Korsgaard's Commentary

Star Trek Into Darkness

2013-05-20T02:07:00.001-04:00

Space: the final frontier. These are the words that preceded every episode of an almost fifty year old TV show called Star Trek, which has come to be one of the biggest names and driving forced in science fiction in the decades since the first journeys of the USS Enterprise. That is especially true today, when Star Trek enjoys widespread and unheard of mainstream popularity, largely thanks to the 2009 film reboot directed by JJ Abrams. With a story that both honored the past while introducing new comers to Star Trek lore, a very talented cast and some utterly fantastic looking special effects, the film did what was once viewed as impossible: it made Star Trek cool.

Needless to say, this means that the follow-up has big shoes to fill – even bigger given the anticipation over JJ Abrams getting the job of breathing new life into Star Wars like he did for Star Trek , to say nothing of upping the ante for the Star Trek franchise he’s already saved. Of course, he has a great deal working in his favor – not only did the stellar cast from the first film return, but the addition of Benedict Cumberbatch as the villain did much to put things on a good starting note, as did the clever move of promoting the film by attaching the film’s opening scene to The Hobbit , which combined with a few other released scenes, were all but enough to sell me on a ticket.

So, does this follow up go where no film has gone before, or has this sequel left us KHAAAN-ed? Join me on the bridge as I set a course for Star Trek Into Darkness.

The film opens with newly-minted Captain of the USS Enterprise, James T. Kirk, in hot water with Star Fleet High Command for his devil-may care attitude – or he is until most of Star Fleet High Command get’s assassinated in an attack by a rouge Starfleet agent known as John Harrison, among the deceased Kirk’s mentor Admiral Pike. Set on vengeance, as well as restoring his reputation, Kirk and the crew of the Enterprise volunteer to track down Harrison, who has taken refuge in the Klingon Empire, with tensions between the Federation and the Empire already riding high. It will be a dangerous mission, not just for the nature of their enemy, but for secrets held from them by command, loyalties of the crew divided, and Kirk, Spock, and the rest of the crew struggle with internal demons as much as external threats.

For those that complained that the 2009 film was ‘just’ a great looking space opera, bereft of all the deep themes of the original Star Trek series’, this film should more than placate your needs – the movie, with its plot, manages to touch on a number of critical issues today, ranging from major ones like lone world terrorism and increasing militarism, to minor ones like drone warfare and the increasingly blurred sides of modern warfare, all while roping them into the narrative without bludgeoning you over the head like so many other films these days do, all while retaining the thrilling space opera feel of the 2009 film. Much the same, there are a great many shout outs to Star Trek lore, mainly Star Trek II: Wrath of Khan and Star Trek VI: The Undiscovered Country , so long time fans will have a lot to admire. Finally, a highlight is that, for the most part, the script and dialog is extremely clever, avoiding some genre pitfalls and actually presenting some clever moments in the film, especially some smart moments from the story and characters.

It’s with those characters again that, like the 2009 film, are such a highlight if not more so, as most of the returning cast having been introduced in the past film, are allowed to develop and quite often shine in this film. Chris Pine, as the famed cocky captain of the Enterprise James Kirk, is the sharp-tongued and witty womanizer we’ve come to know, yet we also see him at his most vulnerable, as he struggles with the mantle of leadership and comes to assume it. Zachary Quinto once again shines as Spock, as he both continues to find his place as the logical Vulcan second in command and struggles with his emotions and relationships with his human compatriots, especially girlfriend Uhura. All the returning cast gets extended focus and development, ranging from Karl Urban’s Dr. McCoy to Simon Peg’s Scotty to John Cho’s Sulu, and all once again do wonderfully.

In fact, among the supporting cast, my only complaint seems to be Alice Eve as Dr. Carol Marcus, whose main purpose seems to be providing fan service, albeit marvelously as anyone who’s seen her promo shots knows, and for the fact that the Klingons appearance in the film is a rather big letdown. Also, every time I see Karl Urban, I expect him to say ‘I am the Law‘, not ‘Dammit Jim, I’m a doctor not a ____’, but that added to the film if anything.

Of course, the true show stopper is the film’s mysterious antagonist played by Benedict Cumberbatch, who goes by the name John Harrison for half of the film – and let’s just say I Khan’t say too much about the second half, hint hint. He is absolutely captivating as a cold, calculating villain, whom however monstrous his actions, remains to a certain extent sympathetic, even as his loyalties and true mission lie veiled and murky. Between this, Guy Pearce in Iron Man 3 , Michael Shannon in Man of Steel and Cumberbatch returning to play both Smaug AND the Necromancer in this December’s sequel to the Hobbit , 2013 is quickly shaping up to be a great year for villains.

This brings us to the cinematography and special effects, which were one of the prior films hallmarks, are again magnificent. The size and scope of nearly every scene are enormous, and the details given incredible and the result is the Star Trek universe really does feel as vast as the Final Frontier. A number of scenes are jaw-droppingly impressive, chief among them the initial mission at the start of the film on a colorful alien world that in ten minutes puts Pandora to shame, a flight through a debris strewn space battle in the middle of the film, and a climactic battle in San Francisco at the film’s end, any one of which is worth buying an IMAX ticket for. Even the much maligned JJ Abrams lens flare has been dramatically toned down, albeit still noticeable in a few scenes. Abrams also manages to work in more Star Trek shout outs than Star Wars ones this time around, and has built off of the prior film within Star Trek lore in a few interesting ways – let’s just say there are some subtle changes in the Federation since watching Vulcan get Alderon’ed a few years ago that may remind more people of the Terran Empire than the United Federation of Planets.

All in all, this was a film that needed to raise the stakes and expand the scope of the previous film, and Star Trek Into Darkness runs with it like a starship on warp. The plot is much more interesting, and manages to be both headier and remain very entertaining. The cast performs magnificently, getting much more screen time and character development, and benefits from having a truly cunning enemy to work against. The film is visually stunning, and quite an achievement worth attention for a number of scenes alone. Add in some interesting details and possibilities for the sequel and we have a Star Trek film that actually manages to further improve the standing of the venerable franchise even further. It was a fun and fascinating film from start to finish, and one I highly recommend, proof yet again that the possibilities of this franchise are as vast as the final frontier.

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The Search for Mengele Twin A7734

2013-05-15T12:37:00.001-04:00

Though generations have passed, the Holocaust’s victims still suffer the consequences of the Final Solution. One such survivor is 73-year-old Menachem Bodner, a Mengele Twin whom, upon the liberation of Auschwitz, was separated from his brother, whom even today, he has yet to find again. With the aid of social media, he hopes to change that.

Born Ellias Gottesmann, along with his twin brother Jeno, he and his brother were separated from his family upon arrival at Auschwitz, taken to be a part of Dr. Mengele’s infamous twin expiriemnts, while their family, like millions of others, were taken to the gas chambers. In spite of the horrid expiriments forced upon them, both would survive until the camp was liberated. In the chaos of liberation however, he came to be separated from his brother, and instead, met a man who, having lost his wife and daughter, took him as an adopted son, giving him the name Menachem Bodner, which he bears to this day. Now an Israeli grandfather, he seeks to find his lost twin, and is rallying millions of others to help him.

It already will not be an easy search – the one memento he had of his brother and former family, a photo, proved not to be of his own family. So he turned to a far grimmer momento to find his brother – the tattoo upon his arm, just is terrifying as any scar of the Holocaust, the blue inked number on his arm that reads A 7733. His brother Jeno is number A 7734.

The search has rallied dozens of Holocaust Survivor and Memorial groups and thousands of people on the Internet. Now I ask you to help – go to the man’s Facebook page, read the story of both brothers, like the page, tell others to do the same, and if you know anything even possibly connected to the story, please let them know. Just as the Holocaust sought to destroy and divide it’s victims, let us today prove technology and human decency can bring them back together, or at the very least, provide some closure and peace.

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Judge Minty

2013-05-13T11:37:00.001-04:00

It’s no secret I loved last fall’s Dredd – I felt it was one of the year’s best films, and thought it a real tragedy that it flopped in theaters, though it’s fantastic DVD sales give me hope we haven’t seen the last of Judge Dredd in the cinemas. Seriously, rent it if you haven’t seen it already.

Even if we don’t see a sequel in the multiplex, a recent fan film shows that there may be a future for Judge Dredd and Mega City One outside of Hollywood. Made entirely by fans, on a micro-budget, I am pleased to present, Judge Minty.

Judge William Minty has spent his entire adult life policing the violent streets of Mega-City One – and now he’s slowing down, getting soft in his old age. When a lapse of judgement almost costs him his life in a firefight, he knows that it’s time to quit. Rather than retire to clerk in the Hall of Justice or teach in the Academy, he chooses to take the Long Walk – a voluntary exile into the radioactive ruins of the Cursed Earth, bringing law to the lawless for the rest of his days. It’s a harsh hellish landscape inhabited by mutants, psionics and bandits, but Judge Minty will teach them the meaning of the law – or die trying.

To put it simply, this is no mere fan film, but a fantastic short film very worthy of standing next to Dredd as a fantastic glimpse into a cinematic Mega City One, despite the fact it worked with an even smaller budget than, a true microbudget marvel. If Dredd grasped the character of Judge Dredd and gave a long glimpse into the dystopian state of the world, Judge Minty thrives in showing us it’s post-apocalyptic side, giving us a shockingly detailed look into the Cursed Earth and it’s murderous inhabitants. Director Steven Sterlacchini and his crew have worked miracles, their obvious passion for Dredd shinning through every detail, and Edmund Dehn does a terrific job as Judge Minty, bringing the old lawman to life with only a number of lines at his disposal. About my only complaint is that once again, no one said my favorite line from Judge Dredd lore…

I really will never get tired of that.

As a whole, I cannot recommend you watch Judge Minty enough, and seeing as it’s free and embedded in at the top of the article, you have no reasons not to. It’s a fantastic little film that once again proves the devotion of the Judge Dredd fandom and the potential for further delving into the universe on the silver screen.

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Iron Man 3

2013-05-04T02:22:00.001-04:00

Comic book movies have never been the same since Iron Man. When the film came out in 2008, few would have guessed that it would take a C-list superhero and a has-been actor both into prime-time properties, earning the adoration of critics and moviegoers alike, and by means of a now famous post-credits scene, launched the Marvel Cinematic Universe. Following Iron Man came a string of films which culminated in last summer’s The Avengers , a milestone for cinema, one of the best movies in recent memory, and doing for the comic book movie what Star Wars did for science fiction. So now that we are in the post-Avengers era of both cinema and the Marvel Cinematic Universe, Phase 2 kicks off with Iron Man 3.

To say the least, it’s a tough act to follow, and the film has big shoes to fill, and yet, by all the signs of more than accomplishing both. To direct the film, we have Shane Black, who in addition to helming the criminally underrated Kiss Kiss Bang Bang, which also starred Downey Jr., was the screen writer for some of the greatest action films ever made, ranging from Lethal Weapon to Predator. In addition to the now fundamental and familiar faces like Robert Downey Jr, Gwyneth Paltrow and Don Cheadle, the movie signed on a number of talented new faces, including the exciting combination of Ben Kingsley and Guy Pearce to play the film’s villainous duo. Top it off with some fantastic trailers, brilliant reception from overseas, from critics and moviegoers, and the fact The Avengers has left me chomping at the bit for the next phase of the Marvel movies, needless to say I was excited for the film.

So do Robert Downey Jr and Marvel’s metal man kick off Phase 2 and the summer movie season with a bang, or are both starting to show signs of rust? Suit up my dear readers, and join me for my review of Iron Man 3.

The movie opens with Tony Stark, suffering from mild PTSD and severe anxiety following his near-death experience at the end of The Avengers, struggling with his place in the world where Norse Gods and Super-Soldiers battle Aliens over control of Earth, a world he had a hand in creating when he first dawned the Iron Man suit. In addition to this, the latest threat to both the United States and Stark is one straight from Starks past – a duo of the terrorist leader known only as the Mandarin, and Machiavellian industrialist Aldrich Killian, that will force Stark to suit up and save the world once more after they hit very close to home. Along the way, Stark will deal with his past misdeeds, his place in the future, face off against terrorists and conspiracies over the control of world power, and choose just what his role will be in the brave new world he helped usher in.

Coming off the heels of the divisive Iron Man 2, this proves to be the sort of follow up to the original Iron Man that many were hoping for, as well as a fine beginning to the post-Avengers Marvel universe. The core of the film, more than anything else, is the completion of Tony Stark’s metamorphosis from the self-absorbed prodigy from the first part of Iron Man to that of a true hero whose first glimmers we saw during The Avengers – by the movies end, there is a sense that the arc his finally reached its conclusion, something we’ve not yet seen in a comic book movie franchise to such scale, despite some other bungled efforts to do so. We see him struggle with facing a world where, among the good guys, he’s the small fry, and where bad guys are increasingly able to hit as hard and hit home, and he’s forced to rely on his wits and courage as much as he is his technology. Much the same, the nature of the threat he’s facing, a multi-layered conspiracy that takes a few brilliant turns over the movie, manages to blend terrifying realism with fantasy to great effect, and it shows that there are some great threats to explore in future Marvel movies. Overall, the movie benefits greatly from Shane Black’s stellar script writing, which manages to balance humor and suspense while oozing with wit from start to finish.

While the Iron Man films, and for that matter, the Marvel films, have always been very character driven, Avengers aside, nowhere has this shined quite as much as it has here. Robert Downey Jr, though it should surprise no one at this point, once again shines as Tony Stark, deftly managing the characters doubts and vulnerability with the trademark snark that made Stark, Downey and Iron Man household names – plus, the fact he portrays PTSD fairly accurately us a major plus when most of Hollywood seems to think it turns you into anti-social mopes or homicidal killers. Gwyneth Paltrow and Don Cheadle, as Pepper Pots and Col. Rhodes respectively, are given much more to work with than they were given in Iron Man 2, and both get some time to come into their own, especially Rhodes, who by the climax, works with Downey in a fashion that will make buddy cop fans everywhere smile.

Much of the supporting cast does fine as well, but Guy Pearce is the one who steals the show as technician-turned supervillian Aldrich Killian. Ranging from his explosive experiments with genetic engineering to his ties to the Mandarin, he’s proudly got his fingers on several villainous plots and positively revels in his actions – as he points out in the film, subtlety went right out the window after Thor started fighting alien robots in New Mexico. His character is devious, despicable, and Pearce gleefully chews the scenery as Killian – part of what makes both so effective is that Killian serves as a dark mirror for Tony Stark, both being brilliant and charismatic men of science and industry, whit radically different methods and goals, and watching them butt heads is a joy from the initial encounter to the final confrontation. My one disappointment is Ben Kingsley as the Mandarin, who as the terrorist known as the Mandarin, one really wished they’d utilized both to far greater effect – some comic fans may complain especially about a twist concerning the character, but moviegoers will be pleased since the effort makes Killian’s plans all the more devious.

Finally, we come to the direction, cinematography and action, and across the board, the film is a firm reminder why people have been begging Shane Black to do another film since Kiss Kiss Bang Bang came out eight years ago. The direction is solid, and Black manages to give us quite a few memorable moments throughout the film. As usual for the Marvel films, the special effects are top notch, with the always incredibly real-looking Iron Man suits again on showcase here, and joined by Extremis virus effects are chilling when applied to the score of terrorists employed by our villains, to say nothing of the holograms and destruction both portrayed with stunning detail. The highlight of the film is the action however, little surprise given Black’s background work during the action movie golden age – highlights range from the destruction of Stark’s home, to Tony fighting off minions with some acrobatic gun play as his suit assembles, to a final climax, that thanks to its kinetic and chaotic choreography, and some absolutely brutal showdowns, is worth the ticket price alone, and with the possible exception of the battle for Manhattan from The Avengers , may be the best action scene in a comic book movie to date.

I will say the film looks great in IMAX, though 3D made little or no difference. Also, as per the Marvel movies, there is a post-credit scene which, although not Earth shattering, is good for a hearty laugh and lets us know just what one certain member of the Avengers is up to these days.

Overall, the expectations for Iron Man 3 were sky high, and it exceeds nearly all of them. Downey Jr. is brilliant as ever as Stark/Iron Man, and benefits greatly from improved material, and having a fantastic foil in Guy Pearce’s villainous Killian to work off of. The machinations of our films villains manage to be grounded in reality, have touches of fantasy, and yet are diabolical enough to give us one of the best villains and plots in recent memory – though one does wish that it had given us TWO of the best villains, as opposed to one. Shane Black knocks the ball out of the park, especially with his script and fine handling of the films action scenes. Best of all, with the exception of The Avengers, this could well be the best Marvel film yet, proving the Marvel Cinematic Universe has plenty of promising potential as it enters Phase Two.

Iron Man proved to be a memorable moment for moviegoers, surprising us at every turn, and showing us glimmers of the great things to come. Iron Man 3 provides yet another such film, a great film in its own right that perhaps most potently reminds us that the best is yet to come. Needless to say, I was thrilled with the film, and highly recommend it. This makes a fine start for the summer block buster season, and one I highly recommend you see.

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Oblivion

2013-04-22T00:52:00.001-04:00

Back when I regularly started doing film reviews, one of the first films I covered on site was Tron Legacy , the long-awaited sequel to the 1980s cult classic which turned Tron into a franchise and a household name once more. While I maintain the film is a solidly entertaining film, and one of the best looking and sounding films I’ve reviewed, the sequel isn’t left the boardroom quite yet, unless you count the top notch TV series Tron Uprising. So when director Joseph Kosinski announced a side project by the name of Oblivion, like many others, I took notice. Though at first disappointed that it had nothing to do with the famed video game by the same name, but instead a science fiction film based on a comic by Kosinski, that is one of three films this year featuring Earth after humanity has sought greener pastures elsewhere, with this movie in particular focused on a pair of observers who stayed behind uncovering a conspiracy. Though no doubt less intriguing than Elysium, and no doubt better than M. Night Shaymalan/Jaden Smith’s last stand After Earth, the film had some intriguing trailers, a solid cast, and I liked Tron Legacy enough to give the film a matinee.

So has Kosinski given us another sci-fi world worth exploring, or is this post-Earth adventure a cinematic apocalypse? Join me as I live into the brave new world of Oblivion.

The year is 2077, over sixty years after a war with aliens known as the Scavs left humanity victorious, yet with a ruined planet increasingly unable to host humanity’s home. So we fled to the stars, most settling on Titan, with a few left behind on Earth to recover relics and supplies. One such paring is Jack Harper, whom along with his partner Victoria, are in the last two-week stretch of their uneventful tour of duty, during most of which, Jack has spent taking in the sights and pleasures of literally having a world to himself, ruined or not. That all begins to change following a crashed spaceship full of previously unknown humans, and shortly after, caverns full of humans still living on Earth, and with them, begins to unravel a conspiracy that will shake the Earth – or what’s left of it – to its very foundations.

The film very much is in the same vein as the post-apocalyptic science fiction films of the pre-Star Wars era, like Logan’s Run or A Boy and His Dog, the film shares a lot of plot elements with these films, which, if you are remotely familiar with any of them, is unfortunate, because you’ll see a great deal of the story coming from miles away, especially given the film practically telegraphs some of them in a monologue at the start of the movie. The film also takes almost an hour before the plot gets moving, which isn’t as bad as that could have been since it takes the time to develop the leads and soak in the world. While very derivative, to the point of having pieces from almost every major sci-fi film since 2001 A Space Odyssey, it remains entertaining through both the introspective first act, and the middle section where the story begins to pick up, along with the intrigue, it falls on its face following a few plot twists in the finale, which will leave most genre-faithful with their jaws agape at the preposterousness of it all.

The acting and characters are something of a paradox, given both the talented cast and somewhat interesting characters are both held back by the script and could have used some more development. Tom Cruise, in just his third science fiction role, is his ever dependable self as our curious protagonist Jack Harper, though he’s not nearly as memorable here as he was in Minority Report or War of the Worlds. Andrea Riseborough, in her turn as Victoria, provides the most personal performance of the film, though she fades into the background with the second act and finale. As for much of the supporting cast, ranging from Olga Kurylenko as a mysterious woman who changes everything, and Morgan Freeman and Nikolaj Coster-Waldau, as members of the still Earth-born humanity, all give valiant performances while working with very little – one wonders if they’d been given more, just what this cast could have done. All around, admirable, yet nothing memorable.

If there is one area that the film totally knocks the ball out of the park on, it’s the visuals and cinematography, and it’s so far the best looking film of 2013. Those that watched Tron Legacy no doubt remember the jaw-dropping cyberpunk visuals of the Grid, and director Kosinski has taken the same gusto in crafting a post-apocalyptic wasteland that is both gritty and beautiful at the same time. This can be seen from the lush post-human landscapes, the crumpling sometimes barely-recognizable ruins of civilization, to the sleek, modern look of the tech and crafts used by the humans. It really is a feat for the eyes from start to finish – if such effort had been applied to the story or characters, this could have been a must-see.

As it stands, for all of its sumptuous visuals, the rest of the film is for the most part lacking. Had the film been more character-driven, or some more work given to the script, this could have been so much more than what it is. As it stands, this is a film you come to, much like the protagonist, to admire and revel in the world, and for some, that may be enough. I however, was left wanting more. If you’re looking for some sci-fi or adventure to whet your appetite before blockbuster season kicks off, Oblivion will tide you over – if you want, you may chance a matinee, but otherwise, wait for it on DVD, where it will make your jaw drop in HD – at least when the story isn’t making your jaw drop for entirely different reasons.

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Former British PM Margaret Thatcher dead at 87

2013-04-09T15:22:00.001-04:00

Today marks the passing of a true titan of the West, as former PM Margaret Thatcher of Great Britain has passed away at the age of 87. Having begun her life as the daughter of a grocer, by the time of her death, her force of personality, loyalty to the free-market and democratic principles and unbreakable resolve had made the co-called Iron Lady an icon the world over, scorned by many, revered by many more, an indisputably leaving an impact on Britain and the world. She began her life as the daughter of a man who owned two groceries in Lincolnshire, and after showing a habit for stern resolve and smart solutions as a student and a chemist, before getting elected to Parliament in 1959. It would be here in the House of Commons where she would be one of several vocal voices among the Conservative Party who reformed it from ‘an Old Boy’s Club’ to its modern shape of the party of the British middle-class, entrepreneurs and industrialists, as well as being a vocal voice against leftism. Under Prime Minister Edward Heath, she would be appointed head of the Ministry of Education, where she would both expand and reform the education system of the British Isles, while cutting costs throughout. Following Heath’s loss in 1974, whereupon her return to the House of Commons, she would be elected leader of the Opposition. Following a series of strikes in the late 1970s, and a vote of no confidence resulting in a conservative majority, Margaret Thatcher would be elected Prime Minister, making her the first non-royal woman to lead Britain, and with the exception of Israel’s Golda Meir, the first woman to lead a western nation. Her reign as Prime Minister would be marked domestically by her brand of ideology known as Thatcherism, which despite a rough start, would begin a number of needed reforms across Britain, dismantling the nanny state that had left Britain that had crippled to the degree that it was known as ‘The Sick Man of Europe’, as well as privatizing many nationalized industries, weakening the trade-unions, and supporting free market reforms and improvements to both infrastructure and education. Though there was much opposition, by the time she’d left office, Britain’s economy and national outlook were the best they’d been in decades, and the thriving economy the nation now hosts is largely thanks to Thatcher, whose ideology has for the most part become a keystone of British policy that Peter Mandelson, a high-ranking member of the Labour Party, would declare ‘We are all Thatcherites now’.

Of course, she would leave just as big a mark on the world at large. This was most notable in her successful efforts to reverse the retreat of Great Britain as a global power, most notably in opposing Argentine irredentism in the Falklands. In addition, along with President Ronald Reagan and Pope John Paul II, she was a vocal opponent of both Communism and authoritarianism, and was quickly dubbed ‘The Iron Lady’ by the Soviets – she would prove her mettle was stronger than even the Iron Curtain, supporting anti Communist measures ranging from the Polish Solidarity movement to placing American missiles in Great Britain would in time force the Soviet Union to crumple, something that has made her a hero to both Eastern Europe and anti-Communists the world over since her tenure.

Following much controversy over her moves to work with European integration, she would resign as Prime Minister in 1990, and would spend the next decade or so as a public speaker and political thinker, before generally receding from public life following a series of strokes in 2002 – her last major public appearance would be at the funeral of her close friend and ideological partner, President Ronald Reagan, where she was one of the speakers. Even today, her supporters and detractors are divided over their opinions over her legacy – a debate that most recently popped up last year concerning a film biopic, the aptly named Iron Lady, which sparked controversy over Meryl Streep’s portrayal of Thatcher as a frail forgetful old woman, which many detractors – myself included – lambasted for misplaying a woman who should best be remembered for her strength. Regardless, many on both sides agree she was a fine stateswoman and a courageous leader who stood up for what she felt was right, fought for reform that she felt necessary, and offered uncompromising leadership in the proud tradition of Briton’s from Elizabeth I to Winston Churchill, and made Britain and the world better for it.

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A Final Thumbs Up for Roger Ebert

2013-04-08T15:37:00.001-04:00

Today is a grim and sad day for critics and moviegoers alike – acclaimed film critic and journalist Roger Ebert has passed away following a long history of health problems, most recently his second battle with cancer, which would take his life early this morning. He was 70 years old. With a career spanning close to fifty years, his impact on journalism and cinema is both enormous and understated – starting as a freelance writer before getting a job with the Chicago Sun-Times as a columnist, and eventually a film critic in 1967, almost immediately he was hailed as one of America’s finest film critics, most notably by winning the 1975 Pulitzer Prize for Criticism, the first, and until the last few years, the only film critic to ever do so. He would continue to write reviews up until his death, and recently gained praise and infamy from some of his columns where he did everything from calling for the MPAA rating system to be abolished to his infamous claims that video games would never be a true art form. Regardless, he would leave millions debating and discussing his every opinion. Of course, what he will be best known for is his famed TV show from various incarnations, At the Movies, which he co-hosted with rival critic and journalist Gene Siskel until Siskel’s own death of cancer in 1999 – he would go through various co-hosts since then, most notably Richard Roeper, before resigning following his first bout with cancer in 2006. It would be hear where Ebert and his contemporaries would judge the movies of the day with in depth discussions of the merits of the movie, and offered what may be the simplest and best recommendation method yet devised – a simple thumps up or thumbs down. It would be here that most of America would watch them on television, and get their first impressions of many movies, and of film criticism itself – Siskel and Ebert arguably did more for making critics a part of the cultural background with this show than anything else did, with the possible exception of the Internet.

Of course, it goes without saying Ebert’s impact on critics has been enormous – this ranges from modern critics like Leonard Maltin and Richard Roeper, web critics like the Nostalgia Critic, and even I your humble narrator – most notably in regards to the fact that I don’t give my reviews a traditional or numerical rating, I merely state if I like it or if I didn’t. Of course, as mentioned previously, Ebert more than anyone else is to thank for making criticism an art form in and of itself – something any culture buff, let alone formal critics, all owe the man a serious debt for.

In the end, Roger Ebert, as a critic and a journalist, boasts an enviable legacy, an immeasurable impact, and one can proudly look over his decades spanning career and see he bridged the gap between movie lovers and critics, gave opinions that pleased both, and up until the end, loved the arts as much as he loved talking about them. One can only hope that he would be pleased that millions will be talking and giving their opinions about his opinions for years to come, and that countless others seek to follow in his footsteps. Rest in peace Ebert – we’ll miss you at the movies.

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My Fair Use Headache

2013-04-02T15:37:00.001-04:00

Seeing as today is April Fool’s Day, I figure now might make a great time to talk about a particular act of idiocy that has caused me no end of headaches.

A few of the more devout readers among you may have been following my attempts to enter video blogging, specifically by adapting my movie reviews – which, for one reason or another, seem to be what I am best known for thus far in my writing career – into the far more popular video reviews that litter the Internet, out of both a commercial and professional interest. A few of the more studiously devout among you may have also noticed over the last month that a number of the videos I’ve done have had a nasty habit of disappearing from time to time. Well, I’m about to tell you why.

It all started when I attempted to post my video review of Skyfall – I said attempted, because it was up for a grand total of five minutes before it got blocked for perceived violation of copyright law. Within a course of two minutes, I’d had a claim from Sony Pictures, Fox, and the International Olympic Committee claiming I’d violated their property rights.

Now, let me begin by saying how absurd this is – first, because since the video in question was a review – a positive one at that – it is covered by fair use under US Copyright Law – something which, as I pointed out to the claimants, caused both Sony and Fox to drop their claims, through I have yet to hear back from the International Olympic Committee. Second, I gave credit to the copyright holders in both the credits and video description, making my claimed ‘theft of content’ all the more false.

Unfortunately, this was only the beginning. You see, soon after, all of my OTHER videos got claims put on them, with Lionsgate submitting claims on the Expendables 2 and Dredd reviews, and Miramax actually recently got my Crow review banned from being shown within US territory based on their claim. Most absurdly, is that another claim was made on the Skyfall by a user called ‘Eidiseis Dotcom – skai’, a YouTube user whom, according to my research, seems to make dozens of claims on videos he himself has no rights to, only so he can troll people.

Needless to say, this has been a serious headache for me over the last few months, and a big reason why my Hobbit video review and by Olympus Has Fallen video review, both of which have been finished, have not been posted. One of my earliest posts was about the desperate need for Copyright law reform, something I have maintained for years, yet this is my first personal encounter of just why it is so desperately needed.

I hope I can get these resolved with some expediency and without having to go through many more of these hoops – as far as this goes, I may ditch YouTube in favor of Blip.tv or another alternative. If this headache continues, I may be forced to give up the video review venture altogether, at least until a later date. As much as I enjoy it, I do it because I enjoy it – if the continued uphill battle against perceived claims of multibillion dollar corporations takes that away, I have no reason to keep making them.

Just like I’ve said before; the way copyright law is enforced in this country, it’s no protector of creative forces, but a noose to hang them with.

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The 2013 Summer Writing Challenge

2013-04-02T10:52:00.001-04:00

I’m going to admit something my dear readers – though I, in a large part thanks to keeping up with a schedule of writing articles for this site, have gained something of a knack for writing articles, essays and otherwise non-fiction works, I continue to struggle with my fictional works. This is due to a combination of factors – I am a full time college student, a freelance writer, and a blogger, so my writing schedule is fairly packed. Nonetheless, I have been trying to fix this, given a number of projects I have in the pipeline – all I needed was a push, you could say.

I found this push from a couple of friends of mine, Matthew Quinn, a fellow blogger and writer, and a good friend whose always happy to give me some advice concerning my writing, and Nick Hoffman, another writer, blogger and friend who, among other things, gave me my first off-site writing job at his website The Dudeletter. You see, over the summer, the two of them have made a bet to write over 10,000 fictional words per month over the summer, once Nick’s teaching job concludes until the fall. This means that, for May, June, July and August, they expect to have 10,000 words MINIMUM for their various fictional projects, including short stories and novels – at the end of August, whoever has the lowest word count buys lunch for the winner.

Here, I saw my motivator – the two have always been reliable for advice and motivation, and I am always game for good competition. So, I volunteered as a third party to the wager and was happily accepted among them and their wager, and already heading down toward Georgia (where the two live) for the upcoming birth of my Godson around that time, tossed my lot in for the lunch wager, with logistics to be planned in the weeks ahead.

All-inall, I have to admit I’m looking forward to it. I win, I get a free lunch, I lose, I enjoy a lunch with two good friends, and either way, I will have made some serious headway over the summer toward my fiction works! Just what are these fictional works you may be asking? Well, you should know by now my dear reader, that I am an incorrigible tease, so you will have to wait just a little bit longer… a few of the more observant and loyal readers among you may have seen me drop hints toward a few of them throughout the articles here. Have no fear though – I will reveal a few of them early next month. I hope you’re as excited to hear about them as I am to tell you about them.

Until then, myself, Matt and Nick will post details about this competition until the bet starts in May, so please feel free to encourage/nag us into doing better, all of us to do better. And while a I cannot speak about Matt and Nick, if any of you have some projects of your own, and would like to take a side wager with me, your humble narrator, I’m always happy to have more competition, so send me a message! For now though, to quote Matt, let the games begin… in a month.

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Giles Crafts

2013-03-21T14:37:00.001-04:00

One of the things that the Internet has allowed to an enormous extent has been allowing would-be entrepreneurs of all types and stripes to set up shop with very little overhead and near limitless potential clients for whatever goods and services you care to offer to the world. I should know – this site is one such effort, in that it showcases my writing to all who care to read it (to which I say thank you!) and I may soon start a few projects of a more entrepreneurial type as well.

Today however, I am here to talk to you about another such effort from a long time friend of mine. Aaron Giles, along with his wife, have opened an online vendor showcasing jewelry, embroidery, artwork and various other crafts the two have made and are offering for sale. Under the moniker of Giles Crafts, they are offering some quality stuff, all homemade and handcrafted, top notch goods offered at top notch prices. From what I have looked at, it’s all some pretty chic stuff, with more on the way or as asked for by the clientele.

Though I can’t say much about the products personally, I can testify about the man selling it – you see, Aaron Giles served with me in the US Army. During a particular time of my service where good and dependable comrades where few and far in between, Giles proved a steadfast and loyal friend. He’s a good soldier and a better man, I’d trust the man with my life, and wholeheartedly tell you to trust him with your business.

So my dear readers, if you’re looking for jewelry or embroidery, take a look at their store, or feel free to check out the Giles Crafts Facebook page to request something else made to your specifications. If nothing else, please like them on Facebook and tell people about them to show some support for what is already a sterling business venture. People selling things on the Internet are a dime a dozen, but when it comes to the gems and art of Giles Crafts, you have a true diamond in the rough – I urge every one of you to give them a look, and give them your business.

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Samurai 7

2013-03-17T01:22:00.001-04:00

Seven Samurai – just the name alone brings pause to many people. Akira Kurosawa’s 1954 period epic has proven, like much of Kurosawa’s work, is both rightly revered as a classic and has proven to be wildly influential to countless other films shaped by the story and style of the film. Also in true Kurosawa tradition, is the fact this has not been limited solely to films influenced by Seven Samurai – more than any other Kurosawa film, there have been countless remakes, reimaginings, and even outright rip-offs of Seven Samurai, ranging from the likes of The Magnificent Seven and Ocean’s Eleven to A Bugs Life to an upcoming modernized remake that shares the same title. Today however, I’m going to talk about one work in particular, the 2004 anime Samurai 7. Most recently shown as part of the revived Toonami action cartoon block that, has by every measure, lived up to its pedigree, Samurai 7 ended its twenty-six episode run last night, and it surprised me enough that I felt a full review was in order.

The plot of the series should be familiar to almost all of you – in Kanna village, peasant farmers, perennially harassed by bandits for their food and their daughters, are fed up, and seek samurai to defend to village, and being but farmers, can only offer their would-be warriors rice as payment. Eventually though, they do indeed find seven samurai who volunteer to protect the village, teaching them to defend themselves, helping to fortify the village, and leading the defense and counterattack against the bandits when they come – as well as uncovering and eventually confronting a conspiracy that will threaten to not only change Japan, but the wider world as well.

OK, so maybe that last part is new, but the overarching story will certainly be familiar to anyone who has watched Seven Samurai or any number of the various films that used the same plot, Samurai 7 has a distinct advantage over many of these movies for a simple reasons – they have thirteen hours to tell a story a movie struggles to tell in two or three, and over twenty-six episodes, are able to take their time to develop the now familiar plot with great detail, and for the most part, do so without padding it unnecessarily, and develop both the cast of now immortalized characters and the alternate world of the series altered Sengoku Japan.

Just how is it altered you ask? It takes place in a Sengoku Era Japan that has been heavily influenced and changed by steampunk elements, making this, it least superficially, alternate history. This can be found ranging from familiar genre elements like airships and eugenics to clockwork mechas known as ‘Machine Samurais’, cyborgs known for their lethality formed from a process that consumes all but the sentience of a human volunteer, people who include the bandits and Kikuchiyo, the clownish seventh samurai immortalized by Toshiro Mifune in the original film. While strange at first look, it makes the show all the more fantastic, and allows many new plot elements and themes to be added to the overarching story of the show, and while some of this may be strange or seem needless – I’ll get to one way in a moment – in others, it adds depth that serves the series very well, most notably in the form of an overarching theme that the samurai of the era see the writing on the wall concerning their livelihoods – they see the wars of the future as one of gunpowder and the much maligned mechanized samurai as opposed to katana and bushido, making one of the shows overriding conflicts being the samurai hoping to prove there’s a place for themselves in this brave new world just as much as the peasants who hired them.

Speaking of the samurai, much of the cast is characterized and updated brilliantly, which given the classic nature of the source material, is a must for any would-be remake. Given the twenty-six episode timeframe, there is a great deal of character development given to the now familiar troupe of characters, especially our the titular Samurai 7, who are fleshed out in new ways over the course of the series, yet still faithful to the original film.

Kambei, the wizened and war-weary leader of the seven, is played true to his stoic roots. Gorobei, Shichiroji, Heihachi, and Kyuzo, the four samurai of the original film who never got much of a back-story or characterization, are each given a fitting one here, often in the form of an episode revolving around them, ranging from the showman strategist Gorobei having worked as a showman, to Shichhiroji, Kambei’s old war buddy, been given a significant other and lost his hand in a previous war, giving him reasons to be reluctant to fight again.The two that get the greatest benefit however, are Kikuchiyo and Katsushiro, whose characterization forms whole story arcs.

Kikuchiyo, the brash, clownish yet plebian samurai immortalized by the late great Toshiro Mifune is once again here both the bridge between the samurai and the villagers and the comedy relief of the series, often to surprisingly hilarious effect. Here however, as mentioned before, he is one of the already mentioned mechanized samurai, he offers a window into that particualr element of the world. Better still, purists will find his cybernetic nature is justified in how they tie it into his cannon back-story given from Seven Samurai, where he was a farmer masquerading as a Smaurai – here he was a farmer who, having no noble blood, could not become a Samurai, yet was willing to give up his very flesh and blood to become a mechanized Samurai, all out of a desire to wield his blade in defense of low folk like himself.

Much the same, Katsushiro, who in Seven Samurai, is characterized as the young/inexperienced one, largely preoccupied with his love interest, is here much more fleshed out, and the series proves as much his story as it is anyone’s. He starts the series an eager and idealistic youth, who took up his katana having been brought up on samurai stories, and keeps to live up to the bushido code exemplified in those same stories. As the series goes on – and especially as the conflict ramps up and the body count rises – he is visibly shaken both by how his storybook ideals don’t quite match up those needed on the battlefield, and by the horrors of war themselves, having had to kill enemies, bury friends, and realize that war is far from the glorious place he realized. His growth as a warrior and a person continues to the end of the series, where he has become a formidable samurai in his own right, and has come to terms with the realities of warfare. The whole arc is done superbly well, and having undergone a similar period of personal growth during my military service, it made Katsushiro all the more identifiable.

The seven samurai are not the only characters given much more detail. The two-dimensional love interest of the original film has been fleshed out into the character of Kirara, the Shinto priestess of Kanna village initially charged with finding and hiring the samurai to defend Kanna, and in addition to being fairly headstrong and quite vocal, the series covers a character arc of hers where she goes from very optimistic and faithful to disillusioned and giving up the role of village priestess having seen the tides of war. Rikichi, a fairly forgettable peasant from the original film save for a moment concerning his wife, is made into one of the main cast, and serves as our window into the lives of the villagers, and his arc concerning his wife is given much more time to develop, and leads to some truly surprising turns toward the tail end of the series. A number of the other cast members get some proper detail as well, especially the villagers of Kanna, albeit with mixed results, given the way some of them are drawn.

I think my sole complaint, in regards to the cast and the story, is that there isn’t any true villain, certainly not on the scale or level of detail of the samurai, meaning for the most part, the bad guys are the bandits made all the more faceless by the mechanization process, and though there is something of a ‘final boss’ for the last few episodes of the show, the nature and origin of the villain are still something of a letdown, made up for somewhat given the steampunk elements and nature of his ‘evil plan’. Had there been some sort of proper villain – maybe a more developed version of the bandit chief of the film, or create a scheming shogun or wicked daimyo, someone who can provide the sort of scale of villainy needed to butt heads with seven protagonists who have been near the top of the list of most famous cinematic heroes for close to sixty years now.

As for the technical and artistic aspects of the show, as you might expect seeing as it covers perhaps the crowning achievement of Japanese cinema, the production teams wasted no effort ensuring Samurai 7 is, from start to finish, animated beautifully. As far as the animation is concerned, it is easily one of the best looking anime on the market even today – everything from the coloring to the attention to detail is absolutely top notch, especially concerning the characters and steampunk elements, outdone only by some works of Studio Ghibli, and the combat scenes especially practically pop of screen. Just as much attention is paid to both the development of the greatly expanded story and ensuring the dialog is sharp as a katana’s edge – rather important given that the series is, at its heart, a character-driven period piece. While I can’t testify how the Japanese audio sounds, seeing as I watched the English dub – what minimal Japanese I know, ironically enough, are bits I picked up from Kurosawa films – the voices all fit the characters perfectly, and the voice acting is top notch.

Overall, Samurai 7 is by and large, one of the best anime I’ve ever seen, and from start to finish, does honor to its lineage and source material, all the while fleshing out the story and adding the steam punk elements to great effect, resulting in a final effort that does Kurosawa proud. In addition, it’s a fine example of just what a difference there can be between a movie and a TV series or miniseries – the detail allowed given to the characters, the story and the setting truly do set it apart from all the various adaptations of Seven Samurai, and even a Kurosawa fan like myself has to admit in some ways, it even improves upon the original work. Even if you’re not a fan of Kurosawa or anime, the series is well worth a look, and if you are a fan of one or both, I cannot urge you to watch it fast enough.

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IFTTT

2013-03-05T11:52:00.001-05:00

In this day and age, if you manage any sort of media presence or platform on the Internet, making sure you update and share content between all the various outlets and websites that can make up a platform, ranging from Facebook to Twitter to YouTube to WordPress, and countless other websites, networks and apps in between, you know how much of a chore that can be, especially as that platform grows bigger. Which is why today, I’m sharing with you one of the handiest apps I’ve discovered in a long time: IFTTT.

IFTTT (pronounced like ‘gift’ without the ‘g’), stands for IF This Then That, and you can guess what it does just based on that name alone: when one thing happens one one site, IFTTT will react by committing a chosen action on another site. This can range from – in my case, to use an example – posting a link to an article I wrote here on my Facebook, posting a status I had on Facebook on Twitter, and a number of other functions.

The way it works is almost amazingly simple – you create a free account using an email address, followed by a login and password. From there, you are shown all the various sites and platforms IFTTT can plug into – currently a total of 59, ranging from Facebook and Instagram to Gmail and Dropbox. You then tie in whatever accounts you want from the listed sites and what not. Then, all you have to do is create a ‘recipe’ by choosing ‘ingredients’ – in short, you chose one platform, an action your perform in said platform, than chose an action you want done in a different platform each time you do the previous action in the first platform. Once you program a recipe to your liking, IFTTT will automatically do this every time, and you can manage this at your leisure.

IFTTT brilliantly manages this with little input from you once you set up an account and your recipes, which takes a little under thirty minutes. The end result will save you a lot of time if you manage several accounts and platforms on several sites – in my case alone, it has made managing my social media platform almost exponentially easier than, especially given the number of accounts I manage. Top it off with the simple, clean and easy to use interface, and they have themselves one fine product.

Given this works as magnificently as it does, and better yet, is free to use, I highly urge anyone with even the smallest social media presence or platform, or even has trouble maintaining both a Twitter and a Facebook, to give this a look and a try.

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A Good Day to Die Hard Video Review

2013-03-05T11:37:00.001-05:00

As promised, my long awaited to return to video blogging following the abrupt and uncalled for cancellation of the prior partnership over production is here at last… I only wish I’d started with a better, less heartbreakingly bad movie. Kicking off the return is my coverage of A Good day to Die Hard.

Yeah, the movie was awful, but I dare say this review is well worth a watch nontheless.

Though a little rough around the edges, I’d say not a bad start for a first attempt if I do say so. I used a borrowed camera and had this filmed in a little under an hour, and between those and some video clips, as watching some guides on how to edit on YouTube, had it edited and ready to upload within another four. Room for improvement of course – but that’s what I’m here for, to learn and get better with each passing video.

Overall though, I’m proud of the final product, and have to say I’m looking forward to doing more of these, and improving with each attempt. Be sure to watch for yourself, leave a comment, follow me on YouTube, and keep an eye out for my next video review: the long awaited and long-promised Skyfall.

As for the other projects I talked about? All in due time…

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Pluto has two new moons – and you can name them!

2013-02-22T00:03:00.001-05:00

Though demoted from planet to dwarf planet, Pluto certainly doesn’t lack a set of moons – in addition to the already known Nix, Charon, and Hyrda, in a string of objects being discovered at the edge of the solar system, two more were discovered in the last year. While interesting enough, the reason I bring them up because the International Astronomical Union, which has narrowed down a list of names for the pair of moons, has decided to let us do it.

The International Astronomical Union, who among other duties, name all objects in the solar system, along with the SETI Institute – yes, that one – have carved out a series of names, which, in keeping with the tradition of naming all of the planets and moons after figures of the Greek/Roman pantheon, include:

Acheron

Alecto

Cerberus

Erebus

Eurydice

Hercules

Hypnos

Lethe

Obol

Orpheus

Persephone

Styx

Needless to say, I’m all for having a hand in the nomenclature of the solar system, and for those of you who feel the same, you can vote on them here, or if you feel particularly daring, can suggest a name here. I personally favor Cerberus and Styx personally, but needless to say, I look forward to just what the names will be when the poll closes on Febuary 25th. In any event, these two will have names just in time for the New Horizons flyby in 2015.

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A Video Tribute to The Crow

2012-10-30T00:25:00.002-04:00

Have I mentioned I’m a fan of The Crow before? Maybe once or twice? I’ve written about the classic film, I’ve written about the classic comic, and in the near future, I may write about the recent pair of new Crow comics that have recently been published, but in honor of Devil’s Night, I have a special treat for you, my dear readers. For a change of pace, I’m going to talk about the Crow – that’s right, it’s my latest video review! Enjoy!

A look back at Scary Stories to Tell in the Dark

2012-10-28T22:31:00.000-04:00

It never ceases to amaze me how browsing the internet can spark instantaneous nostalgia. Most recently, it came when I was poking around Cracked.com, when I came across an article that sent me shuffling through boxes in my closet. What I was looking for, and eventually found was a triage of terrifying books that defined many an October of my childhood: the Scary Stories to Tell in the Dark anthologies, by Alvin Schwartz.

Between saying the title and showing you the books, I’d wager I just sent a good portion of you searching for your own packed away copies. As for the rest of you, I’ll fill you in, fear not (not yet at least).

A series of three anthologies published 1981 and 1991, these books were collections of ghost stories and folk tales that were a staple of any bookshelf or library, with subjects and nscares ranging from ax murderers, poltergeists, monsters and every other manner of dark dream that can be conjured up by the human mind. The result is a mainstay of adolescent fiction, and a collection of tales that will leave you chilled and never leave your memories for years after.

Schwartz had a talent for taking each of these tales and keep you on the edge of your seat, with a prose that just begged to be read aloud to friends around a campfire or flashlight. Each one, whether the story in question was chilling, thrilling, tragic or even humorous, they were all equally unnerving. Of course, what made the collections must reads was, with all due respect to Schwartz’ writing, were the illustrations by Stephen Gammell, a few of which I’ve interspersed into the article. As you can tell, these were pure and utter nightmare fuel, like nightmarish Japanese ink paintings by ways of R’lyeh, enough to push an already scary story into one that will keep you awake all night and haunt your dreams for weeks after – if they ever do illustrated versions of Lovecraft, this is the look they need to go for.

Between the masterful prose and delightfully disturbing artwork, you can see why this was a childhood favorite of many for years, and like any book worth its salt, one constantly banned or challenged in school libraries, having been the most challenged book of the 90s, and remained in the top ten most challenged books in the 00s.

Perhaps for that reason, they changed the illustrations in a recent edition after fighting the censors for years, which I feel a grave folly, and not just because the new pictures don’t pack even an ounce of the wallop the originals did. This is an understated classic, having influenced many people from horror authors to comic artists. It certainly was a hit among kids – the reason I own copies of them is the fact the books were always checked out. What the censors don’t seem to understand is that it’s good for kids to be scared out of their wits every now and then – it would be a shame to deprive the rising generation to have their skin crawl at these brutal spine-tinglers.

That said, if you ever get your hands on the original – trust me, you’ll know if it’s the original – read it or buy it at once, there is a reason they have copies going for more than $50 on Amazon. If given the chance, give it a read or share it with your kids – just leave the lights on.

Trust me on that one.

Cannibal Holocaust

2012-10-19T18:30:00.000-04:00

Taking the torch from the now finally deceased Saw franchise for being the horror franchise that just won’t die, Paranormal Activity releases the latest film in the line today, Paranormal Activity 4. Largely responsible for the glut of found footage films in recent years, and while a number of these are quite good, Paranormal Activity had a bit of a tired premise even the first time around, and four movies later, there’s hardly any scares or life left in the series. In spite of this, to say nothing of brutal reviews, the latest movie is expected to set October box office records, and with Paranormal Activity 5 already in development, it looks like Hollywood plans to ride this gravy train as long as shmucks will pay to be ‘scared’ of moving furniture and levitating teenage girls.

I however, think the masses deserve a better breed of terror, and I have just the film for anyone looking for something a tad more terrifying than dead-four-time-over jump gags. You see my dear readers, as I fan of both horror movies and found footage films, I have am here to showcase a living legend of both genres. The movie is a bona-fide urban legend, whisperings of which have been circling around film buff circles since the 1980s. It is a grindhouse gem that manages to be both an anti-exploitation film, and yet is the greatest example of that very genre. It is a film so raw, so commanding and so stomach-curdling in its grotesquery, that it is still banned in many countries, and impossible to legally purchase in its true form in countless others. It has a core message that will bring you to your knees, and violence so brutally realistic that not only has the film been banned in over fifty countries, but the director was briefly charged with murder when police saw the movie’s death scenes, and would not drop the case until he proved his cast was still alive. It has spawned multiple imitators and entire subgenres, yet never any equal in terms of both disturbing brutality and powerful tone and direction. I am talking of course, about Cannibal Holocaust.

No doubt a number of cinephiles out there reading this just felt your bowels turn to ice from that title alone, and for good reason. A few of my more devout readers may have seen me mention it a few times before, on both my list of Must See Horror Movies, and my list of the Top Ten Most Controversial Films of All Time, and it earned a spot on both, have no doubt. Given that this weekend will spend millions of dollars on another half-assed sequel to the rather blasé Paranormal Activity, and I don’t have the power to force them to watch this instead, I figured now is as good a time as any to showcase the underrated horror classic that is Cannibal Holocaust.

Made in the midst of the heyday of Italian grindhouse cinema, which has a deserved reputation for gore and controversy in its own right, Cannibal Holocaust is perhaps the most (in)famous product of not only the oddly expansive cannibal subgenre, but the entirety of Italian exploitation films. Almost since its first release in 1980, Cannibal Holocaust has been an immensely controversial film, and has left critics divided over its artistic merits, or lack thereof, since day one. In spite of the controversy, or to an extent because of it, it has earned its place as a cult classic that goes far beyond that of nearly any other of the era’s exploitation films typical fan base, earning accolades from publications like Total Film, IGN and Wired, celebrities including the likes of Sergio Leone, Sylvester Stallone and Sam Raimi, and of course, your humble narrator.

Having been first introduced to the film in the US Army during one of my unit’s regular movie nights, when a fellow soldier plopped the movie into the DVD player telling us this would become the most disturbing and terrifying film we’d ever watched. He was right, and the film quickly earned a spot as one of my favorites for being one of the most brutal and shocking films I’ve ever seen, and one that never gets any easier to watch at that. I’ve shared it with friends, whose reactions range from stunned silence, to screams, to in the case of a long-time horror fan friend of mine, total and utter incomprehension. Now, I share it with you – consider yourself cautioned.

The movie itself (Spoilers!) opens with anthropologist Harold Monroe hired by a television studio to head off into an uncharted stretch of the Amazon jungle, in hopes of tracking down a crew of famed documentary filmmaker Alan Yates and his crew, who had gone missing while making a documentary called The Green Inferno, which showcases Amazonian cannibal tribes. Along with his guide, he discovers that the local tribes have experienced some sort of unrest at the hands of the filmmakers – unrest which untimely ended with one of the tribes making a meal out of them. After some negotiations over a meal – yes, man is served, hint hint – Monroe manages to obtain their film reels in exchange for a tape recorder.

Back at the studio, which has asked Monroe to host the broadcast of the recovered documentary, which he accepts if allowed to review the film first, and it is here that Cannibal Holocaust delves into truly terrifying territory. Yates and his crew, which we were led to believe were intrepid film pioneers culled by savage cannibals, turn out to be cutthroats willing to commit acts that would make Col. Kurtz take pause in efforts to get shocking and sensationalist material for their ‘documentary’. In their own trek through the jungle, they burn down a village, slaughter some animals, kill a number of natives, and rape a few others, all in the name of great television. By the time the locals turn their spears on them, the filmmakers fully deserving to be served on a spit, the final frame on Yates’ bloodied face as a screams as a stone axe falls, we see that savages come in many forms, and not always the forms we expect.

The story and the execution of it is what in the end I would wager has given Cannibal Holocaust both the longevity and fanbase it has – as I mentioned before, Italian grindhouse cinema did not lack an abundance of gore and controversy, and there is no shortage of other film, even other cannibal films, that are for more disgusting, disturbing or diabolical. What makes Cannibal Holocaust the memorable film it is ultimately comes down to the story, which in addition to the creative narrative angle which has since managed to spawn two entire subgenres, tells one a very potent satire of media sensationalism and the savagery of the modern world. The angle involving the documentary filmmakers was at the time a slap in the face to the Italian Mondo films, though it has aged quite nicely into a before its time satire on the modern media, both in its quest for ratings and its willingness to sacrifice journalistic integrity and good taste to get them. Much the same, one of the overriding themes of the movie is the comparison between modern civilization and the tribal cultures, and its message that we are every bit as savage as they are. Perhaps what makes that message so effective is that we, the audience become complicit in the act ourselves – literally the entire first half of the movie sets up that these filmmakers were victims of barbaric savages, cannibals no less, and we buy into it, only for the movie to turn our prejudices on our head when we find out the real monsters are. In another swipe, how many folks watch the movie having heard of its reputation for violence must feel pangs of guilt once the final credits roll? The story and themes are almost universally ignored in the horror genre, especially much of the found footage subgenre, so the focus on it Cannibal Holocaust makes it something of a rarity, resulting something you’d have expected if Heart of Darkness was about sensationalist media as opposed to colonialism.

Of course, there is no denying for what brilliance of storytelling there is, the film has a well earned reputation for it’s almost unmatched of levels of violence and depravity, and from here no doubt stems the majority of controversy surrounding the film. I wasn’t exaggerating earlier describing the movie’s reputation either – it’s easily one of the most shocking films I’ve ever watched, and understandably one of the most controversial films of all time. Content included massive amounts of both blood and nudity, vivid scenes of rape and murder, real animal slaughter and some of the most-photorealistic violence ever put to screen. A lot of it is so graphic oven the most stoic screen-junkies will find their stomachs turning, and thanks to the superb work with the makeup and gore effects, the line between what is real and what is not is blurry as static, adding to the already palpable tension and unease of the movie. Describing some of the scenes is difficult, let alone watching them. Worth special note is what has sparked the most controversy with the film, the filmed killings of seven animals in the movie, including one where they carve open a turtle showcasing its bubbling innards and still blinking eyes for the camera, which will haunt you forever. While I do find it horrendous, it was a tragic commonality of movies in the era – one that always gets overlooked is Apocalypse Now, which has two or three animals killed on screen – and it’s somewhat sad that in Cannibal Holocaust gets most of its infamy from this, as opposed to, for one example, the film within the film, Last Road to Hell, which consists of actual footage of executions and civil war in Nigeria, yet people seem to care more for Amazonian muskrats. Needless to say, between the impaled tribal women, dismembered muskrats, and Nigerian executions, there is something to shock, scare and shake anyone, and the movie is deservedly infamous for such.

That said, between the substance of its story and themes, or its myriad of controversies, few would deny the skill put into the movie, or the impact the film has had. The movie’s cinematography and editing is handled masterfully, as savage cruelty is eerily juxtaposed with beautiful scenery and Riz Ortolani's terrific score, which makes every scene all the eerier. Disregarding its fame from controversy, the impact of the movie is drastically underrated – in addition to its influence on the horror genre and its impact on a number of filmmakers, but for literally being the starting point of two entire subgenres, both the faux-documentary and the found footage film, the latter of which, a few exceptions aside, are all largely derivatives of Cannibal Holocaust. I'm looking at you Blair Witch!

That impact, to say nothing of the current boom of found footage films is part of the reason why I would love to see a remake of Cannibal Holocaust. Hand it to someone like Quinton Tarrentino or Eli Roth, both of whom claim the movie as an influence and a favorite, play up the themes and realism and remove it from its controversies – or with the miracles of modern marketing and viral media, play up entirely new ones, and you’d have a horror hit for the ages.

That said, the original one is, controversies and all, one of the most memorable films I’ve ever seen, and one that years after I’ve seen it, I still can’t forget or stop talking about. Cannibal Holocaust is a hard film to classify or recommend, but it’s harder to deny it has earned its place as a cinematic milestone for reasons both good and ill – it was and still is a cinematic paradox. On one hand, it’s an unforgivably violent and exploitative work that will leave you undoubtedly uncomfortable, and on the other hand, it’s an undeniably relentless social commentary that is totally unforgettable, and the fusion of these two parts is one of the most brilliantly insane monstrous masterpieces ever filmed. While it certainly isn’t a movie for everyone – I cannot emphasize that enough – if you have the stomach for it, I recommend it highly, if only for the fact there has never been another movie quite like it. It will disturb you, make you squirm, make you scream and leave you speechless – but by movie end, you will be affected by it, and will remember it long after the final credits roll.

In the end, I would call say Cannibal Holocaust is to the horror genre what A Clockwork Orange is for science fiction. It’s a milestone in terms of genre cinema that has had an impact far beyond what many people realize, and has been steeped in controversy for its content since its inception, and its story and theme work often gets lost in the firestorm. In the end, watch it for whatever discomfort it may give you, and if you find its credits outweigh its controversies will depend on you. In either case, it will stick with you long after Paranormal Activity 4 has been forgotten.

Is a Vote for a Third Party really a Wasted Vote?

2012-10-17T04:15:00.000-04:00

Seeing as we are in the midst of the 2012 Presidential election, with lines in the sand being drawn between otherwise civil friends and acquaintances, I feel it’s appropriate to comment on an oft ignored issue that comes around every four years.

I have friends and family who are both Republicans and Democrats of varying degrees who take varying stances on a myriad of issues. This means every time an election season rolls around, especially over the Presidency, there are feuds, fights and many refuse to speak to each other until the end of election, or more often than not, Inauguration Day. With so much vitriol going around on both sides, it is of special frustration to me due to the fact I am an independent.

As any of the more faithful readers of my articles should know, when talking politics I always try to take a centrist approach, due to both my desire not to alienate friends or readers of differing views, and that I am of the firm belief that most issues can be solved by a more pragmatic centrist approach, if only the folks on both sides would take the time to discuss them. It also helps that, for the most part, I like to think my views are not all that controversial – I am an ardent supporter of the first amendment rights, free market capitalism, limited government, and take the Jeffersonian standpoint toward social values, ie, if it doesn’t affect my own life of my lifestyle, I generally think people can and should do as they please.

Needless to say, between the two main parties we have in the US, I am not really welcome on either side of the fence. For the Democrats, I am too much against centralized government, bureaucracy, entitlement programs and market controls. For the Republicans, I am too much against their own moralistic approach to governing people’s personal lives, pushing of religious dogma, and their own brand of centralized government. In regards to both, I am dead set against deficit spending and pork projects, cardinal sins of both parties. As a result, I commit the biggest unspoken sin in the American electorate – I vote based off on my conscious, as opposed to toeing a party line.

This has earned me no end of ridicule, scorn and concern from my family and friends on both sides, who feel I am wasting my vote and support on meaningless third parties, or that my interests would be better served by choosing one side or the other for the issues we do agree on, and swallowing my pride on the rest.

There is some merit to that argument – at this moment, even the largest of third parties, like the Libertarians, Constitutionalists, Greens, Whigs and the rest, have an absolutely pitiful prescience in both media and government representation possessed by the Democrats and Republicans. Few put out serious candidates, if any for local or regional offices, leaving many like myself to vote for which of the two parties’ candidate meets the most of my own views. There is no denying that the political system as is has been set up so that our two party system is nigh unassailable – the last time a third party candidate was elected to the Presidency was Abraham Lincoln and the then third-party Republicans, and the only two serious attempts since then where Teddy Roosevelt and the Progressives in 1912 and Ross Perot and the Reform party in 1992, and the only effect either of them had was tipping the election to one of the two other candidates.

So, yes, the deck is stacked heavily against any prospective third party. 2012 may be the first time since Perot where a third party candidate, Libertarian Gary Johnson, even manages to get more than a million votes. And there is still no denying that people who vote party line waste their vote every bit as much as the folks voting for a third party.

While a few partisans may disagree, I’m sure more than a majority know exactly what I mean. Since JFK, aside from perhaps Reagan and Clinton, every President, regardless of which party he belongs to, LBJ to Obama all increased both the power and scope of government, and each left a trail of broken promises in their wake. Aside from a brief tenure under Newt Gingrich in the 1990s, every Congress regardless of who controlled it has both racked up massive deficits and record levels of pork barrel spending and corruption, and yet retains somewhere around a 95% incumbency rate. Not surprisingly, skepticism and apathy toward US politics has reached all time highs as a result, and in a strange line of doublethink, so has blind partisan loyalty, in spite of the fact that at least in DC, there is little to no difference between a Republican and a Democrat in the way they govern, as are the results: a stagnant batch of bureaucrats increasingly out-of-touch and disdainful of the very electorate they were voted in to represent.

The current election season has provided ample examples of this for those who care to see it. In last night’s debate alone, there was a moment where both President Obama and Governor Romney were fighting over who would spend more money on Medicare, when the exact opposite is what’s needed and asked for by the American people. To use another Orwell reference, it was like a moment straight from the end of Animal Farm – you stare at both the pigs and the people long enough, you realize they’re one and the same.

It would not be the first or last moment like this during the campaign like that. To use last night’s debate as another example, we had President Obama promising lower taxes, balanced budgets, drilling for oil and natural gas, and endorsing gun rights and President Bush, whereas Governor Romney promised to support entitlement spending, the DREAM act, women’s contraceptives, government intervention in the economy, while trashing President Bush - this, in spite of the two candidates running on records and platforms promising the exact opposite. You could be forgiven for wondering who was running on which ticket if you’d watched the debate, and doubting anything promised by either candidate is almost a must at this point. Forget ‘Forward’ or ‘Believe in America’ – the motto here is ‘Meet the new boss, same as the old boss’.

Is there any surprise that when the two main candidates running for President are as interchangeable as their positions and promises that our Political system is in as much trouble as it is today? Congress boasts an average incumbency rate of over 95%, with an appalling number of seats passed down to family members of previous occupants, and has a majority of its members who went to the same colleges and worked as lawyers prior to their election. The Presidency is hardly any better – since 1888, there are a dozen or so families that have had a member either nominated or elected to either the Presidency or Vice Presidency in 23 of the last 31 Presidential Elections – since 1980 alone, all but the last two have seen either a Bush or a Clinton as President or Vice President, and only Ronald Reagan didn’t go to an Ivy League school or work as a lawyer. It’s a political stagnation that has left our government moribund and the people at the top little better than a political aristocracy, largely thanks to the two parties, whose biggest difference in running the country is their marketing strategy toward getting voters, the voice of whom has meant less and less to DC over the last few decades.

Given all of that, why do so many people buy the line that voting for a third party is a wasted vote, and are then told to hold their nose and vote for whichever candidate they are told is the lesser evil. That’s crap America – the only time you waste a vote is when you go for that lesser evil, following orders instead of your conscious. We the people wouldn’t accept that anywhere else, nor should we, and it’s about time that we stop accepting that as the status quo with our government. In the end, that’s the wonderful thing about representative democracy – no matter how bad things get, all it takes to fix things is an aware and motivated citizenry to make their voices be heard at the ballot box, and there isn’t a damn thing DC can do to stop it.

I can only hope someday more Americans will waste their votes like I do – if the electorate voted with their conscious rather than toeing the party line, for once we might get some politicians who would do the same thing. Then, for once, maybe that vote would make a difference.

Taken 2

2012-10-05T18:34:00.000-04:00

Liam Neeson may be one of the most versatile living actors in Hollywood, one of the few who can handle everything from Oscar bait to action thrillers, and do so with a level of charisma and skill that often makes him the highlight of any film he's in. This year in particular is an excellent example of Neeson’s range, with him giving one of his best, and most powerful and personal performances in recent memory in The Grey, being the highlight of otherwise entirely craptacular Battleship and Wrath of the Titans, and his cameo in Dark Knight Rises was the most exciting part of an otherwise moribund film. Now he tops the year off with Taken 2, giving the Albanian mafia another dose of Schindler’s fist.

The original Taken was a high octane thriller and the best vigilante revenge thriller in years, with Neeson stopping at nothing to hunt down and save his kidnapped daughter, even if that means killing half of Paris to do so. While not a critical darling, it was a fan favorite of many, myself included, and it has since already earned its place as a modern action classic. Needless to say, like any good vigilante film, talks of a sequel were immediate, and like many fans of the original, I was excited – only good things can come of Liam Neeson punching things. While I admit some nervousness – mainly that it’s a sequel direscted by the same idiot that ruined the Transporter franchise – and it has gotten poor reviews, it did nothing to deter me as I entered the theater.

So do we has Liam Neeson delivered another instant classic, or has this franchise been taken too far? Join me as I use my very particular set of skills to review Taken 2.

Out movie opens a year after the events of the first movie, with Brian Mills spending time with his daughter, and increasingly with his ex-wife, as well as applying his skills toward a lucrative job in private security. He invites the two of them to join him in Istanbul for a vacation after he finishes a job there. Unfortunately, an idyllic stay in the Queen of Cities is interrupted when Mills and his ex-wife are abducted by the father of one of the sex traffickers he killed in the first movie comes for revenge, something they have been plotting for years. Once again, Mills, with his family in tow this time, must fight and flee their way through the city with vengeance-hungry mobsters on their tails as they try to settle things once and for all.

One of the things that intrigued me about the idea of a sequel to taken is that the potential for a great one is there – given Neeson’s actions in the first film, as well as the Albanian mafia’s legendary love of revenge, there could have come a great angle that no victory comes without a price, or that bloodshed begets more bloodshed, and while the latter is touched on to an extent, if it had been used properly, it could have made the movie much more than it is. On a positive note, while I was wondering just how they get tracked down and kidnapped again, the movie addresses this in a somewhat-plausible way that makes it much less laughable than it could have been.

Much like the first film, one of the things elevates it from the pack of revenge flicks are the characters and performances, and it is the highlight of the sequel. Neeson’s performance as Mills in the first film was critical for giving what could have been a very one-dimensional character some depth and pathos, as you could tell he paid a price for his years of service, and was still struggling to reconnect with his family, whose affection toward them could be gleamed from his facial expressions alone. That is once again the case here, with Neeson once again going above and beyond making Mills a great protagonist, this time closer to his ex-wife and daughter, yet not without missteps. Surprisingly, Maggie Grace, as his previously kidnapped daughter Kim, shows some development of her own, most notably that she still struggles with the trauma of what happened in Paris in the first film, and I wish they would have played that up more; maybe even show her make peace with it by films end. Most of the rest of the cast are passable or forgettable, with one exception to be found in Rade Serbedzija, who played the Albanian mafia don out for blood. As anyone who remembers his performance as Boris the Blade in Snatch knows, he can do wonders in character roles, and his moments on screen show some depth of their own – I wish they would have done more with his character, either developed it more, or played up the villainy of it, but is another missed opportunity in the film.

Which brings us to the movies ultimate failing, the action and pacing, and this is ultimately what keeps it from soaring like the first one. This was another great strength of the first film, as from start to finish; it was taut and tense, keeping you on the edge of your seat until the final shot is fired. That tension was missing in this one, and while there are some great hand-to-hand fights and chase scenes, there is nothing that quite matches to intense chases and brutal bouts from the first film. This is especially telling with the climax when you compare the two movies. In the first film, Neeson was like a force of nature, beating his way through an auction house, stealing a car and chasing down his daughter’s buyer, jumping off a bridge to get on the boat, and then fighting and shooting his way through to save his daughter, and by the end, he’s bleeding and battered – from start to finish, you know the stakes are high, that force of will is what drives Mills forward, and it leaves you breathless right up until the finale. Here, it was basically just retracing his steps, on foot no less, and aside from one great hand-to-hand fight between Neeson and the Mafioso’s enforcer, it’s relatively clear of tension. Most of the film is like that, lacking the brutality and tension of the first film, and while it never truly hurts the film – I’ve seen plenty of movies this year alone that handled the pacing and action worse – it does keep it from matching the first film.

So overall, how was Taken 2?

The story, while nothing original, is enough to keep your attention, and is elevated by being character driven by some great performances from a trifecta of Liam Neeson, Maggie Grace and Rade Serbedzija, and there are some good moments along the way. There are some serious flaws with the movie, mainly with the loss of the brutal action and relentless tension of the first film, as well as a number of missed opportunities that could have made the film stand out on its own, rather than on the shoulders on the first movie.

While I wouldn’t say Taken 2 was bad – it really wasn’t, and I felt I got my money’s worth out of the ticket – it does fall far short of its magnificent predecessor, so it won’t get a blanket recommendation. If you’re looking for a high octane action thriller in theaters, go see Expendables 2 or Dredd 3D, as both delivered across the board, and the latter could certainly use the ticket sales – Taken 2 will make a very solid rental in the future. If you are a fan of the first film or Liam Neeson, or like Luc Besson films, you’ll like the movie, and I would recommend it. In the end though, if the movie caught your interest, I’d give it a chance – it just shouldn’t be taken too seriously.

The New Blogger Interface is Terrible

2012-10-03T00:07:00.000-04:00

As no doubt many of my fellow bloggers have noticed by this point, Blogger has recently switched its interface, and as no doubt many of people who read said blogs have discovered, the Blogger community is not happy about it.

A little back-story for those who might have missed it: early this year, Blogger introduced a new interface on a trial basis. Few switched, and the few that did promptly switched back – by all accounts, the interface was a white hot mess, in terms of both a cruddy design and an interface seemingly designed to prevent bloggers from posting new articles, and give them a migraine in the progress

Sadly, it would seem Google decided to pull a Facebook late last month, and decided to force everyone to switch to the new interface anyway, having not fixed a thing about it, despite the almost universally negative reception to the new interface. Needless to say, the blogger community was not happy.

I as you might have guessed, am among that number. I never have understood why so many sites and software feel the need to perennially overhaul their look and use, usually to the annoyance and inconvenience of their loyal users. Facebook seems to do this every six months, most recently with the still buggy Timeline. Microsoft seems to want to make Windows 8 some sort of unholy half-breed between an Android browser and the Mac operating system, in spite of the fact that most people buy Windows because they don’t want Mac or Android for an OS. Now, Google has done the same with Blogger, making Google+ seem absolutely brilliant in comparison to the utter levels of poor planning and design with the new Blogger interface. It goes beyond fixing something that wasn’t broken, they took something that worked perfectly well before and turned it into an inefficient, complicated and buggy knock off of Wordpress.

One such complaint is cosmetic, as in the new blogger interface contains too much white-and-gray, making it hard to look at for long periods of time. In addition, they’ve changed the former tab and button interface into one largely consisting of click and scroll lists making it much harder to both navigate and use. To give just a couple examples, the monetization tab (the one that helps blogger like your humble narrator make a profit) has ceased to function properly, and the comment tab, which allows a blogger to answer comments, has become almost unresponsive. This, and many more issues still need to be fixed.

However, the problems go deeper than mere looks sadly, with the functionality of Blogger itself changed for the worse by the new interface. Formatting articles, especially pictures is a serious chore in the new interface, and copy-pasting from a Word Document has become much harder since in the new interface it messes up the formatting once pasted into blogger. Worse yet, any action made are typically slower and have about a 50-50 chance of glitching out, causing you to lose some or all of your progress. This above all else, is what has led to no end of frustration among bloggers, myself included – I’ve lost three articles to glitching alone, and even when it doesn’t, it usually takes me twice as long to finish an article solely because of how awkward and inconvenient the new interface is.

Needless to say, it caused some outcry a few months ago when Google introduced it upon a purely voluntary basis – now, without having addressed any of its issues or the complaints about the trial version, they’ve forced it on every blogger in the system, and needless to say, the outcry has been both swift and loud. I know many bloggers, and know of many more, who are actually either moving off site or have ceased blogging altogether because of how utterly infuriating the new interface is – I understand where they are coming from. The whole reason I joined Blogger, as opposed to Wordpress or a similar site is that the interface was so easy and quick to use. With that gone, Blogger’s chief attraction is gone, and not surprisingly, many are seeking more user-friendly pasture elsewhere on the Internet.

The new interface is a dramatic downgrade in terms of both aesthetics and functionality, and I’m at a loss why Google felt forcing this upon people would result in anything other than the massive backlash it has. One columnist put it very well when he called this Google’s New Coke moment – let’s hope they take less time to backtrack than Coca-Cola did, or Blogger might never recover.

Year 3, 1st Quarter Results

2012-09-30T21:00:00.000-04:00

For starters, I’m sorry if this seems skimpier than past quarterly updates, but I’m still getting used to the new blogger format, so there will be no factoids this go around, as I’m both still getting used to the interface, and said interface is a mess – more on that next month. That said, the last three months have been ones of tremendous growth for the site, and a few milestones, most notably that the site is just a few dozen views below 170,000 total views as we speak. That said here are the rest:

Subscribers: 176
Facebook Likes: 93

Total Views: 39,632
July Views: 11,926
August Views: 13,429
September Views: 14,277

Top 10 Posts:

1) Top 10 Most Shocking Movie Twist Endings of All Time
2) Battleship
3) A look back at Toonami
4) Korsgaard v. Twilight
5) The Boondock Saints
6) Top 10 Gameboy Advance Games of All Time
7) Top 10 Most Controversial Movies of All Time
8) It’s time to put the brakes on the Speed Limit
9) Top 10 Most Underused Horror Monsters
10) A rare defense of Valeria Lukyanova, the Living Barbie

Top 10 Nationalities of Viewers:

1) United States
2) United Kingdom
3) Canada
4) Russia
5) Australia
6) Germany
7) India
8) Netherlands
9) France
10) Poland

Though I don’t have any big factoids this go around, I promise some big posts in the months ahead, with a surprise coming early next month in what will be the 300th post on the site, so stay tuned!

Hotel Transylvania

2012-09-28T19:30:00.000-04:00

I’ve said again and again that this has been a great year for movies so far, with just a few exceptions. One of those exceptions has been animation, which has unlike many other film genres this year, gone without even a decent movie. The genre has had pretty slim pickings to start with, between the latest sequels to Madagascar and Ice Age, and Pixar’s How to Train your Dragon (or Brave, as they insist on calling it). While a few upcoming exceptions like Wreck-it-Ralph and Rise of the Guardians look to change that, for the most part, I’ve discounted animation in 2012, so that I’ve come to review Hotel Transylvania is somewhat surprising. Granted, that is because it and Dredd 3D won the vote on my Facebook page, but it is surprising nonetheless.

An animated feature by Sony Animation about a resort for monsters, staring the likes of Adam Sandler, Selena Gomez, Kevin James and the like, I was at first quick to dismiss it as an Adam Sandler vehicle – at least until I saw who the director was: Genndy Tartakovsky. A few of you that, like myself, grew up in the 1990s should have recognized that name instantly, and for good reason. Tartakovsky was the man behind some of the most inconic animated shows of an entire generation, including the likes of Powerpuff Girls, Dexter’s Laboratory, and of course, Samurai Jack. Based on his work on Samurai Jack alone, I am more than willing to give what looks like an Adam Sandler vehicle more than a fighting chance.

So does the movie provide an animated delight or a ghastly fright? Pack your bags, load up on stakes and garlic my dear readers, as I set out for Hotel Transylvania!

Following the death of his wife, Count Dracula decides to build a fortress to provide a sanctuary for the myriad of monsters seeking escape from the ever-hostile mankind, including his daughter, Mavis. One hundred years later, the sanctuary has become the go-to getaway for the creatures that go bump in the night, and Mavis, now 118, wants to literally stretch her wings and see the world, something Dracula, ever the overprotective father, hopes to prevent. Needless to say, the Counts plans get a serious wrench thrown into them when a bumbling backpacker stumbles upon the castle, and hijinks and hilarity ensues as Dracula hides him from both his guests and his smitten daughter.

While the movie treads very familiar ground, both in regards to the overarching plot of an overprotective father just trying to do what he feels is best for his daughter and the monsters aren’t so bad approach, the movie never feels cliché, and always approaches the story, if not from a fresh angle, then from an entertaining one. I’d go as far as to say it addresses some of these plot points, like overprotective parents, far better than many other films this year – Brave, I’m looking at you. This is largely thanks to the script, rich with gags and zingers, which had you smiling from start to finish, while providing a surprising amount of pathos and depth.

Another hallmark of the film is the characters, especially if you are a fan of the classic horror pantheon, which the movie simultaneously plays homage to while providing a loving send-up. The Wolfman, voiced by Steve Buscemi, is a laconic and weary father of a large litter of rambunctious wolf puppies. The Invisible Man, voiced by David Spade, is very insecure and defensive. The Mummy, voiced by Ce Lo Green, both obese and fun loving. Frankenstein, voiced by Kevin James, is a sardonic Jew, henpecked by his domineering wife. Count Dracula, voiced by Adam Sandler, in addition to being widowed and a proud if protective father, both plays on and against many vampire clichés. Selena Gomez is tolerable as Mavis, as is Andy Samberg as the backpacker Jonathan – the latter though obnoxious at times, it’s clearly played for laughs, and succeeds most of the time. Overall, the characters are all a delight and fun to watch, and thanks to the script, it manages to draw out the best of all of the voice actors - Adam Sandler alone gives what may be the best performance he’s given in a decade, though I admit, that doesn’t say too much.

The humor and style of the movie alone are worth special mention, and it is here that you clearly see Tartakovsky’s touch. Both the gag-and-slapstick driven humor and the animation style are very reminiscent of classic 2D animation, clearly influenced by the likes of Chuck Jones and Tex Avery, giving the movie a look and feel rarely found in animation these days, 2D or 3D, and It’s fantastic to see that old school feel make the transition to 3D as well as it does here. Of course, it also helps that the sense of humor is for the most part derived from the same style of humor used for that too, driven largely by puns, gags, and slapstick, and all are delivered with the skill of an old master. Much the same there is some well used meta humor in the film as well – my favorite was a clear shot at Twilight, which left most of the audience in stitches, giving me some hope for the human race. Overall, it’s stylish, funny and at times smart – what more could you ask for from an animated film?

So in the end, how was Hotel Transylvania?

While it goes without saying that we’re not looking at the next Toy Story here, the movie is undeniably a fun, enjoyable and often hilarious film that anyone can enjoy. The story, if not original, is well told and fun to watch unfold, and speed along by a non-stop stream of gags that will put a smile on your face and a laugh in your belly from start to finish. The characters are likeable and funny, and fans of the old school monster movies will love how it pays them homage while making fun of them. The film itself looks fantastic in 2D or 3D, and thanks to a style very reminiscent of classic 2D animation, has a sense of style that is rarely seen these days anymore. The result is a good natured good time for kids and adults alike. While it’s not a classic, it’s a fun ride, and the best animated movie of the year so far – at least until Wreck-it-Ralph and Rise of the Guardians later this year. If you’re looking for a lighthearted good time, I recommend it – my trip to Hotel Transylvania was an enjoyable one, and I have little doubt yours will be too.

The New 52 One Year Later

2012-09-26T14:30:00.000-04:00

It’s been roughly a year since DC launched the New 52, shaking the comic industry to its very foundations, and making headlines in the process. Though the debate over whether or not tossing out seventy years of DC Comic lore was smart in the long run, there’s no denying that the New 52 did two things that desperately needed to be done. First, it breathed life into an industry that had been on life support since the late 1990s, and had many people, myself included, predating the comic book wouldn’t survive the decade – finically, the New 52 has given new lifeblood into an industry that has needed it for years. Part of that is the second goal it accomplished, brining in new readers, which it has down with massive success. I would know, as I’m one of them, as are a number of my friends. In those two areas alone, the New 52 has been a total success.

That said, there have been some things that could have been done better. Though I will say offering digital versions of all of the New 52 was a step long needed to be taken by the comics industry – like it or not, ebooks are the future – there are a few things they could do to make it more appealing, mainly lowering the prices – there is no reason why a digital comic should cost the same as it’s paper counterpart, especially older issues or anthologies, and charging less for them would be a smart move for both sales and PR. Another thing that you think rebooting an entire mythology would have taught them would that you need to think very carefully when it comes to creating the new one – this goes for things like the early issues with sexualizing female characters, questionable directions for some characters and lines, giving control of any title to Robb Liefeld – all are things that would do well to be avoided in the future. Perhaps another thing I’d love to see would be original characters and comics – I know they have seventy years worth of material to use, but it couldn’t hurt to throw in some new stuff too, and the lack of new heroes has been an issue since the late 1990s. If not, maybe tossing in a few more fan favorites might be nice – if there’s room for what feels like twenty or so Batman titles, there’s room for a Lobo title, or a war comic that lasts more than eight issues!

That said, there has been some good too. The most obvious being making a number of characters, like Aquaman, The Flash, and a number of others, all at the best they’ve been in years, begging the question why it took them this long to make them this good in the first place. In addition, they have a great many intriguing story arcs in the year ahead – this includes the return of the Joker in Death of the Family, a brand new Green Lantern and the rise of the Third Army, Animal Man and Swamp Thing facing Rot World together, Aquaman and the Justice League fighting for the Throne of Atlantis, plus the long awaited appearance of the Trinity of Sin. Perhaps most important, is that DC has proven that the New 52 is more than a blatant cash grab, but a serious effort to save the industry and shake things up, and so far, they’ve succeeded.

Overall, the first year was, a few exceptions aside, a smashing success, and I’m looking forward to see what happens in the next year. In the mean time, here’s what you should look at from the last year:

Action Comics – I’m honestly surprised, given both the prestige of the title and talent behind it that Action Comics is the mess it is. It started with the awful direction it took the Superman character for his origins as a hero, and for the last few issues, it keeps jumping around from story to story, with each more random than the last – one in particular, involved an alternate universe where Superman is both black and the President, and it is never brought up again after this. It’s a hot mess, and it’s only worth a brief glance because of its Action Comics pedigree.

All Star Western – Much to everyone’s pleasant surprise, this was one of the breakout titles of the New 52, and for good reason. DC Comics has a rich pantheon of Western characters, and the way the title taps into that is the very sort of thing the New 52 should be doing more of. A double-feature title with a main story following the misadventures of Jonah Hex and Amadeus Arkham, and a backup feature following various members of DC’s western rogue’s gallery, it’s one of DC’s best titles, and I recommend it heartily.

Animal Man – This title continues to be among the best of the new 52, especially given its dark, mature tone and absolutely Lovecraftian art and story. Following Buddy Baker, the titular Animal Man, as he fights to protect the world, and his family, from the power of a force known as the Rot, and in the process, restore balance to nature. Between this and Swamp Thing, both are well worth reading, especially as they delve into the upcoming Rotworld story arc.

Aquaman – As a fan of Aquaman since childhood, it thrills me to say not only is this one of the best titles of the New 52, but the best Aquaman has been in years, and they didn’t even need to replace his hand with a harpoon to do it. Thanks to superb writing and art, and an approach that mercilessly dispels Aquaman’s pop culture reputation as a D-list hero, this has been pure gold from the first issue, especially the last story arc that had him fighting Black Manta over control over an Atlantean artifact alongside his allies, and with next year’s Throne of Atlantis story arc, things are looking great for the King of the Seas, and I cannot recommend it enough.

Batgirl – It was a pretty bold move to make Barbara Gordon not only walk again, but put on the cowl of Batgirl, yet surprisingly writer Gail Simone made it work, and made it work well. Much of the comic focuses on Barabra still suffering from the psychological scars left from the events of the Killing Joke, and given the upcoming Death in the Fmaily story arc will see the Joker return to the New 52, this will be a title to watch in months to come.

Batman – Even discounting the recently finished Night of Owls story arc, this is hands down the best of the dozen or so Batman comics, and part of the reason is it’s just what you’d expect from a Batman title, and yet it still goes in new directions, with Bruce Wayne’s plans to revitalize Gotham of particular interest, especially since it gives Batman’s crusade against Gotham’s various villains yet another layer of depth, and given the upcoming return of the Joker, looks like things will only get even more interesting in the months to come. Needless to say, this is the go-to Batman title of the New 52, and one of DC’s best titles in general.

Batman and Robin – Focused largely on the tense yet thawing relationship between Bruce Wayne and his son Damien, the comic focuses a great deal of time on Bruce trying to mentor his son, which gives it a very unique angle compared to many other titles. Of course, easier said then done considering the sarcastic sociopath Damien is. Well worth a look, and one of the best titles of the Batman line, and maybe the New 52.

Batman Dark Knight – This remains the worst of the many Batman titles, thanks to its over the top art, absurd stories that go nowhere, and serving no real point admits a slew of far superior Batman titles. Seeing as the New 52 currently has either thirteen or fourteen titles now, depending on which ones you count or not, I sincerely hope that this is one they cancel soon.

Batman Incorporated – Bringing back the acclaimed Batman title from before the New 52 by Grant Morrison following Batman as he establishes a global crime-fighting network and involved in an intricate game against a League of Shadows run by ex-lover Talia al Ghoul. Without a doubt, worth a look.

Batwing - This title following the Batman Incorporated member that covers the worst parts of Central Africa continues to be of interest for both its art, and for having a superhero who has to face evils far graver and far more real than super villains, battling everything from warlords to crooked officials, and touching on everything from child soldiers to ethnic cleansing. It’s certainly worth a look, and I hope it continues to shock and surprise.

Batwoman – I mentioned previously that this title was fantastic, even if I didn’t particularly care for it. Little has changed, and if anything, the title has only gotten better, with an upcoming tie-in with Wonder Woman of particular interest. One of the more unique titles of the New 52, and certainly one of the best in terms of art, I’d recommend you give it a look for yourself.

Birds of Prey – One year in, Birds of Prey remains one of the New 52’s weakest lines, with little to help it either stand out from the rest or make up for its dull story and two dimensional characters. Given the fact DC has already weeded through many of the weaker titles, this title needs to either pick up the pace or we’ll see these birds get their wings clipped.

Blackhawks – Following an international special operations unit very reminiscent of a UN-sponsored GI Joe, as they combat a hostile alien AI. While it wasn’t bad, I wasn’t too surprised to see it get cancelled after issue #8. Worth a look if it sounds like something you would like, but if not, you’re not missing anything if you skip it.

Blue Beetle – After a slow start, the title has gotten off to a good start, and is one of the few titles in the ‘Young Justice’ category actually worth looking at. Give it a glance.

Captain Atom – Ever wonder what Dr. Manhattan would be like without both the other Watchmen and a competent writer? Wonder no more, as Captain Atom answers that question, and the result is a boring title that despite some potential, fully deserved getting cancelled after twelve issues.

Catwoman – I’m honestly unsure how this title has managed to survive two rounds of cancelations as bad as it is. Though nothing has yet topped Catwoman having sex with Batman in the first issue, it’s still mired in the same juvenile mediocrity, and poor writing hasn’t helped. Though a new writer took over with issue #0, I’m keeping my fingers crossed this kitty cat gets put down soon.

DC Universe Presents – Through the initial Deadman story arc, I mentioned though it was bad, the title would no doubt improve once it moved on to better characters, and I was right. Especially through the recent Vandal Savage arc, this title is finally living up to its potential, and I hope it continues to get better as it shines a light on new corners and characters of the DC New 52 universe.

Deathstroke – This particular title was a guilty pleasure for its over-the-top violence as Slade Wilson works to reclaim his mantle as the world’s greatest assassin while being chased by his past. All of that ended once Rob Liefeld took over the title, wasting no time into making the book quite literally painful to look at, let alone read. It only gets worse from there – not content to ruin Deathstroke alone, Liefeld’s run on the comic also ruined Lobo, one of my favorite characters as a kid, and one that could have really used a competent approach in the New 52 – and no, that Lobo was created as a parody of Liefeld’s style of work has not been lost on me. The title for Liefeld’s run went down the bomb dropper so fast, it got Liefeld fired. One can only hope a new writer can salvage this once great title, and maybe someone else could give Lobo the treatment he deserves – it will take a titanic effort for both given the hole Liefeld has dug.

Demon Knights – This is another one of the unexpected breakout successes of the New 52, following a group of seven of DC’s medieval era heroes as they partake in various adventures in the DC Universe Dark Ages, and it’s been a delight from the first issue. Watching Etrigan the Demon, Vandal Savage, Shinning Knight and the rest as they confront various dangers and each other is an absolute must read because of its superb art, great writing and the story which looks to be heading in even more interesting directions in the months ahead.

Detective Comics – With so many Batman titles in the New 52, Detective Comics is actually one of the weaker ones, mainly due to choosing to rely on a hyper-violent and dark tone, as opposed to a compelling story or character study like some of the others. While not the worst, it’s certainly not one I would recommend, and without a doubt isn’t living up to the standard set by it’s pedigree.

Dial H – It’s always worth a look when a noted science fiction author decides to write a comic book, and China Mieville’s take on Dial H for Hero is no exception. When an anonymous slob manages to stumble upon the H dial, which upon dialing the right combo, turns him into a random superhero, he gets involved in a strange and twisted conspiracy that will leave him needing every one of those heroes. Well worth a look due to both superb writing and art, though it has taken a while to get past the set up.

Earth 2 – This is quickly becoming one of the most intriguing titles of the New 52, and is certainly one grabbing a number of headlines. Opening with an invasion from Apokolips, one led by Steppenwolf no less, Earth manages to fight them off at a great cost, culminating in the deaths of their world’s Superman, Batman and Wonder Woman. As the people of Earth struggle to rebuild in the aftermath of the attack under a new United Earth government, new heroes begin to rise, including Hawkgirl, Flash, and Green Lantern among others, including Mister Terrific of Earth 1. Amidst this, a very Illusive Man-esque Terry Sloan operates from the shadows, manipulating people and events to prepare for something he thinks will make even the Apokoliptian invasion seem tame, and he is willing to do anything to do it. Though it seemed to have gotten most of its attention for featuring a prominent gay character, trust me when I say you need to read it for a very promising story and cast that looks to be going in a very interesting direction indeed.

Frankenstein, Agent of S.H.A.D.E. – One of the odder titles of the New 52, and one of the most entertaining, the misadventures of Frankenstein and his creature commandos is a cornball delight that begs to be read, especially if you’re a fan of old school horror or titles like Hellboy, this is a must read, and even if you’re not, it’s worth a look for its undeniably fun concept.

GI Combat – When they cancelled Men of War, this was the war comic they brought into replace it, and though there is a key difference – while Men of War tended to be realistic, GI Combat embraces absurdity – like it’s predecessor, it quickly became a favorite of mine. Split between two stories, one following a group of US Marines trying to fight their way through the Jurassic Period, and one following the Unknown Soldier, an advanced super soldier who hunts down the enemies of the USA while tracking down his own past. The art in both is fantastic, and the stories left me enthralled waiting for the next issue. I recommend it highly, but with a caveat – DC has announced they are cancelling it in December… as if the fate of Men of War wasn’t bad enough.

Green Arrow – For a time this was one of my favorite titles, if only as a brief enjoyment. I said ‘for a time’ for a reason however, as starting with issue 7, the title was given to a new writer who immediately wrecked the title as fast as possible. Whereas before the tale of tech-magnate Oliver Queen as he combats crime and his ego was, while not a must read, a fun one, it has sense become a slog to get through, with odd story directions that continue to take the title further and further every passing issue. I’m likely to drop it soon if things don’t pick up, and I expect DC to do the same.

Green Lantern – While originally following Hal Jordan and Sinestro as they uncover a conspiracy that we are just now getting into with the Third Army story arc, a recent development has shaken the title to its core. That development is two part, one that both Hal and Sinestro have seemingly been killed/captured by the Black Lanterns, and that a new Green Lantern of Earth has taken their place. I admit this could go either way for the title, but given the talent behind it, I’d say approach with caution, and if it works out, this will continue to be a must read.

Green Lantern Corps – This remains the best Green Lantern title by a long shot, as well as one of the best of the New 52. Following most of the main Green Lantern Corp, and largely centered on Earth lanterns John Stewart and Guy Gardner as they and the corp combat a number of cosmic threats. The tension and stakes of the story is palatable, and the examination of the characters is fantastic – they’ve actually made Guy Gardner a sympathetic character! As they face off against the Third Army this year, I have to say if you can only follow one title about the Green Lanterns, this is the one!

Green Lantern New Guardians – I’ll admit, I was ready to write this title off after a slow set up, but let me tell you, the payoff was worth sticking around for and has made this a title worth looking into. Following Kyle Raynor and a group made up of one member of each colored Lantern Corp as they work together to face a mysterious collective threat and form what may be the newest lantern corp in the process. Certainly worth a look.

Grifter – Despite both an intriguing premise and decent start, this title suffered much after being handed over to Rob Liefeld, who wasted no time in ruining it. Hopefully the new writers will be able to salvage it, or otherwise this title may be living on borrowed time.

Hawk and Dove – Considering just how horrendous this title was, in terms of story, script and art, it’s no shocker it was one of the first titles to get axed. What the shocker is that somehow Rob Leifeld, the writer and artist behind this and some of the worst comics in recent memory, got this cancelled only to be given control over three other titles with similar results – more on those later, but in short, you didn’t miss much with Hawk and Dove, and there’s no reason to look back at it.

I, Vampire – Yet another title that surprised me, this has to be one of the best things to have happened to vampires in years. Not only is it faithful to vampire lore and avoids many of the pitfalls of much of post-Twilight vampire fiction, it tells an intriguing tale of wars between vampire clans and their species struggle to find a place now that superheroes have taken their former place as the planet’s apex predators. This title looks like it will get even more interesting given a major twist that happened in the last issue – I fully recommend you give this title a chance.

Justice League – Chosen to headline the entire New 52 reboot, the title may have finally reached its stride after a few hiccups along the way. Through the initial arc with them fighting off Darksied was disappointing, the following arc where they faced off with a new sadistic villain more than made up for it, as has the induction of the team’s newest member, Shazam, the New 52 version of Captain Marvel whose character’s origin was a secondary story in recent issues of Justice League. With the roster growing, some great upcoming story arcs, and some of the best characters, art and now stories on the comic rack, this title has finally started living up to its potential, and I recommend it heartily, especially as a starting point.

Justice League Dark – I cannot say how much this title come to surprise me! Despite a slow start which kept me cautious at first, the title following DC’s Supernatural A-listers like John Constantine, Zantana and Madame Xanadu as they combat mystic and magical menaces that leave the regular Justice League out of their depth has become a delight for many, myself included. I recommend it for a read, and if rumors of them brining Resurrection Man on board are true, this may well get bumped up to one of my favorite titles.

Justice League International – When I looked at this title a year ago, I panned it due to it being a dull train wreck filled with nationalist stereotypes. By the time it got cancelled, it was a dull train wreck filled with nationalist stereotypes that had added OMAC to the roster. I can only hope the rumored Justice League of America title can avoid its poor quality and misfortunes.

Legion Lost – As mentioned previously, both Legion titles suffer from both next to no introduction, making it very hard for people not very well versed in Legion lore to get into the line. Legion fans may like it, and maybe you may want to give it a look, but at this point, I’m giving up on both of them.

Legion of Superheroes – As mentioned previously, both Legion titles suffer from next to no introduction, making it very hard for people not very well versed in Legion lore to get into the line. Legion fans may like it, and maybe you may want to give it a look, but at this point, I’m giving up on both of them.

Men of War – This was an early favorite of mine thanks to its premise grounded on the lives of the military in a world where superheroes that can wipe out entire militaries seem to keep popping up. The title had great artwork, and had a great idea to modernize Sergeant Rock and the Easy Company by making them a special ops unit that hunts down rogue meta-humans, as well as showcasing some great military back up stories, a number of which I’d recommend you read the title for alone. That said, it was one of the first series’ to get cancelled much to my dismay. I recommend it whole heartedly, and hope that we haven’t seen the last of Sergeant Rock, Easy Company or war comics in the New 52.

Mister Terrific – Despite an interesting character and a tech based premise, to say nothing f some good artwork, the title suffered from both lack of direction and some questionable story arcs, so I wasn’t too surprised to see it be one of the first lines cancelled. That said, it looks like his popping up in Earth-2 seems to indicate there are some plans for the character yet, and I can’t wait to see them.

Nightwing – Following Dick Grayson as he roams the country as the new owner of Haley’s circus, as well as fighting crime on the side, this remains a strong title, though I do wish they’d work to sever it from Gotham and Batman more – I’d really like to see what Nightwing could do fully out of the shadow of his mentor. Well worth a read.

OMAC – This title about a giant blue Hulk knock off that smashes stuff while screaming his name got axed really fast, and with good reason, it was utterly terrible. So terrible in fact, I wonder if him getting added to Justice League International is what doomed that title to also being cancelled. Do like everyone else did when it was coming off the presses and skip it entirely.

Red Hood and the Outlaws – Though it earned the ire of many critics, myself included, for sexualizing Starfire to an absurd and disgusting degree, now that that has mercifully died down, the title draws many critics ire, myself included, for entirely different reasons, mainly that it remains a poor title due to its lackluster art and having next to no real plot or characterization. It was an remains one of the New 52’s worst titles, and I urge you to skip it.

Red Lanterns – Yet again, we find this title as the odd man out of the Green Lantern titles. Despite initial arcs that followed Atrocitus’ struggles over the future of the Red Lanterns, and their induction of their first human member, what cripples the title is that, in the end, the Red Lanterns just don’t make interesting protagonists, certainly not enough to base a title around. What makes the Green Lanterns work as a concept isn’t that they are will-driven, it’s that the concept ultimately boils down to ‘space cops’, and that gives them a lot to work with. The Red Lanterns are a one note band, and not even an interesting note – skip over the title except maybe the Rise of the Third army arc.

Resurrection Man – Following yet another great 1990s hero that had been ignored until the New 52, this title was a favorite of mine until its recent cancelation. The 13-issue arc makes a solid origin story, boasting great art and a fun look at Mitch Shelley’s journey to come to terms with his powers and his past, even if it kills him – repeatedly. Though cancelled, I sincerely hope we haven’t seen the last of the Resurrection Man, and given the note the title ended on, I expect something could happen soon – I for one think he’d make a great addition to Justice League Dark. In any case, now that the initial run has ended, I fully recommend you check out the title. It’s just a shame so few people did during it’s run.

Static Shock – As mentioned before, as one of the few new heroes DC has introduced in the last decade, Static Shock is a must for the fans of the character or his brief animated series, though everyone else, myself included, passed it over. There apparently weren’t many of those fans – this was one of the first lines to get cancelled.

Stormwatch – The Stormwatch title started with an interesting premise and it has only gotten more intriguing with every passing issue, and not just because they recently had an issue where they fight mech-suit wearing dolphins. . In recent issues, they have tied Stormwatch to Demon Knights, and given how good Demon Knights has been, I’m intrigued to see where the two titles will fill in. Well worth a look.

Suicide Squad – While I’m still not sold on Juggalo Harlequin, I’ve got to admit, I’ve warmed up to the title, especially as the squad faces some legitimately interesting missions that both feel high stakes and have claimed a few of their number in the process. Given that it will be part of the upcoming ‘Death in the Family’ crossover, things are definitely looking up for the title, and I encourage you to take a look.

Superboy – Like so many other of the teen oriented titles, Superboy suffers from unclear direction and poor characterization. While you can tell the title is trying – both in Superboy’s struggles with being a Kryptonian-human hybrid and his battles with robots and seedy secret organizations – it never really hooked me, and the result is entirely skipable.

Supergirl – As mentioned before, Supergirl works best as a character as a comparison to Superman, because while Superman may be the Last Son of Krypton, no one would deny he’s gone local here on Earth, whereas Kara Zor-el was born and raised on Krypton, and she literally feels alien on Earth. Despite a slow start, it’s really excelled in working with those themes, and it looks to be going in interesting directions, and it’s certainly worth a look.

Superman – This is both one of the best titles of the New 52 and the best of the various Superman titles, this is the kind of title fans of the Man of Steel have been waiting for. While Action Comics continues to be a mess for its structure and a headache for its approach to Superman’s origins, this has had just what you’d expect from Superman – his struggles as Clark Kent, and facing enormous challenges as Superman, and there is where the line triumphs. While we get the sort of epic confrontations you’d expect, there are also some true surprises – in one conflict, Superman defeats the villain not by beating her in battle, but by appealing to her humanity and talking her down. In another, he gets into a brutal fight with an alien that actually licks Superman to the point of making him bleed. The result is a title where Superman is a truly interesting character, there are high stakes and interesting chains of events, and it makes the title and the character soar like he hasn’t in years. This is an absolute must read.

Swamp Thing – Like Animal Man, this title continues to both live up to its pedigree and remains one of the best titles of the New 52. Alec Holland, formerly Swamp Thing, is pulled out of retirement out of need to fight the growing power of the Rot, and allies with Animal Man to fight it. It has a fantastic story, great art, and along with Animal Man, has created a mythos that is truly fascinating. I highly recommend it, especially given the upcoming Rot World story arc.

Sword of Sorcery – This has been the most interesting addition to the New 52, which is a high fantasy oriented title split between two stories. The main story follows a teenage girl who finds out she is heir to the throne of an extra-dimensional kingdom and gets involved in a civil war with her aunt over control for the crown. If that doesn’t float your boat, the backup story sold me with its gleefully awesome two-word premise: Post-apocalyptic Beowulf. In addition to being the name I reserve if I ever form a metal band, the story is an adaptation of the Beowulf legend set in a bleak future Dark Age in the DC universe, and the setting is as much of a reason to check out as it is for a very promising Beowulf adaptation. The art is incredible, and one issue in and I’m already sold on the title – check it out!

Talon – Spinning off from the recent Batman Night of Owls story arc, the title follows the assassin Talon, as he both chases his marks, and dodges the pursuit of his former masters at the Court of Owls. While I admit, I am questioning the need for yet another Batman title – especially given that when you include Talon, there are currently fourteen Batman titles, of which about half are already wearing thin – but given the talent behind the title and the splendid Night of Owls story arc, it might be worth a look.

Team 7 – One of the things that I thought Men of War could have addressed before it’s premature cancelation was that it could touch on how the more traditional hero types – soldiers, cops, spies and the like – could respond and adapt to a world where meta-humans are taking their former roles. It would seem DC is finally touching on this issue with Team 7, which follows a government sponsored special-ops group created to counter dangerous meta-humans, with members including Black Canary, Grifter, Deathstroke and Amanda Waller. Issue zero was a very pleasant surprise that has me already sold on the concept, and I look forward to seeing where they take the title.

Teen Titans – While I was hardly enthused with the title before, it’s only gotten worse in recent month, to the point it is both ret-conning and messing up its own origin stories and we’re barely a year in. While it’s not likely to get the ax, seeing as it’s one of DC’s flagship titles, there’s no denying this title is suffering, and could do with some better writing. For now, skip it.

The Flash – The strong art and new directions they’ve taken the character have made this another of the New 52’s biggest triumphs. Seeing as the speedster will be facing off against Gorilla Grod soon, now is a good time to catch up on this title.

The Fury of Firestorm – In my first look at the New 52, I trashed this title for its unclear story and unlikeable main characters, and a year in, the title is still a mess. In all honestly, I don’t expect it to survive the next round of cancelations, and I can’t say I’d be too sad to see it go.

The Phantom Stranger – One leg of the long-talked about Trinity of Sin, the title follows Judas Iscariot, whom after his infamous betrayal of Christ, is punished with both immortal life and cursed to betray anyone he involves himself with. The character has had biblical origins for decades now, and it will be interesting to see how they tie him into the New 52, and to see how the Trinity of Sin unfolds, especially given that the other two legs, especially Pandora, look to be taking a much bigger role. Give it a chance or a glance, depending on how you feel about the concept. For me at least, it’s too soon to call.

The Ravagers – A spin-off of Teen Titans, it follows a group of teenage superheroes that for one reason or another, aren’t member of the Titans, despite featuring some long-time Titan standbys like Beastboy and Tara. So far, it hasn’t sold me, but then again, not many of the Young Justice titles have. Give it a glance, but I wouldn’t recommend it.

The Savage Hawkman – Already off to a rough start by being a dull, underwhelming Wolverine knockoff, Hawkman has taken a further turn for the worse under the creative control of Rob Liefeld, eliminating any doubt that this title is one of the worst of the New 52. Even with Liefeld gone, with many of the worse titles having already been cancelled, I can’t see Hawkman avoiding the chopping block for too much longer.

Voodoo – Though it has now been cancelled, I’m still at a loss just how a comic bout a shape-shifting alien stripper made it for thirteen issues, especially given how bad it was. It’s no loss that it’s gone, and good riddance.

Wonder Woman – Though they’ve already reverted back to the original design for Wonder Woman, they’ve kept the more mythology grounded story, and for all the flack it took in the beginning, it’s worked. The comic has been great thus far, the characterization of Wonder Woman far more Amazonian in nature, and the story looks to be headed in very interesting directions in the months ahead – both due to her dating Superman, and an upcoming arc introducing the New Gods to the New 52. Give this title a read at once.

World’s Finest – Technically a spin-off of Earth 2, it follows the Earth 2 versions of Supergirl and Robin after they get warped to Earth 1, and take on the roles of Powergirl and Huntress as they try to find out how and why they got to Earth 1. Having just gotten out of its initial story arc – it’s worth a look, at least for another few issues.

*******

So overall, the New 52 is going strong and still going places one year in, and the next year is shaping to be an interesting one. If any of you have any questions or comments on my thoughts on the first year of the New 52’s, or have a thought or an opinion on the titles themselves, please leave a comment below.

A pair of stories from Matthew Quinn

2012-09-23T01:55:00.000-04:00

A few of my more faithful readers might remember my review of my friend Matthew Quinn’s story Coil Gun last September, where I both heartily recommended his story and told you to keep an eye on his work in the future. Well, one year later, I’m here to show you a couple of his most recent projects.

Quinn has decided to take two of his previously published short stories, Melon Heads and I am the Wendigo, and digitally self-publish them through various websites, including Amazon. They are both well worth reading, but I will touch on them both briefly so you have an idea what they’re about, starting with Melon Heads.

Few things can spoil a nice weekend before exams like your girlfriend’s vengeful ex-boyfriend trying to kill you. Of course, murderous mutant midget cannibals have a nasty habit of making things go from bad to worse. Fans of creature features and chiller thrillers alike will enjoy this tale of a young college couple trying to escape the grasp of these pint sized terrors only known as the Melon Heads!

Based on the Midwestern urban legend, the story reads like a classic B-movie, and almost begs a film adaptation. That said, while it’s not exactly a chilling tale, it is no doubt entertaining, and I recommend it heartily.

Which brings us to I am the Wendigo, a rare horror story from a monster’s perspective, specifically the menacing cannibalistic fiend known as the Wendigo. As mentioned before on the site, the Wendigo is one of the most underused monsters in the horror pantheon, making Quinn’s use of it – especially from the viewpoint of the creature while on the hunt – one of the rare stories to use it, and use it well. Though not as good as Melon Heads, and very brief, it was still an enjoyable story.

In short, both are superb stories, and I highly encourage all of you to give them both a read. In his digital debut, my friend and fellow writer Matthew Quinn has penned a pair of tales that for fans of B-movie horror like me, or folks looking for a couple of solid quick reads, either will prove to be the best 99 cents you’ll spend all week, trust me on that!

Dredd 3D

2012-09-21T19:00:00.000-04:00

Judge Dredd has been a long-time staple of comics and science fiction since the late 1970s, whose tale of all-powerful judges fighting a losing battle against crime and anarchy in a post-apocalyptic future made Judge Dredd an icon in both mediums. Needless to say, Hollywood has tried to cash in on his popularity with a movie adaptation, with debatable results. 1995’s Judge Dredd, starring Sylvester Stallone, was a commercial and critical disappointment, and left many moviegoers disappointed because it was a hammy, cheesy action film – others, like myself, loved it because it was a hammy cheesy action film. So it would make sense that, in the era of rampant remakes, Hollywood decided to take a second swing at it with Dredd 3D.

Though I was admittedly skeptical at first, given the long list of terrible remakes this year, and Dredd, with its cast of relative unknowns and seeming cash grab 3D format, gave me little reason to think it otherwise. Then, it won the vote on my Facebook (as did next week’s Hotel Transylvania), causing me to look at it again prior to me going to see it. Much to my surprise, not only had it gotten glowing reviews overseas, but the creator of Judge Dredd himself endorsed the film personally. So I held my head up high going into the theater, whether the film be a respite or an execution.

So, was the movie a remake worthy of the source material, or was it, shall I say, dreadful? Ready yourselves for Judgment Day my dear viewers, as I play judge, jury and executioner for Dredd 3D!

The movie opens in the near post apocalyptic future, when the world is divided between megacities and radioactive wastelands, and were crime and violence are rampant in both. To face this, we have the Judges, who enforce law and order by any means necessary, and among the most famed and feared of their number is the stoic Judge Dredd. Recently assigned rookie Judge Cassandra Anderson as his partner, together they investigate a slum tower under the control of drug kingpin Ma-Ma, who quickly locks down the tower and tells her followers to kill them. Under attack and under siege, the two must fight their way to the top, cutting through enemies from every direction, all in the name of the law.

While the plot itself can be boiled down to your standard issue tower siege action movie, it manages to elevate itself from the rest by ways of a clever character-driven script and some superb world building. You can tell great care was given to all aspects of the film, and that the filmmakers are affectionate toward their subject matter, with great detail given towards crafting the world of Judge Dredd. The scope of the movie, though limited to one of the world’s massive slum towers, feels truly massive and truly real, and the result is a film that is not only a drastic improvement over the 1995 film, but more than stands on its own.

Of course, one of the main reasons the film works as well as it does are the characters, all of whom feel real and fleshed out, from the titular character to the extras. Karl Urban knocks the ball out of the park playing Judge Dredd, providing a performance that perfectly captures the depth and subtleties of the classic character. Though restricted by both the character’s stoicism and mask, Urban’s performance manages to shines through, providing the audience with a deep and fascinating character because he is a man of few words and big actions, rather than in spite of it. Olivia Thirlby, as rookie Judge Anderson, shines for the exact opposite reason. Her emotions and inexperience complements Dredd’s stoicism, and watching her baptism by fire over the course of the film is a delight. Lena Heady, who plays the villainous Ma-ma, treads familiar ground for all of those who have seen Game of Thrones, portraying a villain as deep and diabolical as Cersei Lannister, and one you want to see die just as much. Though the rest of the cast play minor roles – most don’t even have names – they never feel needless, adding depth to the world and story and truly give us a sense of the state of Mega City One.

As for the cinematography, as mentioned before, you can tell a great deal of care and affection went into the movie, enhancing nearly every aspect of the film. The art direction is fantastic, from the design of the sets, which look and feel like a dystopian slum, especially when compared to the clean and crisp CGI that hurts many other films, to the very impressive action scenes, with the gun fights, ESP battles and Slo-mo scenes looking fantastic, especially in 3D. While talking about the action it’s worth mentioning that this is one of the few recent action movies where the action is rooted in tactics as much as it is brutality – the way the Judges sweep a room or utilize the surrounding area is extremely refreshing from the more typical ‘scream and shoot’ approach used by far too many action films, instantly making one of the best action films in recent memory.

So what is my final verdict?

I was pleasantly surprised by the fact that not only did I like this film, but at how good it was – the story, though standard issue in the action genre, stands out thanks to being driven by both the world and the characters. The characters are well acted and enjoyable, and capture the nature of the source material perfectly. The same can be said for the action and special effects as they are both very well handled. The action, if bombastic, is very realistic and the world itself feels real, enormous and undeniable dystopian. The end result is a very entertaining movie, and one that I would love to see a sequel to.

This is the kind of movie remakes should aspire to be – a labor of love from all involved, that improves upon the original film in every way, and the result is one of the remakes in years, and one of the year’s best action movies. I whole heartedly recommend it, and hope that this is not the last visit moviegoers get from Judge Dredd. Until then, I urge you to go see it – this is a Judge Dredd movie that easily passes my judgment.