Category: Marvel

THOR: THE DARK WORLD

By Marc S. Sanders

Like Louis Letterier’s The Incredible Hulk, director Alan Taylor’s Thor: The Dark World is a very underrated installment in the Marvel Cinematic Universe. It focuses on a lot of humor with well edited action and moments that allow all the major players to offer up good material.

First Chris Hemsworth as Thor. Yeah, he’s doing the same thing and that’s fine. If it ain’t broke, don’t fix it. Moving on… This is an important chapter in the MCU, as it introduces the second of the legendary Infinity Stones, the red Aether, which consumes Thor’s love interest from Earth, Jane Foster, played by Natalie Portman. Fortunately, it provides better writing for Portman to play with. She really is the MacGuffin of the film, and she works as a story device to explore more of Asgaard, one of the best set pieces in all of the Marvel films. Jane uncovers the mysterious stone, or rather liquid, that has been hidden away for centuries; this is all Lord Of The Rings stuff. Once she finds the stone and is consumed with it, then the film segues into its originality.

Apparently, it’s not good if the Aether is used for destruction while the Nine Realms are in Convergence, which we are told happens every 5,000 years. What is Convergence? Well, that’s where it’s fun to watch Thor: The Dark World. The Nine Realms line up, literally like a rainbow of circles stacking on top of one another. It’s really cool to look at. What’s more fun is how Jane and her crew drop random objects into an open space within a deserted London warehouse and then it disappears, and then drops back down to them from above their heads. Sometimes, they drop something, only the objects don’t return at all. I like all of this stuff, because it’s all visual and ultimately that is what movies are about. Showing us something. Asgaard, The Convergence, Thor’s swing of his hammer, the Aethar, it’s all fun to see. I’ll credit Alan Taylor’s direction for a lot of this. He’s shown great achievements in Game Of Thrones. He carries his visions over to Thor’s universe.

Next is the villain is Malekeith, the head of the Dark Elves, with some really wicked looking makeup, and it only gets more wicked as he progressively gets more powerful. He wants to get the Aether and bring the Nine Realms into Darkness. Christopher Eccleston (best known for G.I. Joe; that should tell you something) takes on this role which is nothing special. I don’t care so much about the villain in this film as I do about the conflict of the story. The conflict is the real treat. Eccleston is nothing special. He’s not bad. He’s not good. He’s just nothing special. Moving on…

Tom Hiddleston is back as the trickster Loki, one of the best written characters in all of the Marvel Cinematic Universe. The script gives him a lot to play with and opportunities to irritate and antagonize Thor who reluctantly recruits his assistance. “Well done. You just decapitated your grandfather.” See the movie (again?) and you’ll love the timing of this line. Hiddleston has fun with the levity of Loki but there is a sad central story to the adopted son of Odin. During his first appearance in the film, following his incision of the New York alien invasion from The Avengers, Loki is arrested in chains to stand before his father, and Hiddleston clicks his heels together at attention, giving a serious grimace before declaring “I really don’t see what all the fuss is about.” Hiddleston continues to work and develop at this favorite character who remains tricky and unpredictable. I love it.

Anthony Hopkins is back as Odin, Thor’s father. Yeah, he’s doing the same thing and that’s fine. Again, if it ain’t broke, don’t fix it. Moving on…

There’s a lot of fantastic sci fi and fantasy sequences to this film and from a CGI perspective, it’s artistically beautiful. It’s just a fun ride of exploration. Thor was never a favorite comic book character of mine growing up. The MCU opened my eyes to something special in his adventures and those that surround him. It’s even great when Thor jumps on the tube to return to a battle in Greenwich Village. I’m expecting some energetic debate on my feelings towards this film. Bring it on and I’ll match you. As Thor might say after his hammer turns a giant rock monster to rubble, “Anyone else?”

Reader, if I can quote this film three times in a review that should tell you how much I love Thor: The Dark World.

IRON MAN 3

By Marc S. Sanders

The third chapter of the armored superhero, Iron Man, is an improvement on the second installment. Still, that’s not much of a compliment.

Action director Shane Black takes the reins from Jon Faverau, and gives himself a writing credit as well. I’ve always liked Shane Black’s writing style. Like this film, a lot of his works take place during Christmas. Lethal Weapon is a well-balanced picture that over thirty years later shows a nice offering of character background and action. When the action occurs, you are already invested in the characters. So, suspense is capable of holding some weight to an action movie. I only wish I saw some more of that here with Iron Man 3. Oh well!

First, let’s get the most obvious problem out of the way. Once again, Gwyneth Paltrow is there to wear sharp looking ladies suits, carry a brief in her hand and yell “TONY” a lot. You could make up a drinking game around that bit. Just when the Marvel films got it right with Hayley Atwell as Agent Peggy Carter in Captain America: The First Avenger, they revert back to their old ways yet again. If you are going to have female characters in your films, give them something weighty to work with that is evenly matched with the guys.

Robert Downey Jr is another problem, I’m afraid. He is so cherished in the role of Tony Stark by now. The first Iron Man really offers a great performance by him with a good arc. The prior film in the MCU, The Avengers gives him some great play with the other titanic superheroes. However, the writing is not thoughtful in Iron Man 2 or Iron Man 3. The first installment left you feeling that Tony was open to accepting care and tenderness from other people. His cockiness became subdued following a traumatic capture and escape.

Then the cocky monster within seemed to resurface in #2 and #3. Did Downey (who improvises a lot of his material) and the writers forget where they left off? Black literally has Tony Stark give away his address on live television to the bad guys, headed by a mysterious terrorist known as The Mandarin (Ben Kingsley). How stupid is this? Batman doesn’t give away where his Bat Cave is. Why would Iron Man do that?

From that point, we are treated to an attack on Tony’s ocean view, cliff side home from helicopters. Reader, Shane Black wrote a sequence like this twice before, in Lethal Weapon and Lethal Weapon 2. It’s been done before. The filming appears clunky in this centerpiece scene with camera shakes and uneven sound editing and lots of ceiling and wall dust. It’s a little hard to follow.

I’ll give credit to Black for throwing in a twist that comes out of nowhere. To my knowledge, this moment has left viewers very divisive. For me, I admire the effort but the development comes off wimpy. It involves Ben Kingsley as The Mandarin who promises to be a real threat to the film. Yet, the character’s motive turns out to be something else entirely. It’s odd, but it kept me engaged during the film. When the film ended, I was left wishing it was something else altogether. For the first two thirds of the film, Kingsley is very good with a hard, edged, roughly intimidating voice as he shares disturbing newscasts of threats to the President and the world. He was a different kind of villain that we hadn’t seen before, much like Heath Ledger’s Joker. Then the rug is pulled out on that attraction.

One really bright spot comes from Ty Simkins, as a kid named Harley that winds up assisting Tony when everything is against him. He is a fun, spunky kid who has some good exchanges with Downey’s well recognized, zippy delivery. He’s more fun to watch than Gwenyth Paltrow. That’s for sure.

Guy Pearce is another adversary who leads a team of baddies. Their bodies heat up to extremely hot and orange looking temperatures. (Forgive my poor English! That’s what comes to mind. Oh well!) Amazingly enough, their clothes don’t burn off while they easily can singe any Iron Man suit they come in contact with. Should I be focusing on that inconsistency? That’s one main problem with the film. It’s too apparent. I know this is all sci fi, but don’t make the fiction of the fiction so obvious, please. Pearce is fine in the role but he’s overshadowed by what his super villain powers are capable of. So, basically cast iron metal burns, but clothing fabrics do not. Got it! Check!

I’m not sure if Iron Man 3 is really worth a watch. Probably not, actually. Maybe so, if you want to marathon through all the Marvel films like I do. Yet, it really offers nothing significant to the films yet to come and shows nothing new to carry forward from the prior films. Much like Iron Man 2, it’s a pretty meaningless.

MARVEL’S THE AVENGERS

By Marc S. Sanders

Phase One of the Marvel Cinematic Universe concludes with Marvel’s The Avengers. This is a real treat and a feast for the eyes. It’s not my favorite of all the Marvel films because it gets a little too Saturday morning cartoon like at times, but it’s enjoyable to watch for good escapist popcorn fun.

Movie goers were salivating for the year 2012 to arrive which would finally assemble Thor, Iron Man, Captain America and the Hulk on screen. Thanks to writer/director Joss Whedon that wish had finally come true and Whedon does not try to reinvent the wheel. When you assemble a team of heroes, you pit them against a large army and watch every variation imaginable of how the Hulk can smash, or what Iron Man’s armored suit can launch.

By now, you all know how I feel about the actors portraying their respective roles. Best to just say the chemistry works among them. They find reasons to squabble and Whedon provides moments for them to use their given talents against one another. So you get to see what happens when Thor smashes his hammer against Cap’s shield.

The actor who finally gets his moment in the sun is Samuel L. Jackson as Nick Fury, the orchestrator behind this team up. Jackson is more subdued than his other well known characters from the Tarentino films or Snakes On A (Mother effing) Plane. He does get to say “stupid ass idea” at one point and there’s the Samuel L. Jackson we all know and love! In comics, the Nick Fury character was reinvented before any of the films to harbor the appearance of Jackson. This film proves why the writers went that route. He’s great. He’s fun to watch. He makes for a great leader of the secret agency SHIELD. In tow with him is Clark Gregg as Agent Phil Coulson, a welcome cameo guy before this film, Gregg gets in a few scenes that show his endearment, and offer some dramatic weight as well. The guy could be waiting on hold while Black Widow takes out a couple of thugs, and you are cracking up at Gregg as Coulson, not necessarily Black Widow. He’s so likable that well…heck…he should get his own Marvel TV show….wait….nevermind….I digress.

Again, however, the women of the MCU are not drawn well for the screen. Scarlett Johansson makes her second appearance as Black Widow. She’s got a great, funny early fight scene while tied to a chair in a sleek black dress, but that’s all for show. She hints at a checkered past but this film does not offer much to expound on that. I understand. There’s a lot going on here. So there’s not much here for her to do. It’s time she got a film of her own, however. I’ll sign the petition. Wait! Nevermind! Colbie Smolders is a waste as Agent Maria Hill. She is nowhere convincing as a bad ass agent. Her line delivery seems forced. Her role seems unnecessary. Her scenes should have been on the deleted floor. It would have allowed more time for Johannson to play up her character. How is Maria Hill different from Black Widow in this film, anyway? She’s not. Therefore, cut out Maria Hill.

Jeremy Renner is given nothing to do but shoot arrows as Hawkeye, and work against the Avengers while under a spell from Loki.

Speaking of Loki, the great Tom Hiddleston is back. Hiddleston just elevates the Marvel films to more than just a comic book movie. His glee as the God of Mischief is different than say any version of the Joker’s. Pay attention Syndrome (from The Incredibles)!!! When Hiddleston monologues, you want to listen, unless you are the Hulk.

Whedon does an awesome job with the action scenes as he gradually destroys an aircraft carrier when chaos takes hold among the various heroes, and then later he destroys New York City in a fun amusement park like battle through the streets, subways and skyscrapers. It’s a little reminiscent of Richard Donner’s (or Richard Lester’s) Superman II, and Ivan Reitman’s Ghostbusters. It’s fun to watch the Hulk run through a building only to come out the other side and leap upon the head of a gigantic, flying centipede to bring it down on to the top of a building. Who cares how this all gets cleaned up? The greatest city in the world always figures out a way.

Whedon sealed the pop culture significance of superheroes in the early 21st Century. He’s done what guys like Michael Bay beg to do with other toy/comic book franchises. Marvel’s The Avengers stands out as an important impact in cinematic filmmaking. It’s not best picture worthy, but it is nonetheless important to how blockbuster films are conceived and created. Sadly, some people still don’t get it right, all these years later.

CAPTAIN AMERICA: THE FIRST AVENGER

By Marc S. Sanders

Admittedly, as a kid I read about the star-spangled hero, Captain America, on a frequent basis. In the ‘80s, to me he was nothing special; a guy with a shield, dressed like the flag who was very agile. Not many surprises were left for him to discover on the page. However, in his first MCU installment, Chris Evans, as Steve Rogers the weakling yearning to join the US Army during World War II and kill Nazis, is inspiring.

Director Joe Johnston ably introduces a character before revealing all the goodies. A fantastic special effect of downsizing Evans to a gaunt 95 pounds allows the motivation to become a hero all the more convincing. Following a series of being bullied and being rejected for service, Rogers is given the opportunity to become a lab rat for a “Super Soldier” experiment that will award him with instant fighting skills and strength. Stanley Tucci plays the doctor looking for the right candidate. Why Rogers? Because he sees he has the heart of a man only wishing to do well unto others. The experiment is a success before it becomes sabotaged, but Tommy Lee Jones, representative of the Army, is not entirely convinced. So, Cap only elevates himself to the role of a character logo, forced to sell the idea of buying war bonds across the country and entertaining the troops overseas. A rescue mission finally comes calling, and the boy in blue dons the shield and shows the world who he is and what he stands for.

Chris Evans is great in this part as a guy always on a path of “do good.” Never emoting cockiness, never in service for himself and never one to surrender to illogical and immoral mindsets. This is how Captain America should always be portrayed, a man who stands for the good of country and as the MCU films continue on, the good of the world and, well heck, lets just say the good of the galaxy. With his perfect haircut and clean shaven face, Evans never shies away from that platform.

Tucci is so good in a role that will never define his career. His brief appearance shows no hint of him being in a comic book movie. That’s a huge compliment. He takes the role of a German doctor seriously. He’s the scientist, but the film allows a nice scene for him with Evans showing that he is more so a friend. When his part exits the film, you miss him.

Finally, the MCU gets the female role right following the dismissive nature of characters like Pepper Potts (Iron Man), Betty Ross (The Incredible Hulk) and Jane Foster (Thor). Special Agent Peggy Carter played by the awesome discovery of Hayley Atwell makes the role her own. She plays the part like it is written, never relying on the title character for her cues. Atwell shows determination to stand out as a woman among a sea of men and never regarding herself as any different from those said men. She has some great scenes with Tommy Lee Jones debating the purpose and importance of Rogers. By the end of the film, you are not just paying attention to the fate of Evans’ character, but Atwell’s as well. Peggy Carter is written so well, you could write a TV series about her. Wait….hold on…. anyway I digress. Hayley Atwell remains the best female character of the MCU above those we’ve seen already at this point, as well as ahead of those to come in future installments.

The villain is really just a villain with Hugo Weaving as the Red Skull. The character looks great; looks just like the source material. He’s one bad dude, but not much to him. He stands to be more powerful than Hitler, yada yada yada.

Joe Johnston directs a film with a salute towards director Steven Spielberg. Try to convince me that the opening scene is not reminiscent of the opening to Close Encounters of the Third Kind. Indiana Jones seems to sprinkled about as well. Johnston doesn’t try to get cute with experimental camera shots and blurry CGI action. I think because he follows a paint by numbers approach to this film, it is all the better. He offers lots of good back story to Steve Rogers role, he gives a large cast of characters their own moments to stand out (like Bucky Barnes and the Howling Commandos) and he keeps Captain America likable and a guy to cheer for; a guy to be thankful for.

So, let’s give it up for Captain America!!!!

THOR

By Marc S. Sanders

Chris Hemsworth is the God of Thunder who must learn to grow up if he is to inherit the throne over the land of Asgard from his father Odin (a welcome Anthony Hopkins), and more importantly become worthy of lifting his mighty hammer. Hemsworth is great; full of cocksure assuredness, humor and heroics. Chris Hemsworth makes you believe he’s the only guy who could play Thor.

Thor’s adversary is the God of Mischief, Loki played by one of Marvel’s best actors, Tom Hiddleston. This is a guy who plays so many different levels. If one didn’t know the story of Thor and Loki, I’d argue they might be shocked at some of the turn of events Hiddleston masterfully orchestrates with simple facial expressions and passiveness that progressively switch over to madness, obsession, jealousy, envy and deceit. Hiddleston effectively spins all the plates perfectly.

Natalie Portman plays the love interest carrying the torch of least significance that Liv Tyler and Gwenyth Paltrow held in prior Marvel films. That’s a pattern the Marvel films will begin to improve upon with the next film in line.

Director Kenneth Branagh is the right guy for this movie. Inspired Shakespearean settings and dialogue overlap with modern day America. Branagh brings a nice balance to it, and he also directs his actors well. A great exchange of dialogue and performance occurs midway through between Hiddleston and Hemsworth. Branagh gets good close ups of both actors as the conniving villain manipulates the naive hero. The camera angles move at a slant almost evoking a necessary confusion between what is true and what is a lie. Moments like this allow Thor to be more than just an action film. There are nice opportunities for acting as well, and because of that Hiddleston especially has become quite treasured among loyal fans.

Compliments must also go towards the setting of Asgard. I normally frown on immersive CGI normally. Not here though. Asgard is as regal as anything Peter Jackson offered in his Tolkien films, complete with a striking rainbow bridge and towering structures. I want to tour through that whole land. It’s that spectacular. Characters also work well with the CGI, especially the fire breathing, metallic Destroyer.

Thor is a great introduction to the legendary comics character. The film offers a character arc of change much like what was captured with Tony Stark in the first Iron Man. The character must grow and learn about his identity over the course of the film in order to have legs for future installments. This film accomplishes that feat, and thus Chris Hemsworth has become a box office draw while his most popular character to date has become a screen favorite.

IRON MAN 2

By Marc S. Sanders

Iron Man 2 is a Frankenstein’s Monster of a film. Director Jon Favreau returns, but not with the same insight he invested into the first Iron Man. This loud, headache inducing sequel is an assemblage of cutting room floor scenes taped together to mask itself as a cohesive narrative brought to life. The movie exists. Yet it has no brain.

Six months have passed since the events of the first film, and Tony Stark (Robert Downey Jr) is ready to open his peace parade Expo in New York. The problems begin here. Stark, who redeemed himself as a born-again, eyes open martyr at the end of the first film, reverts to an obnoxious jerk full of brash, rude cockiness. Downey goes so over the top with his improvisational one liners that you can hardly stand Tony Stark, and this is all before he gets drunk and pees in the Iron Man suit.

Stark is experiencing rapid blood toxicity from the suit and he is unable to find a solution. I might have been concerned at first but after the film is over, the convenient remedy just made me feel cheated. Poor writing offers a convenient get of jail free card.

Then there is Stark’s relationship with his friend Rhodey (Don Cheadle). Cheadle shows potential in the part he resumed from Terrance Howard, but he really only serves two sole purposes, to have an armor throw down with Tony throughout the mansion (a stupid fight by the way), and to wear the new War Machine armor. That, I’ll say is pretty cool in charcoal black with red eyes and a shoulder resting machine gun.

Gwenyth Paltrow is back as Pepper Potts, and she just kvetches a lot. Paltrow and Downey’s chemistry are all but gone. Not really the actors’ fault though. More so, it’s the dumb screenplay by Justin Theroux who I guess found it adorable for the two players to squabble amid the action scenes. It’s rather annoying actually.

Theroux makes a lot of misfires here. The great Mickey Rourke appears to have fleshed out a great villain known as Whiplash. A Russian physicist with a grudge against Stark. Rourke offers a scary appearance of long hair, gold teeth and a tattooed muscular body. Oh, and he has a cockatoo as well. Mustn’t forget that. Too much of this film is devoted to this bird that does nothing. Whiplash is insufficiently written. He has a mid-film battle with Stark at the Grand Prix in Monaco, then following a prison escape, he’s harbored by Stark competitor, Justin Hammer, in a factory where he does nothing but build robots. None of this is interesting.

Sam Rockwell plays Hammer as a whiny kid in nerdy glasses and even nerdier three piece suits. He’s not a villain you ever love. He’s a Frank Burns, but his stupidity against Stark and Rourke’s character offers no humor from the stooge that he is.

Side stories focus on anticipation towards the first Avengers film with Samuel Jackson as Nick Fury and Scarlett Johansson’s Black Widow, yet not much is offered. They have nothing to do with anything else going on in this hodgepodge. Johansson finally gets a good fight scene during the climax, but it remains brief.

So there’s really nothing in Iron Man 2. It’s just a mix of things smashed together. The Iron Man suit only has three scenes, one to open the Expo (no fight there), one to have drunk Tony Stark fight with Rhodey while wrecking his house (Belushi did it better in Animal House, as well as the cast of Sixteen Candles), and then finally in a climactic ending against Hammer’s military robots and Rourke’s Whiplash who hardly participates in the moment.

Iron Man 2 is likely my least favorite of all the MCU films. (Actually, Eternals took that top honor, recently.) It offers one redeeming quality and that’s its end credit scene, maybe my favorite of that particular category.

Otherwise, Iron Man 2 is pointless, dumb, ignorant of its product, and flat out obnoxious.

Stan Lee Cameo: Was that Larry King? Really?

THE INCREDIBLE HULK

By Marc S. Sanders

The Marvel Marathon continued with the most underappreciated installment in the Marvel Cinematic Universe (MCU), The Incredible Hulk.

Edward Norton is the best of the cinematic Bruce Banners. He plays the role smart and desperate, and that’s the purpose of Dr. Banner once he is left to be on the run following his unfortunate encounter with gamma radiation. Norton enhances a script credited to Zak Penn. As such, we are treated to the efforts of Banner to rid himself of the raging green monster within. He communicates with a mysterious “Mr. Blue” by means of encrypted email as he hides out in the stacked, labyrinth tenements of Brazil. This setting presents an early high octave foot chase over rooftops and through narrow alleyways as Banner is pursued by General Thadeus “Thunderbolt” Ross, bent on using the hulk effects as a means to develop an army of super soldiers. Banner knows nothing good can come of this and therefore has to run until he finds a cure. To make things more complicated, Banner must keep his true love, Betty (Liv Tyler), out of harm’s way. Betty is the General’s daughter.

Louis Leterrier directs under a lot of demanding expectations following the unforeseen success of Iron Man, and before that, the disappointing bore delivered by Ang Lee with Hulk. For the most part Leterrier gets it right. Three high stakes action scenes featuring both Norton as Banner and later as a very gritty, very angry and very strongly aggressive nine-foot green monster are well choreographed blends of CGI and principle photography. A well-cast adversary in the form of Tim Roth is great as he willingly gets experimented on to match the power of the Hulk. Roth plays Emil Blonsky as an eager soldier bent on getting superior to the might of the Hulk. Leterrier shoots Roth gradually changing physically, but more importantly in performance. The center of the film shows Roth sprinting across a college campus to confront the Hulk head on. He then demonstrates astounding agility with leaps over the Hulk’s head. It’s a great match up.

William Hurt plays General Ross. I’d never consider him for this part based on Hurt’s previous resume. Yet, if you put him in a camouflage uniform, slap a thick, silver mustache on him, and grizzle his voice, he works well in the part.

Like Jeff Bridges in Iron Man, the villains offered up by Tim Roth and William Hurt are another two of my favorites in the MCU. Again, they are not after world domination. One is motivated by the discovery of advanced power. The other is moved by misguided opportunity.

Not much can be said about Liv Tyler. She screams. She cries. She yells at a New York City cabbie and she gets to kiss Edward Norton.

What I like about this film is the approach from the beginning. The opening credits offer all you need to know, so that it can quickly jump into the action and the pursuit. Penn, Norton and Leterrier dodge the go to origin story to tell us instead where Bruce Banner and the rest have left off. It’s efficient storytelling.

Leterrier also cuts his action and attention to the Hulk quite well. Sure, we all want to see the Hulk but let’s see his ultimate power first. Leterrier recognizes this is part monster movie. So, when an early set piece takes place in a dark soda factory, we are quickly familiarized with the architecture, and we believe the monster to be hidden under cat walks and in dark corners ready to swipe away a thug leaving only a sneaker behind. Eventually you see his silhouette, followed by his eyes accompanied by a Lou Ferrigno growl, and now you are sitting up at full attention. Later, Leterrier sticks to a similar routine by showing an enlarged hand bursting from a gas cloud.

This iteration of the Hulk is the best. He’s dirty and built like a linebacker with shaggy green hair. His expression is one of “STOP BOTHERING ME AND LEAVE ME ALONE.” Compared to the later installments, this version is better. He’s not as clean, not as disciplined, and thus we are more nervous around this Hulk than other Hulks we see in later films.

It’s still disappointing that Norton did not continue on with the role. I believe his “lonely man” interpretation, inspired by the late Bill Bixby’s TV version. A sad man in an unfortunate circumstance. Comparing his portrayal to Mark Ruffalo, the latter seems trapped in unconvincing dramatics. The internal conflict never seems that challenging to Ruffalo like it does to Edward Norton.

Though my only wish was that some unraveled threads (The Leader, The Abomination. Right, Marvel fans?) were not left unresolved in later MCU films. As an actor with several dual personality roles on his docket (Primal Fear, Fight Club, The Score), Norton is the better Banner, and it’s because of him along with Tim Roth and William Hurt that The Incredible Hulk is really one of the better Marvel pictures.

A Favorite Stan Lee Cameo: What happened after he drank that soda????

IRON MAN

By Marc S. Sanders

It’s fair to say in 2008, a new pop culture phenomenon occurred and that was the Marvel Cinematic Universe (MCU). The first of a collection of highly successful crossover films was Iron Man featuring a Robert Downey Jr that was offering little promise in box office and commitment following stints in prison for his personal drug addictions. Director Jon Favreau felt that Downey was right for the title role, also known as brilliant, genius, wealthy playboy Tony Stark. Favreau’s confidence, as it turned out, was right all along.

Iron Man is an origin film. Tony Stark is a man with everything, but because of a lack of surviving family following the deaths of his parents, really, he sadly has nothing.

After being captured by Afghan terrorists, Stark, the world famous weapons manufacturer, has an epiphany and opts to take his billion dollar company in a new direction by halting production on all weaponry. Stark’s partner, Obadiah Stane played by Jeff Bridges, tries to contain Stark’s new campaign, and in turn becomes an adversary to contend with.

This is a summary of a great story, and even better, I have yet to discuss the main attractions of the film, the Iron Man suits. Sci fi and adventure movies work best when the highlighted visuals are not the story, but rather what accompanies the narrative. Iron Man is not so much about the suit. Moreover, it’s about the guy who built and wears the suit.

Downey is perfect in the role. Sure, his sarcasm and impulse to perform off script can get a little tiresome, but Downey also stops to give Tony Stark some heart as he bashfully pines for Pepper Potts played by Gwyneth Paltrow as his adorable sidekick in business. Also, his maturity comes into focus following his will to undo what he’s wrought prior to his captivity. It’s a great character arc of dimension and change.

Jeff Bridges plays one of my favorite MCU villains. At least I think so, because I understand where Stane is coming from. He’s gotta answer to his stockholders. Stark and Stane are in the money business regardless of the products they market and manufacture. He’s not all about global domination. He’s a man of responsibility. Bridges went with the comic book iteration of Stane from the late ‘80s publications by going bald with a devilish goatee. His height and broad shoulders plus his age match well against Downey. Bridges’ stature is intimidating opposite Downey’s reckless lack of care and immaturity through the first half of the film. Stane puts an arm around your shoulder, and you know you’re in trouble. So, it works really well here. Jeff Bridges really ranks as one of MCU’s most overlooked gems, now over 10 years and over 20 films in.

Favreau depicts some all too real and scary moments of terrorism and violence. This is all a step above the fantasy actions later to be seen from the likes of other Marvel villains like Loki, Ultron or Thanos.

It’s sadly ironic. One terrorist kicking a local in the head is harder for me to watch than a godlike giant who eliminates half the world’s population. Still, Favreau takes advantage of Downey’s comic timing and playful chemistry with Paltrow as well. Plus, there’s Terrence Howard as the no nonsense army colonel and friend “Rhodey” Rhodes (played in later films by Don Cheadle). Had Favreau not found that balance of heavy and light, we might not have seen the longevity of this continuing franchise.

The action scenes work well too. The Iron Man and Iron Monger (Stane’s costume) engage in a well edited and choreographed fight scene in the streets and evening skies of Malibu. Stark is plagued with weaknesses to add some “yikes” moments as he faces off against the hulk size Monger with Stane in control. These scenes are not blurry. It’s really what the action scenes of the Transformers films needed.

“Iron Man” foreshadowed a lot of fun material we were meant to see in later films. Blink and you’ll miss a certain patriot’s shield and stay for the first of many legendary end credits scenes that introduces an important character, leading to an eventual hit television series as well as becomes instrumental for all of these fun crossover moments.

Iron Man is an important film in cinematic history. It blazed a trail in big box office that’s given audiences lots of escape. The success of this franchise has attempted to be matched, but no other franchise has yet to come close. Sorry Star Wars and DC Comic films.

For now, the Marvel Cinematic Universe is as bulletproof as the Iron Man.

NOTE: Stan Lee cameo salute….Was that the real Hugh Hefner?!?!?!?

BLADE II (2002)

by Miguel E. Rodriguez

Director: Guillermo del Toro
Cast: Wesley Snipes, Kris Kristofferson, Ron Perlman, Norman Reedus, Donnie Yen
My Rating: 9/10
Rotten Tomatometer: 57%

PLOT: Blade, half human/half vampire, forms an uneasy alliance with the vampire nation in order to combat a new breed of monster, the Reapers, who are feeding on vampires and humans alike.


Why don’t more people like this movie?  It’s like someone took the best fight scenes from The Matrix, removed the pretentious plotting, added a crapload of gore, and created one of the best villains in the history of vampire movies: the Reaper, an evil-looking creature whose lower jaw splits wide down the middle to reveal a blood-sucking appendage that might even give the Xenomorph nightmares.

Blade II is lean and mean.  Director Guillermo del Toro has gone on record as saying this was not exactly the movie he intended to make, as it doesn’t keep precisely to the Blade “canon” (in case you didn’t know, Blade is a lesser-known Marvel comics character who is scheduled to eventually make an appearance in the Marvel Cinematic Universe).  However, despite his misgivings about this film, del Toro nevertheless created an action-horror masterpiece.

If you’re a fan of action films, what do you like?  Because it’s all here.  There are five great fight scenes, including a doozy in Blade’s own lair between Blade and two vampire ninjas wearing elaborate headgear that makes them look like humanoid bugs.  You like a great villain?  Here’s Jared Nomak, the vampire who carries the Reaper virus, whose wounds heal by themselves almost instantly, and who carries a dark secret.  His fighting skills are equal to those of Blade himself, who must learn to use more than brute force if he’s going to defeat Nomak.  (And let’s not overlook the cameo by Asian superstar Donnie Yen.)

You like a good story?  We got that, too.  Blade’s sworn enemies, the vampire nation, are forced to approach Blade for help when it becomes apparent they are no match for the Reapers.  Blade HAS to help, because who will the Reapers go after once they dispatch all the vampires?  Humans.  So you have the whole “uneasy alliance” going on, with no one more uneasy than Reinhardt, a vampire played by a deliciously malevolent Ron Perlman.  Reinhardt goes along with the plan, but can’t resist poking the tiger by asking Blade, “…can you blush?”  Blade’s response gives a whole new meaning to the term “kill switch.”  Game, set, match.

This is also a horror film, let’s not forget.  You like scares?  How about the part where a Reaper gets pinned to a wall with a ninja sword through its stomach…but escapes by crawling backwards up the wall, forcing the sword to slice through his body as he skitters away, unfazed by the damage?  YIKES.  We got gore, too.  Blade and company perform an autopsy on a dead Reaper.  I haven’t seen that much detailed gore since the autopsy in John Carpenter’s The Thing.

I mean, seriously.  This movie has everything I want in an action movie that’s also a horror film.  It covers ALL the bases.  (I could’ve done without the quasi-love-story, but it’s not dwelt on too much, so I can live with it.)  What more could anyone ask for?

(Also, it’s great to listen to on a bad-ass audio system…BOOMING bass and sound effects.  Great stuff.)

AVENGERS: ENDGAME (2019)

By Miguel E. Rodriguez

Directors: Anthony Russo & Joe Russo
Cast: Robert Downey Jr., Chris Evans, Mark Ruffalo, Chris Hemsworth, Scarlett Johansson, Jeremy Renner, Don Cheadle, etcetera, etcetera…
My Rating: 10/10
Rotten Tomatometer: 96% Certified Fresh

PLOT: After the devastating events of Avengers: Infinity War, the universe is in ruins. With help from some of their remaining allies, the Avengers assemble once more to try to undo Thanos’ actions.


I have tried several different drafts of this review, and I simply am unable to write a decent review without necessarily revealing spoilers.

So…

DO NOT READ ANY FURTHER IF YOU HAVE ANY INTENTION OF SEEING AVENGERS: ENDGAME IN THE FUTURE.  SPOILER ALERT!!!

SPOILER ALERT!!!

SPOILER ALERT!!!

You have been warned.

For starters, Avengers: Endgame is not my favorite movie in the MCU.  (That title still goes to the incredibly complex, endlessly debatable Captain America: Winter Soldier, the superhero movie for people who hate superhero movies.)  BUT…Endgame contains my single favorite moment in the entire franchise.  It occurs during the climactic battle, and it involves…hardware.  YOU know what I’m talking about.

That aside, while Endgame is a more-than-worthy sendoff for the 11-year-long story arc, and is Hollywood spectacle at its best, I gotta be honest and say that the 3-hour running time was starting to get to me around about the 2-hour mark.  Yes, the plot threads all had to be woven together to bring everything to a head for the ultimate showdown, and I wouldn’t dream of eliminating anything that I saw, but it just was feeling a little slow.

Other than that…it gets all A’s across the board.

  • ACTION – I haven’t seen CGI action on this scale since the Battle of the Pelennor Fields in The Lord of the Rings: The Return of the King.  Or Avengers: Infinity War, take your pick.  I can only imagine the headaches and nervous breakdowns experienced by the hordes of CGI artists who painstakingly created the outstanding battle scenes.  They were incredibly dense, but I was never unable to see any of the key moments involving key characters.  Nothing was too dark or murky.  It was an event.
  • HUMOR – In spite of the heaviness of the proceedings, the filmmakers never lost sight of their origins: COMIC books.  From the first appearance of Thor in residence at New Asgard, to Stark’s never-ending supply of dry one-liners, to Hulk’s selfie in the diner, the audience is always kept from falling into major depression, even after some really, REALLY dark moments in the story.
  • CLOSURE – The film ends the way it does because it HAD to.  Some of the original actors are just getting too old to do it anymore, folks, that’s just the way it is.  Hugh Jackman hung up his claws on Wolverine because he was getting too old to get into that kind of shape anymore.  And some other actors are just ready to move on.  It’s time.  Regardless, though, the way that certain characters were granted their own particular curtain call…it was IMMENSELY satisfying, not a bit gratuitous, and even noble for everyone involved.  I wasn’t moved to tears myself, but there were audible sniffles in the movie theater.

(I did also REALLY like the abandoned New York cityscapes after we jump ahead in the timeline a little bit.  I’ve always LOVED the concepts of modern edifices and cities left to ruin after abandonment.  That’s one of the reasons I really love I Am Legend.  BUT I DIGRESS.)

So, yes, it’s worth the hype.  They got it right.  It is a fitting final chapter to one of the most amazing cinematic achievements in history.  It IS a little long, but I can get over that.

And I am stoked to see what comes next.