridley Scott
Screenwriter: Damon Lindelof, Jon Spaihts, Ridley Scott
Starring: Noomi Rapace, Michael Fassbender, Guy Pearce, Idris Elba, Logan Marshall-Green, Charlize Theron
MPAA Rating: R (for sci-fi violence including intense images, and brief language)
Official Website: Prometheusmovie.com
It was only a few days before actually seeing the film when I learned of the connection Prometheus shared with the “Alien” movie franchise. Then it wasn’t until a few moments before the trailers began when I learned that this movie was a prequel to the series. After seeing the film, I made some inquiries to others who had seen the film, and they also had no idea that Prometheus was a part of the “Alien” mythos until afterwards. This leads me to believe that Ridley Scott and company purposefully tried to conceal this fact, keeping a distance between the film and the notion that Prometheus is simply an Alien prequel, making its potential as a great stand alone sci-fi movie to increase and not be dictated by the expectations fans may or may not have.
However, thanks to the world of WWW, leakage always occurs, and Prometheus’s connection to the 1979 film got out before the movie was released. But seeing as how the Alien franchise is in a state of limbo, it was a good attempt on the part of 20th Century Fox (curse you!) to make this enigma, creating the illusion of newness for the casual movie goer, and the die hard ones.
Setting aside the nostalgic sensibilities of the film, the story is about two archaeologists, Dr. Elizabeth Shaw (Noomi Rapace) and Dr. Charlie Holloway (Logan Marshall-Green) who discover a plethora of ancient cave drawings that lead them to believe the origins of humanity were not of divine origins, but rather due to the scientific experiments of an alien race. After research and study, they’re pointed in the direction of a distant moon, LV-223, where the two protagonists and a team of astronauts and other scientists travel in search for answers. Little did Shaw and Holloway realize that their importance in this trek were overestimated as they had to fight against Meredith Vickers (Charlize Theron) and her bitterly skeptical attitude towards the entire mission. However, what was believed by many to be a waste of funds soon turned into a horrifying discovery where the resolutions to many of the unanswered questions were more than anyone was ready to face.
For the most part, Prometheus does very well as a stand alone Sci-Fi/Horror film, albeit a few confusing moments within the story’s unfolding plotline. To be honest, however, there aren’t many Sci-Fi films that can match this level of artistry, especially with how well the script is written and how carefully planned out its sequences are. There’s also a very different offering for both types of movie goers in this film, presenting an experience that will, more than likely, have you leaving the theater wondering what’s going to happen next, which will compel you to come back for more with the inevitable prequel sequel. However, there’s still enough confusing material and plot developing moments that will leave you wondering why any of this important, and how it relates to the overall scheme of the story.
Much of the Ridley Scott fan club who has been less than impressed with the director’s non Science Fiction cinematic endeavors (Robin Hood, Body of Lies, A Good Year) will be thrilled to see him getting back in the Sci-Fi chair and doing what he does best. If Scott is known for only one thing, it’s his ability to set up the most beautiful, yet horrifying scenes that describe an entire alien world to its utmost importance. In the opening sequence, without a word being spoken, we understand this world’s religious significance as well as the willingness to sacrifice oneself for a cause we know very little about. So much went into the creation of this first four minute scene, and so few actually care about the work and thought that went into making such a weighty and descriptive opener. But this will be the saving grace to any skepticism you may have had before entering the theater.
However, as descriptive and amazing as that opening scene was, it creates a very perplexing situation as it really doesn’t make sense in context of the overall plot. Was this more of a myth of this interesting and mysterious alien culture, or did this actually happen thousands of years ago? And if so, how does it connect to everything else we saw in the film? I won’t give anything away, but more than once you’ll wonder why certain plot developing moments are there . The end scene, despite how excitingly terrifying it is, is just as confusing with no explanation for being.
The film does follow a very typical and cliche plot progression, as well as containing characters that feel a little too form fitting for the type of story Prometheus is. We have the two protagonists, one being the enthusiastic forward thinker who wants to discover the truth, and the other being the realistic counter part who’s constantly telling his girlfriend to look past her own ambitions for the sake of living. The bad guy is more of a distrustful player in the story who’s simply bitter due to unknown circumstances, kicking the bucket in the end. Likewise, the ensemble supporting cast follows a very familiar cinematic line up, complete with a captain who falls victim to Shaw’s sense of discovery and eagerness to know the truth, a dirty yet brilliant archaeologist who’s too scared to risk his life for the greater good, and the token British actor. This, in no way, takes away from the overall enjoyment of the film, but for those of us who are all too familiar with it, it comes off more cumbersome and underwhelming.
I can’t speak much to the three dimensional aspect of the film as I’m one of those movie goers that prefers the classic 2D viewing. However, knowing that the film was shot using 3D cameras, and in the hands of a more than capable director, I suspect that seeing this film in 3D is worth the over priced ticket. Then again, I’m not sure I remember seeing anything that would lend itself to in-your-face moments.
Horror films have never intrigued me however. At least not enough to get excited about them. I guess my weak tummy just can’t hack it. But there’s also the lack of an intelligent story that most horror films are plagued with that just doesn’t sit well with me. (Although I hear Cabin in the Woods surpasses anything the typical horror movie has tried to do.) Along with the mindless violence and idiotic ventures into obviously dark and treacherous rooms, I’ve simply never been able to get into those types of movies. Granted, Prometheus provides much more intellectual horror and good writing, but there’s still enough grotesque and bloody scenes that the potential this film had at being MORE than a typical horror film was only slightly above average. (Although the abortion scene was the most intense scene in the entire film!)
To be honest, while the connection to the Alien franchise may confuse those unfamiliar with the series, the film stands on its own quite well. This is an enjoyable cinematic excursion that I think most people who enjoy the genre will get a kick out of regardless of its faults and unnecessary violence. I’m definitely going to be pleading for more Ridley Scott Sci-Fi/horror based movies in the future.
I love the avengers, but there’s definitely some things within the movie, that this video brings up, that’ll make shake your head up and down in agreement. Enjoy!
This is a well known viral hit thanks to College Humor, but it’s something I can’t get enough of and constantly laugh at. Will any of you mind if I bring it back up?
What I love most about it is how it uses nothing but DC heroes, and the resemblances are astounding! Please enjoy, and go to College Humor every once in a while and laugh.
Release Date: June 1, 2012
Studio: Universal Pictures
Director: Rupert Sanders
Screenwriter: Evan Daugherty, Evan Spiliotopoulos, Hossein Amini, John Lee Hancock, Jez Butterworth
Starring: Kristen Stewart, Charlize Theron, Chris Hemsworth, Sam Claflin, Ray Winstone, Ian McShane, Eddie Izzard, Bob Hoskins, Toby Jones, Eddie Marsan, Stephen Graham, Ray Winstone, Lily Cole, Sam Spruell, Liberty Ross, Noah Huntley
Genre: Action, Adventure
MPAA Rating: PG-13 (for intense sequences of violence and action, and brief sensuality)
Official Website: SnowWhiteandtheHuntsman.com
It’s a grotesque journey from dark to light, a unique retelling of the classic tale that verges on the side of the twisted and insane. It was an incredibly beautiful film even with it’s sick and twisted interpretation. However, the mismash of Narnia, Lord of the Rings, vampire lore – such as with the story of Elizabeth Bathory – was odd enough to make me wonder if the plot actually spun into anything significant.
And if I ever wanted to know what it feels like to get high, this film succeeds with flying colors!
The story takes place on the familiar fantasy terrain, and Snow White (Stewart) is the only woman in the land who threatens the Queen (Theron) and her unequaled beauty. Snow White runs away and the Queen hires an aggressively reluctant huntsman (Hemsworth) to hunt her down so she can devour her heart and have ever lasting youth. But in true pseudo-love-story form, the Huntsman sees the purity in Snow White and prepares her for the worst, while in turn, Snow White shows the Huntsman compassion and friendship. Together they share in an adventure that’s based in good versus evil, dark vs. light, with a plethora of magical elements.
I mentioned the above phrase, “with flying colors,” which is incredibly appropriate for this film with its wonderfully clever usage of darker tones juxtaposed against the brighter colors. In fact, the entire film is FLUSHED with blacks and whites, with the occasional red apple. With this infusion of the two color depictions, and the different shades of each, the film does present an interesting question – Does white always have to represent good, and vice versa with black representing evil? Sure, the queen wears a terrifyingly black outfit, but she bears a lighter color tone than the film’s protagonist does. It’s a confusing visual depiction to say the least, but a wonder to behold.
That’s really where the greatness of this film lies, within it’s visuals. Carrying the rest of the burden of making this film worth while lay with the cast…minus one.
Chris Hemsworth’s hit the jackpot thanks to the Avengers, and now has complete control over the reigns of his acting career thanks to his stellar performance as the Huntsman. Along with Theron, he’s the saving grace of the movie and provides a lot of depth and emotion in a character that started out as someone who could care less about the people and the Kingdom.
Charlize Theron, the reason the bulk of movie goers saw this film, delivers a captivating and chilling performance. This was an interesting take, on the screen writer’s part, to make the queen not only evil and twisted, but depressed and sympathetic. As an audience, we see why the Queen is such a tyrant, giving us a reason sympathize with her. But even Theron can’t save a script that’s overly poetic and analytical, forcing the cast to overact.
Thus comes Stewart’s “Oscar” speech, which is laughable at best. But let’s not throw the fault completely at her. The speech, which was meant to inspire the soldiers to brave the oncoming danger, was only successful because the director told them to make it so. Stewart’s performance, however, was less filled with dialog and more with angsty driven moments of ecstasy. Was this the director’s choice, or is Stewart simply unable to move past the type of performance she typically portrays thanks to Twilight; always unpleasantly writhing due to some outer force which compels her to act with such sullen malaise. It’s almost as if she has a disease she’s fighting throughout the film, and it feels more out of place than as apart of the story. With her contemporary edge, is it possible that she’s acting in the wrong era? If only we had the same magical burden of Dwarf Muir due to being blind – seeing the potential in individuals which others cannot see.
At the film’s core, however, is the subliminal messaging of getting high and how it makes you happy – which is true. Not a moment goes by where it doesn’t seem like someone just took a heaving whiff of meth or cocaine. Do the dwarves simply live off of Heroine? It certainly seems like it. The dwarves always seem exceptionally happy, especially Muir. (Bob Hoskins) Even the animals in the gorgeously animated forest scene seem to be the after affect of the dwarves drug addiction. But I don’t think anything will cure Snow White’s constantly depressed state of mind, which could have been caused by an overdose of Marijuana. And I’ll just make the assumption that the queen is injected daily with LSD since she always has an altered state of mind, seeing things that aren’t there. Is it possible that the nameless Huntsman is the only sensible one, partaking in the normal drinking of beer, getting into drunken fights, only to wake up with minor migraines the next morning? I think so. No wonder he dislikes people, they’re all crazy due to drug induced insanity! Perhaps an appearance from Dopey would have been appropriate?
It’s hard to sit through a two hour long film in which we already know the plot. I’ve known the plot since I was 5 years old! So it was nice to see some of the story telling upgrades to make the already known plot seem fresh and new. The apple was poisoned not because of some magical potion poured into it, but rather because of the decaying land. The dwarves aren’t the cutesy Disney versions from the 1937 Disney film, but rather a brutish and vile lot who have the only humorous moment (singular) in the film’s 2 hour duration. As mentioned above, the Queen is completely reinvented where we can sympathize with her and her newly discovered humanity, and despite Stewart’s lack luster, over compensating performance, turning Snow White into a stronger character rather than a damsel in distress was an intelligent move.
The problems occur in the plot’s overall purpose; the character developing moments are quite odd and the reasoning behind the character’s motivations could have made sense if only the execution and writing were better. The story goes off the deep end with its “Snow White turned Joan of Arc” motif with no reason for being except for the strangely placed sense of patriotism she obtains that was never alluded to prior. The transition for the Huntsman from brute to caring man was more abrupt than fluid, as was the queen’s final bow as she crawled away from Snow White in fear of…something? It was never made clear as to what the Queen was trying to accomplish; was she simply attempting to be the fairest in all the land, or did she have some misplaced concern for the people?
“I will give this wretched world the Queen it deserves.”
“Mirror, Mirror, on the wall, who is the Fairest of them all?”
Which is it? I couldn’t tell.
Transitions seem to be a problem with this film as this juxtaposition from darkness to light, while gorgeous to look at, is overly drawn out and sluggish, with nothing tangible in sight.
A single viewing was and will be enough for me. I loved looking at the special effects of the film as well as enjoying some of the story alterations, but overall this is not a movie worth its price of admission. If you’re into 2 hour long durations of the after effects of drugs, by all means, go see this film. But if you can wait until it’s streamable online, then go with that option. There is a poison apple lurking around in seeing this film, and you might just bite into it by accident.
So let’s go ahead and get it out there, this issue will do well in the sales department with the latest “coming out” moment delivering DC’s first gay superhero. But there’s more meat to this issue than a mere hot button topic that’s receiving both scrutiny and praise. Jay Garrick finds himself in a speedy pickle, shockingly receiving the power of the Roman God, Mercury.
While jay is figuring out his new powers, Mr. Terrific of Earth1 has traveled through a worm hole to Earth 2 where he meets a man who, somehow, was expecting him.
If you’re looking to hear my thoughts on Alan Scott’s recent change in sexual orientation, you’re not going to hear anything mind blowing. The whole development is arguably dull. However, at issue’s end, delivery of a cliffhanger should promise great story building potential. But I think the most appropriate reaction to the news was from Mr. Jimmy Fallon – click link below…
But to be honest, what we see between Alan and Sam isn’t unique in and of itself, and any other display of love and affection in comics like this would be just as cheesy and frightfully irrelevant…until next month of course.
It’s not all that difficult to make connections when titles cross over into other title’s continuity. However, it still irks me to pick up a book and discover that I needed to read a different title in order to make sense of things. Is DC really going to compel me to read Mr. Terrific simply because they tied it in with Earth 2? Despite the fact that I don’t actually NEED to read Mr. Terrific to understand what happened, it’s still a little vexing.
But with the teleportation of the world’s 3rd smartest man, we are placed in this world that still morns the death of the trinity of wonders which has affected everyday life on Earth 2. No doubt this title’s first arc or two will be all about raising the spirits of its inhabitants and bringing peace and happiness back to the world, with no mindless “nut jobs” roaming the streets, spouting out random jargon that seemingly has no place in this issue.
Robinson has done good! And that’s certainly saying something if any of you know my disdain for the writer. This is certainly turning out to be a great book…knock on wood.
Oh crap, I may have just jinxed Alan Scott!
9 out of 10 stars
When I created this, I wasn’t sure what photos to use. I quickly realize that the generator randomly selects photos for me to use, and I can choose to use it as the generator chooses, or I can select my own photos. No joke, this group of photos were chosen on the first try! it’s pretty darn appropriate, wouldn’t you agree?
What’s better than three of the most gorgeous women in comics coming together under one outstanding artist’s pencil? Adding some dragons, that’s what!
Daxiong has an amazing display of oriental artwork portraying women surrounded by various things of their culture. What I think he’s most known for, however, is his inclusion of dragons. Words cannot describe just how amazing his work is.
Of course, this is not unfamiliar territory for Wondy, being the daughter of a mythological being and all, but even Zatanna and Supergirl have some experience with the strange and weird don’t they? This is not-an-out-of-place, or out-of-character superheroine motif, but rather an acknowledgment of a literary genre that is as much mythological as it is science fiction.
Over at Daxiong’s deviant art page you can find more of this very thing. Art that combines cultures into one unifying project which creates something powerful and moving is always welcome in my book! Go on over and discover more of his work that sets the bar very high for upcoming artists.