Based on: ‘Iron Man’ comic by Stan Lee, Jack Kirby, Don Heck, Larry Lieber
Cast: Robert Downey Jr., Micky Rourke, Sam Rockwell, Gwyneth Paltrow, Jon Favreau, Samuel L. Jackson, Don Cheadle, Paul Bettany, Scarlet Johansson, Greg Clark,
Iron Man 2 picks up six months from where the first one left off. Here Tony (Downey) must deal with the downside to coming out as Iron Man. His company, health, and reputation are suffering, and through all that, some heavy choices and discoveries happen.
Marvel Studios’ and Paramount Pictures ‘Iron Man 2’ Trailer 2 via YouTube.com
The main question that’s asked, ‘is the Iron Man suit a weapon?’ If so, should it just be handed over to the government? This question is one of the main conflicts. The idea/fear is that not just anyone should build such a device; just because they can. That’s logical from a legal perspective; people can’t make explosives at home and use them. Or a nuke, if one was resourceful and intelligent enough. For Tony, it’s more-it’s also keeping him alive, so he argues. And yet, it’s the device in his chest that does that, not the suit. Still, it’s proprietary. He created it. Tony’s grandstanding and ego aside.
Mix the above with the lifetime grudge Ivan Vanko (Rourke) has for the Stark family, and the story begins to take shape. On his own, Ivan’s character and mission could never hold up as a plot. However, when Justin Hammer (Rockwell) joins the party, things fall into place. Yeah, Hammer is like that guy that shows up and tries to fit in but never quite does. Still, his desperate efforts and use of Ivan’s hatred tie in effortlessly with the government’s issues with Tony Stark as Iron Man. The merging of the subplots is clean, logical, and drives the story forward.
Samuel L. Jackson and Robert Downey Jr. in ‘Iron Man 2′ Image Credit: Marvel Studios’ and Paramount Pictures via Screengeek.com
Iron Man and many of the components of the film also move forward seamlessly because of the CGI. The costumes, flying, explosions, race sequence, and fight scenes all add to the film but don’t overpower it. It’s balanced.
Agent Coulson (Clark), Happy Hogan (Favreau), and the voice of JARVIS (Bettany) all return for their respective roles. Other new additions are Nick Fury (Jackson), Natasha Romanoff (Johansson), and Lt. Col. Rhodes was recast with Don Cheadle. Everyone has more of a role in this film, and they execute their characters very well. It’s always nice to see character growth (development) with established characters.
Rourke’s performance is forgettable, but his character is meant to be. Ivan’s merely a plot device to further Tony’s journey and nothing more.
Hammer has always been a cast-off, a joke in the comics. Hammer tech is the two-star rated company you settle for because the best-rated ones are out of stock/back-ordered, and you can’t wait. Sam Rockwell really does a suburb job of bringing his character from page to screen.
Sam Rockwell and Mickey Rourke in ‘Iron Man 2′ Image Credit: Marvel Studios’ and Paramount Pictures via Gamerant.com
A real treat is watching Natasha Romanoff (Johansson) bust some ass-kicking moves on a group of security personnel. In this film, the audience gets a glimpse that theres’ more to her than she lets on. Her character is instantly one you want to see more of.
RDJ continues to shape the character of Tony Stark/Iron Man in a performance that never disappoints.
Iron Man 2 is a good sequel and is a staging ground for many stories and characters to come. The film is worth a place on your watchlist for a fun watch with a good story and engaging characters. Be sure to stick around for the end credit scenes.
Studio: Universal Pictures/Marvel Studios Screenwriter: Zak Penn
Cast: Edward Norton, Liv Tyler, William Hurt, Tim Roth
Explosions. Car throwing. Jumping from choppers without a shoot. Destroying a part of New York. Mass destruction and collateral damage. People running and screaming in the streets. Yep, it must be a Marvel movie!
The Incredible Hulk is the fifth MCU film if you’re watching in logical viewing order. And the second film, in general, to be released. This film starts with snippets of images to convey information and actions to progress the story while the intro credits run. It spends zero time showing you how Bruce Banner (Norton) ends up as ‘The Hulk,’ and it’s better for it. There are plenty of other places in the film that show and tell what gamma radiation/poisoning is and what it does. These snippets are gritty, bloody, and convey a heavy scientific and militaristic tone. This film predates Disney’s acquisition of Marvel.
Marvel Studios and Universal Pictures Officail Trailer for ‘The Incredible Hulk’ via YouTube
Even for a Marvel film, The Incredible Hulk has a darker, more sinister feel to it. While there is plenty of violence in any of the MCU films to date, this movie has the unfortunate use of humans and regular weapons. These two factors set it apart from the other MCU characters and their stories because there are no aliens or futuristic technology to act as a visual boundary. The Hulk and his foe aside.
Bruce Banner is a scientist who has an accident in a laboratory experiment, which results in him morphing into a gigantic, green mutation known as the Hulk. When he’s calm, he turns back into Bruce. General Ross (Hurt) always wanted to use Banner’s work and weaponize it. When Banner changed, General Ross felt Bruce was government property to be experimented on and exploited. So, Bruce fled. One of Bruce’s scientific collaborators was Dr. Betty Ross (Tyler), Bruces’s love interest and General Ross’s daughter.
Liv Tyler and William Hurt in Marvel Studios ‘The Incredible Hulk’ Imgae Credit: Marvel Studios/Universal Pictures via Geekfeed.com
General Ross seeks out where Bruce is hiding for years. Given the plot so far, it wouldn’t be much of a story if the general didn’t locate him at some point. At this junction, the general enlists the help of Emil Blonsky (Roth) to help track and capture Banner. After seeing the Hulk up close, Blonsky wants to be like the Hulk and works towards that goal. Because of this choice, Blonsky ends up the primary foe of the film over General Ross.
The premise overall isn’t flawed; it’s acted well by everyone. Yet…the pace is what trips this film up. It transitions well from scene to scene so that the audience understands the flow of time and such. The problem is the movie relies too much on its action sequences and explosions. Some of which are genuinely unbelievable (that’s not a compliment). Without them, the story would flop around like a fish out of water. There is lots of destruction and violence with an origin story like the Hulks or most stories about him. It’s difficult to tell such an origin story without it. And that’s the root of the problem. The Hulk shouldn’t have his own standalone film. It’s simple enough to convey in other ways and should have been.
Tim Roth in ‘The Incredible Hulk’ Image Credit: Marvel Studios/Universal Pictures via Screenrant.com
This film does show the Hulk doing his ground stomp, makes boxing gloves from cars, performing a thunderclap, and yelling his iconic catchphrase. All these things are utilized and absolutely belong. It’s not enough to make this film stand out. Its failure to captivate is in the limited complexity or nuances that Bruce/Hulk has as an origin story. It’s pretty cut and dry.
While the events depicted in this film are referenced later in the MCU, General Ross (Hurt) is the only actor to ever be seen again. The others are never shown or are recast altogether. There are nods to S.H.I.E.L.D.’s existence in the movie. Still, they come across as confusing afterthoughts that are meaningless in this film. To that end, the only real thing that connects this film to the MCU is in the last minute of the film, where Tony Stark makes an appearance. If it were not for that, this film couldn’t even be considered a part of the MCU.
Edward Norton in ‘The Incredible Hulk’ Image Credit: Marvel Studios/Universal Pictures via CBR.com
More than enough comments happen in future films, allowing the audience to understand the Hulk/Bruce Banner’s situation. It’s because of this fact that this movie is totally one you could skip seeing. Keep this off your watchlist and move on to whatever’s next on your list.
Directed by: Jon Favreau Rated: PG-13 Runtime: 2 hrs 6 mins
Studio: Paramount Pictures & Marvel Entertainment
Screenwriters: Mark Fergus, Hawk Ostby, Art Marcum, Matt Holloway
Created by: Stan Lee, Larry Lieber, Don Heck, Jack Kirby
Cast: Robert Downey Jr., Terrence Howard, Jeff Bridges, Gwyneth Paltrow, Clark Gregg, Paul Bettany, Jon Favreau
Iron Man isn’t the first superhero film out there. Not by a long shot. It will, however, be remembered as the first film of the Marvel Cinematic Universe (MCU). The one that launched Marvel into its golden age of cinema.
For those keeping track, this film is third chronologically.
Paramount Pictures & Marvel Entertainment’s Official Trailer for ‘Iron Man’ via YouTube, We Got This Covered
Tony Stark is Iron Man, and they are played by Robert Downey Jr. (RDJ). RDJ’s depiction of the decades-old character is spot-on in multiple ways. It’s as if Tony Stark was a real person at some point in time, then reincarnated into RDJ, who would go on to play… himself. It’s rare to find an actor/actress who performs so well in character you forget it’s not real. But that’s how well RDJ cultivated this character.
The original material and RDJ’s natural charm and charisma were only two of the three ingredients that brought Iron Man to the masses. The third is director Jon Favreau. A genius for casting and creating in his own right. RDJ’s casting approval from Marvel came from Favreau not taking no for an answer to RDJ’s inclusion in the film.
If Iron Manis your favorite Marvel character, now or ever, because of the films, thank RDJ (duh!) and especially thank Jon Favreau.
Tony Stark/Iron Man’s story originally began in Vietnam. Shifting it to Afghanistan constructs a template for modern-day events and cultural relevance.
Gwyneth Paltrow and Robert Downey Jr. in ‘Iron Man’ Image: Paramount Pictures & Marvel Entertainment
Both settings represent tension, greed, and war efforts, a sign of the respective times in each place. And yet, cinematic Iron Man follows his comic book material in de-escalating his companies role in war. A bold move considering the ongoing war in 2008. Still, the writers and Favreau re-crafted Tony Stark’s origin story to grow from that and not suffer the fate of his book material’s namesake. This Iron Man was destined for bigger things.
A rich weapons manufacture turned humanitarian, turned hero works as a plot. Audiences get to see the process, how it’s made, how it works, how much it can do, how far it can go. It’s a nerd and engineer’s dream.
The supporting cast members are terrific! Pepper Potts (Paltrow) is exactly right, as was Terrence Howard as Col. Rhodes. Their personalities and demeanors are an excellent counter-balance to Tony’s self-indulgent, eccentric, hyper-focused qualities. Obadiah Stain (Bridges) is the representation of how many view those that run gigantic companies. Hopefully without the literal cutthroat mentality. Bridges never has to work for presence in his scenes; he exudes it naturally.
Robert Downey Jr. in ‘Iron Man’ Image Credit: Paramount Pictures & Marvel Entertainment
The pace is something this story has from start to finish. Between the dialogue or action sequences, it flies along, shifting from scene to scene with ease.
Iron Man is more than explosions and destruction and amazing CGI. It’s rooted in the human condition and a compelling story with fantastic acting. The costume, a prop designed mainly through CGI, helps establishes this illusion of realism. A tool to keep Tony Stark alive, to right wrongs, and boggle the minds of engineers everywhere.
While Iron Man isn’t this writer’s favorite Marvel character or a top-five MCU film pick, it’s worth a spot on your watchlist. Alone, or indeed, if you’ve decided to follow the MCU road.
Directed by: Joe Johnston Rated: PG-13 Runtime: 2 hrs. 6 mins Studio: Paramount Pictures/Marvel Studios Adapted: ‘Captain America’ comic by Joe Simon and Jack Kirby Screenwriter: Christopher Markus, Stephen McFeely Cast: Chris Evans, Tommy Lee Jones, Hugo Weaving, Haley Atwell, Sebastian Stan, Dominic Cooper, Stanley Tucci, Toby Jones
Over ten years after the start of the Marvel cinematic universe (MCU), some people may wonder what’s the best order to watch the impressive list of titles so far. There are twenty-three films and counting. While the first two Iron Man movies and The Incredible Hulk are technically the first three, it’s Captain America that should be seen first.
Why Captain America? Simple, chronological order makes the most sense after all this time. All the stories in the MCU are linked somehow, even if in the most minor ways at first.
Marvel Studios Official Trailer for ‘Captain America: The First Avenger’ via YouTube
Chris Evans, who plays the title character of Steve Rogers/Captain America, is an excellent casting choice. He is to ‘Captain America’ what Christopher Reeves was for Superman, or Adam West was for Batman. An outstanding live-action representation of a cultural icon. Chris has a presence on screen. How he sounds and carries the character to how effortlessly he comes across with the other cast members, to his performances in action sequences. He takes the material, and it just fits him.
While his role was small, Stanley Tucci, as Dr. Erskine, is warm and kind. He grants the audience an explanation of why an event in the film is the way it is, no comic background required. That’s a nice thing about the MCU, in a way, because some stuff they just tweaked to suit movies, you don’t need to be a comic nerd. A person can watch and just enjoy.
The Red Skull (Weaving) is an iconic foe of Captain America in the comics, and Cap’s origin story can’t be done right without him. The MCU’s choice to use the Red Skull’s character in just this film is sad. After seeing Hugo Weaving as the Red Skull, it’s hard to think of anyone else better suited for the role. Weaving did such a great job. His performance and energy are absolutely believable as the iconic megalomaniac.
Hugo Weaving and Samuel L. Jackson in Marvel Studios ‘Captain America: The First Avenger’ Image via Comicbook.com
Cap’s origins can’t be told without also introducing Peggy Carter (Atwell) and Bucky (Stan). At this point, hindsight is an attribute to reviewing the MCU. In hindsight, it’s challenging to think of the other people who were considered for their roles. Atwell was a fantastic choice to embody such a significant, non-superhero role that extends beyond her place near Steve Rogers. There’s even a standalone TV show about Agent Carter staring Atwell that’s worth watching.
Bucky. Sebastian Stan’s depiction of Bucky, Steve’s best friend, is casting perfection. Again. His style, tone, mannerisms all tell the audience about him without saying much. The emotional bond, the resonance between Steve and Bucky aren’t forced or stale. They are authentic, as are the ones between Steve and Peggy and the Howling Commandos and Steve. If you don’t know who they are… just enjoy them. There is admiration, love, trust, and respect between many of the characters in this film. It’s crafted and depicted exceedingly well because the story is so well written.
The entire story of Cap’s origins in the MCU is engaging and energetic. It has excellent casting and performances, tone, style, and set/scene/costume design. How they represented the 1940s, or WW2, isn’t dreary and drab, it easily could have been. Instead, it’s regular coloring which represents the styles of the period but without being sullen. Oh, and there’s action!
Chris Evans & Sebastian Stan in Marvel Studios ‘Captain America: The First Avenger’ Image via The Art of VFX
Captain America: The First Avenger checks all the boxes for crafting and depicting a perfect story. Out of the existing twenty-three MCU films, this one is in my top five.
Whether you are looking for a one-night movie pick, or want to dive into the MCU for the first time, Captain America: The First Avenger should be on your watchlist. Then again, I’m biased. I’ve always been “Team Cap,” but to each their own.
** Special note. There are credit scenes in Marvel movies. This film has two. While watching in chronological order, some of these will be out of place. Here, the end scene references the film that followed this (going by release date), which is The Avengers movie. FYI. **
Based on: The novel ‘Those Who Wish Me Dead’ by Michael Koryta Rated: R
Screenplay: Michael Koryta, Charles Leavitt, Taylor Sheridan Runtime: 1 hr 40 mins
Cast: Angelina Jolie, Finn Little, Jon Bernthal, Aidan Gillen, Nicholas Hoult, Medina Senghore
Those Who Wish Me Dead is a story that can’t quite figure out what it wants to be and therefore has no focus, no direction. While based on a novel by the same name, which I haven’t read, the film is forgettable despite the talented ensemble.
Warner Bros. Pictures & New Line Cinema’s Official Trailer for ‘Those Who Wish Me Dead’ via YouTube
The intense opening scene choice is to engage the viewer and sets a tone for Hannah’s (Jolie) character. Quickly the audience figures out that what eats away at Hannah is never resolved; it’s never even explored. Given that Hannah is a smokejumper, she literally jumps out of planes to fight forest fires; it seems absurd she would still be working. Instead, she’s shunted off to a fire tower. I don’t know anything about firefighters within the forestry department (of any country), but that seems like it might be insulting to those that do staff such towers. Beyond that, she has no identification or uniform clearly indicating she is anything other than a backcountry camper/hiker.
Hannah’s lack of credentials brings me to Conner (Little), a 12-year old she encounters, randomly, among the acres of trees. The kid has reason to be afraid and just decides to trust the first person he sees. Given the reason he’s in the woods, to begin with, that is a huge ask. There is nothing special about Little’s performance. Literally, any kid could be plopped into this role. That point is a letdown because the film, ultimately, is about him, not Hannah or fires. No one actually fights fires in this film. You see the all-consuming blaze, but it’s never a critical factor to the movie until the last twenty minutes or so.
Finn Little and Angelina Jolie in New Line Cinema’s ‘Those Who Wish Me Dead’ via Collider
If you want a better story, conclusion, character development, and action that intimately involves fire, watch Backdraft.
Jake (Gillen) and Patrick (Hoult) Blackwell are a sibling team of hitmen for…who the hell knows. Some character played by Tyler Perry is as weak as the toss-away excuse for the plot of the story. Perry’s one scene adds nothing that couldn’t be conveyed over an angry phone call from literally any voice. The brothers are a well-oiled machine, working well together. There is no backstory for them; they just kill anyone that gets in the way of their objective. Their dedication to one another and the job they are hired to do is admirable, even if Jake is old enough to be Patrick’s father. However, there’s only one reason two well-known actors were cast. If throwaway actors had been used, the audience wouldn’t be as invested in the pursuit through the woods.
Aidan Gillen and Nicholas Hoult in ‘Those Who Wish Me Dead’ Image: New Line Cinema via Ballistic Magazine
A movie where the main character is a smokejumper who doesn’t go near a fire can’t be shot in Florida, where part of this film takes place. No, you need a more remote state where people are less likely to care about toting guns around. Montana’s the ticket; it’s remote enough! Alaska would have been my choice…
Remote or not, every area needs law enforcement. Who better than Jon Bernthal to depict Ethan Sawyer, a Sherif’s deputy with survival skills? I mean that as a compliment, he really fits the bill for this role. Allison Sawyer (Senghore) is a treasure! As Ethan’s pregnant wife, she handles herself like I want a survivalist living in the woods against some dangerous circumstances too. In terms of action and suspense, she steals the show.
Medina Senghore in New Line Cinema’s ‘Those Who Wish Me Dead’
Everyone knows Jolie can handle herself in action sequences. She made her mark off of films like Salt, Wanted, and the Lara Croft Tomb Raider franchise. She knew what the script for this film asked of her, and she took on the role, understanding it wasn’t anything like those mentioned above. Some may argue this diminishes Jolie’s abilities. She chose to take on this new project after her absence, of sorts, from mainstream adult roles. Yes, Hannah essentially hikes and sits around the whole film, but it’s not about her. The story insults the notion and need of proper healing and mental health after a tragedy more than Jolie’s acting chops.
Those Who Wish Me Dead never evolves from the rationale that springboards the story into being. The film expects the audience to accept what’s happening because ‘it’s a thing that would happen’ and just go with it, despite some glaring questions that are never addressed or answered. Conner, Ethan, and Allison’s characters could have been more fleshed out and some backstory while dealing with the Blackwell brothers without Jolie’s character ever being part of the story. Or fire, for that matter.
Medina Senghore and Jon Bernthal in New Line Cinema’s ‘Those Who Wish Me Dead’ via Collider Image Credit: New Line Cinema
The cast for this movie alone is not a reason to see it. The plot sure isn’t. Those Who Wish Me Dead suffers from false trailer expectations, like so many films. It frames it to be more action intense, including intense fire sequences, and it’s not. With a dry spell of content still plaguing online outlets and open theaters, you could watch this movie if you’re desperate, but don’t waste your money to do so.
Under traditional viewing standards, I would say don’t add this to your watchlist. There are better films out there that successfully tackle the ideas in this film.
Directed by: The Wachowski Brothers (formerly) Runtime: 2 hrs. 16 mins Rated: R
Studio: Warner Bros Screenwriters: The Wachowski Brothers (formerly)
Cast: Keanu Reeves, Carrie-Anne Moss, Laurence Fishburne, Hugo Weaving
Tell me if you’ve heard this before. Dinosaurs roamed the Earth, then they die. Man evolves and recreates dinosaurs, which then eat man. Woman inherits the Earth. Oh, wait…that’s Jurassic Park. Let me try again. Man creates machines, then makes A.I. until the A.I. uses machines to take over the Earth and kill man. That’s, basically, the logic behind the Terminator movies. So, how is The Matrix an evolution beyond the troupe of machines taking over? Humans don’t know they are controlled by the machines; that they lost a long time ago. That twist and what follows is the critical deviation from the otherwise tired sci-fi troupe of humans fighting back against machines.
Warner Bros. ‘The Matrix’ Official Trailer (remastered in HD by Jonathan Dailler) via YouTube
What is the Matrix? A dystopian hellscape unlike any other version around. It’s one part Tron from 1982, where humans “hack” into a computer system and change what they want from the inside. Another part is inspiration from the 1955 novel “The Body Snatchers” by Jack Finney with pod people or body-snatching…after a fashion. It’s also other things, but blend those two ideas together, and you’ve got an inkling of the plot. That description doesn’t do The Matrix justice. It’s a film you have to see to truly appreciate. To say more would be to give away things that are best enjoyed when you don’t know it’s coming. Why spoil the magic? That is what great cinematic storytelling does for an audience; it casts a spell.
The Matrix was groundbreaking for its time and not just for the ingenious original story and cinematography but for the special effects. Even the trailer mesmerized viewers with the tone, pace, and music, even though, broadly, it didn’t tell anything about the plot. It grabbed eyeballs with the sample of the special effect wizardry to come. For the time, that alone was enough. What enables the film to still be appreciated by viewers two decades later is the story. The idea and notions that are explored are just as creatively invigorating now as it was then.
‘The Matrix’ still image via Syfy Wire. Image Credit: Warner Bros.
Part of what established that appreciation is the cast. People that believably embody the roles they’ve been cast for and work well with everyone else. Keanu Reeves’s low-key, mellow persona lends exceptionally well to his depiction of Neo. A man that finds himself in a life-changing situation and is asked to be a leader. It’s an argument for those that don’t seek power can make the best leaders. Neo’s journey down the rabbit hole is visually stunning and created a new standard for every film after it to match.
Trinity (Moss), Morpheus (Fishburne), and Agent Smith (Weaving) are all wonderful choices for their respective roles. Each exudes levels of presence while running, shooting, and fighting for their lives with excessive amounts of energy. Each of them and the other characters have these backstories that anchor them into the logic of the plot. It also shows the bonds between one another so that the audience further buys into the philosophical ideas being displayed. Whether the story is explaining and doing something or outright making a visual spectacle, the pace never drags.
‘The Matrix’ still image via Wired. Image Credit: Warner Bros.
This film is not suited for younger viewers. Or people with a severe aversion to guns and weapons in their movies and lots of fighting. It’s one of three existing Matrix films, with a fourth due out this year in theaters.
If you like a compelling detail-rich story with style, good acting, pace, and action, you will not be disappointed adding The Matrix to your watchlist.
Studio: Universal Pictures Screenwriter: Stephen Sommers
Cast: Brendan Fraser, Rachel Weisz, Arnold Vosloo, Oded Fehr, John Hannah, Patricia Velásquez
Movies often hold up a pair of their characters, in the most trying of circumstances, and get them to the point of asking, ‘Is our love worth dying for?’ Well, that setup applies to stories in general, but let’s stick with cinema here. In Stephen Sommers The Mummy, that is the introductory sequence. The actions of High Priest Imhotep(Vosloo) and his love, Anck Su Namun (Velásquez), set a solid foundation for the plot. Less than five minutes in, and you’re hooked.
Universal Pictures trailer for ‘The Mummy’ via YouTube channel The Trailer Guy
The Mummy has a strong plot and story about, well, a mummy who won’t stay dead and aims to bring his lost loves soul back from the underworld. To that end, there is action, mystery, light comedic touches, and suspense. It’s not a horror film, though kids 10-12 may find certain scenes momentarily graphic (it’s a movie about a mummy and not the bandaged groaning kind).
American Rick O’Connell (Fraser) is a French Legionnaire who is wrangled into taking Evelyn Carnahan (Weisz) and her brother Johnathan (Hannah) to a lost Egyptian city. A city guarded by the Medjai, decedents of the pharaoh’s guards, led by Ardeth Bay (Fehr). The trio has a map to this fabled city, and they’re not the only ones searching for it. Evelyn wants to prove herself to her fellow scholars; everyone else is in it for treasure.
This is the project that introduced me to Arnold Vosloo, Oded Fehr, and Rachel Weisz. Despite his small role in this film, Fehr displayed a believable presence and talent as Ardeth.
Arnold Vosloo as Imhotep/Mummy in Universal Pictures ‘The Mummy’ via Screenrant
Vosloo’s portrayal as Imhotep/The Mummy is fantastic! He has very few lines and none in English (there are subtitles), so his role is mostly hitting his mark. That is, being where he needs to be at the right time. Special effects took a giant leap forward in 1999 after this film came out. So props to Vosloo for pretending to be all that’s required of an actor that will later become a gooey mummy who unhinges his jaw in post-production.
The Mummy is the only film that I like with Brendan Fraser in it. His character isn’t a tomb raider or archeologist and yet comes off like a watered-down Indian Jones. Done poorly, it could have ruined the movie, yet it works. The same can be said for Weisz’s character, Evelyn.
Erick Avari, Oded Fehr, Brendan Fraser, Rachel Weisz, John Hannah in Universal Pictures ‘The Mummy’ via Netflix
Evelyn is a bookworm. A librarian in a museum. She scurries off on an adventure with no experience and no team. Rachel Weisz is a wonderfully talented actress, and she takes this character and makes her likable. Weisz explains things to the novice characters, as an actual museum worker might. Therefore Evelyn’s lines in many places come off as natural instead of condescending. Weisz depicts her in a way that doesn’t have me groaning at the glaring, unbelievably of the whole situation.
As moviegoers, we expect movies to be logical enough that we can see it happening or working out. Perhaps, even so, we could picture ourselves as specific characters. The Mummy doesn’t have all the logical bits to fill in the gaps, but it’s okay. It’s a lasting example of what movies were designed to do, entertain and distract.
Kevin O’Connor in Universal Pictures ‘The Mummy’ via Looper
In the decades since its release, this movie still holds up as a good story with watchability. I viewed this film digitally on a 4K TV with HDR. WOW! Some scenes don’t upconvert as nicely as others, but I was really pleased with the viewing quality. I expected the whole thing to be grainy (noisy) and the fact that it’s not made rewatching this so much better than pre-Blu Ray.
The Mummy is a great film to see and worth a place on your watchlist. Don’t forget the popcorn!
Directed by: Steven Spielberg Rated: PG-13 Runtime: 2 hrs. 26 mins
Studio: Dreamworks Pictures & 20th Century Fox Screenwriter:
Adapted: Short story “The Minority Report” by Philip K. Dick
Cast: Tom Cruise, Colin Farrell, Samantha Morton, Neal McDonough, Max von Sydow
In the year 2054, there’s no murder in Washington D.C., and it’s been that way for six years with the use of Pre-Crime in Minority Report.
Pre-Crime is a division of the police that arrests people before they commit murders. How is that possible? With the use of ‘pre-cogs.’ The pre-cogs are three people that were given birth to by drug addicts and, as such, caused the babies to have a severe mental handicap. A doctor who sought to cure them of their afflictions caused an unintended anomaly to manifest in some—the ability to see future murders.
Dreamworks Pictures & 20th Century Fox ‘Minority Report’ Trailer via YouTube
Minority Report is an overly complicated story of a murder, the vehicle for the plot, but, to me, is secondary to the film’s themes. These themes ask things of the audience that are overlooked by most of the characters. What are the ethical and moral obligations of using technology in many avenues of life? Doesn’t it take away free will? How can due process be ignored? In America, we are supposed to be innocent until proven guilty, but what if we haven’t committed said crime yet? There is a line between thinking of doing something and actually following through. The story follows the philosophical logic that events are bound by causality. That past events/actions/choices are always the cause of future events.
Yes, the movie is a melding of action and ideas while solving a crime, but it has a huge plot hole that isn’t recognizable until the ending. I’m not talking about the gigantic question about how Pre-Crime can work long term when it’s based on three people. What happens when they die someday? That’s not even the plot hole; that’s just a huge, logical question.
‘Minority Report’ Image: Dreamworks Pictures & 20th Century Pictures
For 2002, the film utilizes the technology available to create visually impressive “future” tech vibes that twenty years later have worked their way into our lives. There are no spider drones, but we have drones. We don’t have manually powered cycling sonic guns or fly around in jet packs. Our streets don’t look that nice anywhere in America, but the self-driving cars are sleek and sexy. Eat your heart out, Tesla. I also had Westworld vibes!
Minority Report moves along well enough but drags at times. Specifically, when the main character, Chief of Pre-Crime, John Anderton (Cruise), sinks into his depressed, self-loathing, and self-destructive habits. Cruise is in charge in this role, and runs, jumps, climbs, and gets shot at repeatedly. That just described ninety percent of his career. It’s an a-typical performance and nothing spectacular from anything else he’s done. His ex-wife Lara’s addition, beyond old videos, is a crutch and isn’t needed if only to satisfy Spielberg’s sappy cliché ending.
Samantha Morton in ‘Minority Report’ Image: Dreamworks Pictures & 20th Century Fox via Wired.com
While Colin Farrell (Danny Witwer) and Neal McDonough (Fletcher) don’t have as much screen time, they do bring great energy when on screen. Witwer is out to find the flaw in the system because he’s against over-reaching on people’s rights. Fletcher is second in command and is tasked to bring in John when determined he will commit a murder.
Cruise may be the principal character, but it’s Agatha (Samantha Morton) who stole the show for me. Agatha is one of the three pre-cogs. All three live in a sterile room in a pool of specialized, nutrient liquid while constantly hooked up to provide a live, recordable feed from their minds of murders that haven’t happened yet. Sedated every moment of their lives, barely able to move or speak. A slave from the moment their minds opened up, unable to close again. At one point, she asks, “can you see?” and while Agatha is asking about something specific, it carries a double meaning for all of the themes presented throughout the movie. Her character is the most energetic and emotionally engaging in terms of performance.
Tom Cruise in ‘Minority Report’ Image: Dreamworks Pictures & 20th Century Fox via Wired.com
Minority Report is this oddly lit movie that highlights the depth some will go to circumvent the system. No matter how advanced we get, humans are still materialistic, dirty, emotional creatures of habit at our core. The movie is part crime-solving, part action, and mystery. If you like crime, action, or sci-fi films, Minority Report is worth a place on your watchlist, even if you need to rent it.
Directed by: Michael Dougherty Rated: PG-13 Runtime: 2 hrs 12 mins
Studio: Legendary Pictures, Warner Bros. Pictures
Screenwriter: Michael Dougherty, Zach Shields
Cast: Kyle Chandler, Millie Bobby Brown, Charles Dance, Bradly Whitford, Vera Farmiga
Godzilla: King of the Monsters is the second film in the “monsterverse” trilogy. The first was Kong: Skull Island. Where Skull Island had a much better storyline, tone, and pace, it also, more or less, had a better logical explanation of the monsters. ‘King of the Monsters’ fails at this.
Godzilla: King of the Monsters is basically monster porn with the weakest plot and cringy lines. If you’re a big fan of monsters, then this film probably won’t put you off. Though keep in mind the trailer’s tone compared to the actual movie is misleading.
Warner Bros. Pictures Final Trailer for ‘Godzilla: King of the Monsters’
The human characters have a purpose but have no depth. They exist merely to justify the limp excuse for a plot that moves along with the smoothness of a newbie learning stick shift. A story that revolves around culling the infectious human race with monsters—one of which is an alien. Seriously? This film is convoluted enough without that add-on. The whole justification for monsters existing in the entire trilogy is tenable until this screenplay, which is an exercise on how to fail film school. It’s meant to set up the third film, Godzilla v Kong.
If I had watched these in order, I never would have watched the third film. Instead, I was under the impression I didn’t need to see this film, so I saw ‘Skull Island’ and then Godzilla v Kong. Viewing the third film, I was confused as hell, so if you can make it through this film, more power to you.
While watching Godzilla: King of the Monsters, I stopped three times. My brain simply didn’t want to process the fecking train wreck in progress. Forcing myself to finish this is a crime against my brain cells. I just can’t. I don’t care about it enough to know how it ends. That’s a sad admission for any movie-goer.
The first film is like the first act of a movie, the setup. The second film is the middle, where the plot thickens, and lots of other details are learned. Finally, the third movie is the climax, the action, or reveal, and conclusion. Keeping that in mind, that is what this “monsterverse” is set up to be. The filmmakers are playing a long game. Trying to reinvent and expand beyond every monster film before them.
‘Godzilla: King of the Monsters’ Image: Legendary Pictures
Kong: Skull Island is a good start; this film is the equivalent of X-Men the Last Stand. The bastard, hot-mess of a franchise everyone wants to forget about. Godzilla v Kong is like a constant show of rock em’ sock em.’ However, if you understand the setup, it’s acceptable as such. You know what you’re getting going in.
Some argue there should be fewer humans in these movies; I disagree. The monsters can’t communicate, so the audience will understand, they were not designed to be. Therefore you need the human component.
If you like monsters, action, a believable story, and brain cells, there are far better movies to watch. Pacific Rim is an excellent, more recent example to see. Not this! Anything but this travesty of plot and logic. Godzilla: King of the Monsters should never make it onto your watchlist. Read a spoiler about it online and skip to the third film if you want, but forget it was ever produced.
Another scene has Steppenwolf and parademons fighting against the hero’s in Gotham, fine. The audience should remember this film was shot after Wonder Woman yet pre-dates Wonder Woman 84 technically. So where did Diana/Wonder Woman get a sword again? Of all the things better explained in this version, this never comes up. Yet, in this entire movie, she has a sword that can stand up to the paces of a demigod’s use and battling against parademons and Steppenwolf. She’s never been back to the Themyscria. Am I the only one who’s curious about this? Is my nerd showing too much? Moving on, the transition could have been smoother from this sequence to the next scene, but Snyder seemed to have little options. So, like a hangnail, you do what you need to do and move on.
The mother boxes are supposed to be these super-powerful objects that are science but appear like magic that communicate with one another somehow. That’s easy enough to believe, and I am grateful Steppenwolf no longer talks to them, calling them “mother” like a disturbingly devoted child. However, it’s difficult to accept the boxes can “decide” to tell/show Steppenwolf something. Or how they just know what a user wants out of them, period. How that is possible is never established and seems like it’s there just so Snyder can throw in more material. Snyder vaguely sets up the second plot within the storyline at just over the film’s halfway point. The plot within a plot he attempts to foreshadow is aggravating and bloats the film.
Still of ‘Zack Snyder’s Justice League’ via polygon.com Image Credit: Warner Bros Pictures/HBO Max
Snyder takes too long to develop the characters and establish the point of the movie. Superman, Wonder Woman, and Batman have already been established in previous films by this point, so why does it take so long to flesh out the other three? It shouldn’t. This obsessive need to put in every detail makes the movie’s pace, overall, slow and dull.
Eventually, the name Darkseid is uttered. Unfortunately, the writers of this film can’t come up with a better introduction to the whole point of plot 2 without Steppenwolf mansplaining to DeSaad about Darkseid. Yes, the audience gets told by default, which is the point, but it’s so far-reaching. The buildup to what happens with the boxes is established early in the film, and the audience is invested. To throw in everything after this is a lame attempt to cobble together what should be two films. Like the outcome of plot 1 could fuel plot 2 in another film. The pace would be better, at least.
Listening to what Steppenwolf says to DeSaad about Darkseid made me write it down. Why? The whole explanation is confusing, and I needed to break it down because I thought I heard it wrong. I didn’t. It is a bunch of illogical rubbish! Snyder does a shite job of setting up or explaining or alluding to any of what is said beforehand. If Snyder had bothered doing that, weaving these details or backstory into the film from the beginning, his plot within a plot wouldn’t seem like an afterthought. But, that takes talent, and that’s something I’ve felt the writers of the “Snyderverse” have always lacked.
Image Credit: Warner Bros. Pictures/HBO Max ‘Zack Snyder’s Justice League’ via Screenrant.com
After the movie’s soggy midsection is Cyborg, again. His transformation from Victor to Cyborg is further explained and reveals how the mother boxes work. This is important because this makes the team seem less spur of the moment and crazy for wanting to use it in the crashed Kryptonian ship than they appeared in the 2017 version.
There is this touching representation of humanity between Martha and Lois when they share their mutual grief with one another about Clark/Kal-El. Or that’s what I thought, but then Snyder goes in and dangles another add-on. Just randomly throws in something else that doesn’t even come up again until the absolute end of the movie. I’m sure he did it to make this fanbase happy, but I say it’s a giant waste of potential! Ultimately it’s a letdown that he should have just left out of the movie.
PART 5
While the pet cemetery joke is gone in this version, Barry finds himself, with the others, digging up Clark’s body. What, you thought it magically got to the Kryptonian ship?
Jason Momoa, Ray Fisher, Ezra Miller in ‘Zack Snyder’s Justice League’ Image Credit: Warner Bros. Pictures/HBO via Entertainment Weekly
I still don’t agree with Arthur wearing Atlantian armor because he hates Atlantis. It makes zero sense. However, I’ve established what I think about Zack Snyder’s lack of professionalism towards the other directors involved with this ensemble.
The Kryptonian ship doesn’t like the mother box, big surprise. I do like the explanation for why the team can use it and how Victor’s father could use it on him without waking it. The devil is in the details, and this is an area where they were logically fleshed out.
In the 2017 Justice League, Lois is used as bait for a resurrected, powered alien with a temporary blank slate of a mind. How her character is utilized in this version is preferred. She takes these daily walks to the memorial near the ship (okay, this is a baby-sized spoiler), and it gives her a natural, believable reason to be there and “run into Clark.” It really highlights Clark and Lois’s bond and relationship as something real and substantial. Something the other version didn’t care about.
Amy Adams as Lois Lane in ‘Zack Snyder’s Justice League’ Image Credit: Warner Bros. Pictures via comicbookdebate.com
So, it’s in the trailers; Superman lives again! Yeah! In the process of making that happen, Victor is ‘shown/sees’ a possible future or alternate reality; by either the ship or mother box, which is unclear. It’s logical for Victor to see what Bruce has seen. However, accepting Batman’s “premonition” or “Knightmare” from Batman v Superman: Dawn of Justice is a stretch. It’s one of Snyder’s attempts at alluding to what’s to come, which only makes logical sense from Victor’s position, never Bruce’s. Yet, it’s from Bruces’ POV that is the springboard for more Snyder-bloatware.
Superman/Kal-El/Clark is not enjoying his resurrection party that makes its way outside the ship. Points I’d like to point out as dumb. 1. You’re a cop or soldier, and you see a flying man with Superman’s face; why shoot at him? Can’t you tell it’s him without the suit on? 2. Batman and Lois saying “Clark” within earshot of said cops and soldiers…just stupid.
PART 6
Gal Gadot, Ben Affleck, Ezra Miller in ‘Zack Snyder’s Justice League’ Image Credit: Warner Bros. Pictures via radiotimes.com
Bruce tells Diana about his dream/premonition, not because it’s of any relevance to this movie or logical again in any way. If there was a snowball’s chance in hell of Snyder getting to do another film, this would be relevant, but it’s not gonna happen. He knew that and left it in any way. The film could be so much shorter without him trying to get the audience to believe Bruce has premonitions. Much of this movie could have been done without or in smaller doses, and the runtime would be tolerable.
At this point, there is an hour left in the film.
Evident from the trailers, Superman dons a black suit. Many people didn’t like this, and it’s hard to blame them. Nowhere in the film is a reason for the choice, though it would have taken ten seconds or less for Superman to respond to any of the team or Lois asking about it. Not that Henry Cavill looks worse in all black, it’s Henry Cavill. Still, the precedence for it is based on the comics. Only the most devout comic nerds would know that.
So near the end of the film, the team works together to deal with Steppenwolf and the mother boxes. Darkseid lurks nearby while all the action is happening, like some bigger foe the team didn’t see coming and must deal with. Snyder’s second plot. If you’re a fan of the comics and think that Snyder will give you an epic showdown with him, nope.
Henry Cavill as Superman in ‘Zack Snyder’s Justice League’ Image: Warner Bros. Pictures
Both of the trailers for this film are misleading cockteases. The tone of the film is not the same as the trailers, nor is the pace. Alluding that Darkseid has a substantial role in this film is false. His character is in the movie, but I feel it’s fair to warn you Alfred (Irons) gets better screen time.
There’s so much more I could talk about in this part of the movie, but it’s difficult to do without giving stuff away. So I won’t. Just understand that the film could have ended here, and it would be a runtime of 3 hours 34 minutes. At this length, all of the Lord of the Ring and Hobbit films had better storytelling, tone, pace, and character development than “the Snyder cut.”
EPILOGUE
With twenty-eight minutes left, ten of those are spent on short bits that the audience will appreciate. Tying up loose ends is an excellent way to describe it. While the movie could have ended already, it definitely needed to end here. It didn’t.
Henry Cavill as Superman in ‘Zack Snyder’s Justice League’ Image: Warner Bros. Pictures
All I could think of was what the fook, just end the movie already! So there are ten more minutes of Zack Snyder’s inability to let go and move on. What is shown has nothing to do with the actual movie. It’s like a movie trailer tacked on at the end. The super-secret clip shown only to the attendees at Comic-Con or something. It’s literally a scene he made to go into another movie. Catnip dangled out for all his fans to salivate, obsess over, and probably bully the studio for years to make. It’s pathetic.
Don’t worry. The last eight minutes are the credits and just the credits.
VERDICT
Zack Snyder and Chris Terrio should never have been given the reins of this franchise.
Yes, I’m a fan of Marvel comics and the MCU, but here is a fact, a person can be a fan of both Marvel and DC! Millions of people are. The two take incredibly different approaches to their storytelling. Understood. What Snyder did was make films based on an obscure and darker take on Superman and Batman. Those who are not devout comic book fans have a hard time accepting that take on these iconic characters’ first cinematic outing together. That’s fair; I even agree with it.
I could have been on board with the death of Superman storyline with a twist to it. If they merged that with another storyline where the characters come together. Cyborg and Aquaman wouldn’t be in that, but Hawkgirl and Martian Manhunter would be. A better writer and director could have made something truly epic and wonderful. Something to build upon. A franchise with continuity that supports the standalone films as well as the larger ensemble ones. Those are just attributes of good storytelling when you have so much material to work with as one does with comics and superheroes.
‘Zack Snyder’s Justice League’ promo image via cbr.com Image Credit: Warner Bros. Pictures ?
Zack Snyder was given another chance to tell a story. A story with a clear beginning, middle, and end. He failed at that. He chose to create a four-hour-long 4.3 aspect ratio example of why more isn’t always better.
If you never saw the 2017 Justice League spare your butt the nap it will get watching this. Unless you’re bedridden and bored out of your mind, it’s not worth the time. If you did see the other version of this film, there is little satisfaction to be found. Sure, there are many changes, but unless Cyborg is your favorite character, he’s the one with the most significant differences. Don’t bother.
I love the Justice League and the actors that portray the characters; they all did a fantastic job with the given material. No-fault can be found there. Still, this movie isn’t worth putting on your watchlist; no film that feels this long should be. The Justice League may one day be shown justice on the big screen, but not today.
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