If my 12-year old self thought it was even remotely possible that several of my favorite Marvel superheroes would not only have their own solo movies fronted by big Hollywood celebrities, but one day all appear in the same movie as one big multi-movie universe event, I would’ve lost my mind. And, hell, even now in my 30s the fact that The Avengers movie exists makes me lose my mind! Back when Marvel kicked off the first batch of their self-produced films with Iron Man, the slim glimmering hope that it would lead to The Avengers was there, but I don’t think any of us comic book fans actually thought it would happen. The fact that it did, and that writer/director Joss Whedon, creator of Buffy The Vampire Slayer and Firefly, managed to pull it off and make it into one of the biggest and thoroughly entertaining action blockbusters of the summer is a miracle.
What’s great is all the other Marvel movies have been leading to this. If you’ve been watching along with Iron Man, The Incredible Hulk, Thor and Captain America, then this movie is all pay off from everything you’ve seen before. Yet it simultaneously works as a stand alone film that any viewer can watch and enjoy because of how well Whedon balances each character's introductions and screen time. It’s similar to watching any ensemble flick and wondering where all these characters came from before the movie. In this case, those movies exist and you can go back to them! But alas, let’s focus on the one at hand.Continue Reading
Spider-Man 2 is not only one of the best sequels ever made, it’s easily one of the best superhero movies ever made. And while the first Spider-Man most definitely felt like a Sam Raimi film, this one is 100 percent the filmmaker we’ve come to know and love over the years through films such as the Evil Dead trilogy to Darkman and A Simple Plan. It’s not surprising that his influence is more recognizable in the sequel looking back now in retrospect. The first Spider-Man was a major gamble for everyone involved. For Marvel, for the studio (Sony in this case), hell, even for the toy companies which I’m convinced are the reason the Green Goblin looks the way he does rather than looking like his comic book counterpart in appearance. But the gamble paid off and director Raimi delivered in spades, satisfying not only all the interested parties involved in the first movie’s investments, but savvy comic book fans and worldwide movie-goers alike. So, with the mega-success of the first Spider-Man, it feels like they pretty much left him alone to make the sequel exactly how he wanted to make it.
And the opening alone is impressive and unique. We’re re-told the plot and events of the first Spider-Man during the opening credit montage through a series of amazing drawings by comic artist legend Alex Ross, backed by Danny Elfman’s returning score. Once we’re brought up to speed, we pick up about two years after the events of the last movie and are thrown right into the hectic life of Peter Parker (Tobey McGuire), who is scootering along the busy streets of Manhattan trying to deliver pizzas and avoid being distracted by the multiple billboards featuring the now semi-famous model and his former high school crush, Mary Jane Watson (Kirsten Dunst). It’s the frantic nature of the scene done in trademark Raimi style that shows us what a day in the life of Peter Parker is really like. He’s got 15 minutes to make it across town to deliver a dozen pizzas or else he loses his job. On the way, he encounters every obstacle from New York City traffic to kids playing in the street, in which he makes a quick change into Spider-Man to save them from being mowed down by a speeding truck, to a stoner on the balcony of his posh Manhattan apartment trying to snag a piece of pizza from one of the pies Spidey left there momentarily to make his save. (The stoner dude is a welcome cameo by Evil Dead 2 co-writer Scott Spiegel!)
I have a confession to make. Spider-Man is the one movie I’ve seen in theaters more than any other in my life. I’m fairly certain that I caught it eight times in its original theatrical run and the first four times I saw it were all within the first 24 hours of its release. Before you declare me insane, let me explain.
Growing up, Spider-Man was my absolute favorite superhero. Never have I identified with a character as much as I did with Peter Parker; a shy, timid, smart, humble and good-hearted person who always seemed to get the short end of the stick. Then finally he’s granted this incredible power which he immediately takes for granted and that results in something terrible happening to someone near and dear to him. In other words, I learned a lot about morality and the differences between right and wrong from reading Spider-Man. All I ever wished for was a Spider-Man movie. Not surprising, there were in fact several previous attempts previous to bring Marvel’s most famous superhero to the silver screen. At one point, James Cameron, hot off of Terminator 2: Judgment Day and The Abyss, was on track to write and direct a Spider-Man movie, but with an inflating budget and a few radical changes to the source material, that version never materialized. Not too long before that, Canon Films was planning a film with Tobe Hooper at the helm (!), even going as far as creating a sales poster to help secure the financing. That version apparently would’ve sent the wallcrawler on a grand adventure in space, but alas, it never happened and that’s probably for the best.
Growing up an avid comic book fan, I always fancied myself a Marvel kid over a DC kid. It’s not that I didn’t appreciate the cinematic versions of both Superman and Batman, I loved those, but I often found myself relating more to the characters of the Marvel universe, in particular Spider-Man who was always my favorite superhero. Through Spidey, I of course discovered The Incredible Hulk, Iron Man, and the X-Men books to name a few, but I honestly never found myself into any of The Mighty Thor material. Sure, I read The Avengers and also dug when Thor would interact with the other superheroes of the Marvel Universe, but I never found myself a “fan” of the character or intrigued by his mythology, which in actuality is Norse. So with that in mind, when I watched the movie version of Thor, I had very little expectation or trepidation. I just wanted to enjoy it as a piece of straight-forward popcorn entertainment, and hope that it played to me the way it would to a general audience. Thankfully Marvel Studios managed to take a character that I’d never really been all that interested in and produce a thoroughly enjoyable action flick.
After a very brief introduction on Earth with Natalie Portman’s character Jane Foster, Erik Selvig (Stellan Skarsgard) and their assistant Darcy (Katt Dennings) first encountering Thor (a scene that will repeat itself later in the movie), we’re brought to Asgard, the home of Odin Allfather (Anthony Hopkins) and his people and given a short history of the great war between the Asgardians and the Jotuns aka the Frost Giants, a race of monster-like creatures determined to bring about a new ice age to the...
The Incredible Hulk
After a long and rich 50-year history in the pages of Marvel Comics, The Incredible Hulk marks the second cinematic interpretation of the fan favorite titanic superhero. Abandoning all of what was established in Ang Lee’s 2003 version of Hulk, this version takes more of a cue from the original Incredible Hulk TV series of the late ’70s and is presented as a “reboot” rather than a sequel. Instead of spending an hour with exposition and showing a drawn out “origin” story like the other movie did (and as most superhero movies in general do these days), this version manages to encapsulate the birth of Bruce Banner’s alter ego in the span of a few minutes during a clever opening credits montage. Visually, it’s exactly what most casual fans of the TV show remember; Bruce is strapped down to a chair, the circular light beam from a giant machine shines down on his forehead and during his experimentation with gamma radiation he accidently over-exposes himself which turns him into the angry green goliath. As the credits unfold, Banner (Edward Norton) as the Hulk inadvertently hurts the love of his life, Betty Ross (Liv Tyler) and her father General ‘Thunderball’ Ross (William Hurt). And much like the TV series, Banner is then on the run and in hiding by the second scene of the movie, desperately trying to come to terms with his anger, find a cure, and keep the beast at bay.
When we find Bruce, he’s in Brazil working at a bottle plant factory by day and meeting with a yoga guru by night trying to learn how to control his inner hostilities. Meanwhile, he’s communicating with a mysterious scientist simply known only as Mr. Blue via the Internet and exchanging theories and notes regarding his condition. Ever since the incident we witnessed during the opening credits, General Ross has been on the hunt for Banner and the Hulk, and when Bruce accidently pokes his finger at work and inadvertently sheds a drop of his blood into one of the soda bottles headed for America, it eventually reveals his whereabouts. General Ross puts together a military team fronted by Emil Blonsky (Tim Roth) to bring in Banner.
Punisher: War Zone
As far back as I can remember, I’ve always wished for a proper Punisher movie. As a diehard comic book reader and collector, there was a point where I discovered the idea of vigilantism and The Punisher immediately became my favorite superhero (actually, more like an anti-hero and minus the “super” part since he has no legitimate powers other than being a complete and total badass). With over 30-some-odd years of history and through various directions that comic creators have taken the character, it would seem that there are plenty of great stories to cull from in order to make a solid movie adaptation. But for whatever reason, while all the Punisher movies have incorporated different aspects of the original source material, none of the cinematic translations have been 100 percent successful, either financially at the box office or critically among both reviewers and fans. However, if you’re well-versed in the run by writer Garth Ennis over the course of the last decade or so, then Punisher: War Zone comes pretty darn close to capturing the over-the-top gory lunacy of Ennis’s books.
The movie wastes little time in getting right into the violent action. After a brief title sequence, the film opens at a grand dinner gala with several heads of the mob congregating to discuss business and celebrate with Uncle G, the Godfather-esque elder of the East Coast mafia. But their dinner is cut abruptly short when the Punisher drops in and literally slaughters just about all 30 of these bad guys in the span of a few short minutes. The action is brutal, highly stylized, fast in pace, and so over the top that you won’t be able to process everything going on with just one viewing. The Punisher manages to cut a head off, break a neck, lodge his hunter knife into a skull, kick a chair leg into the eye of a thug, then hang upside down from the chandelier where he unloads a never-ending spray of bullets from his machine guns into whomever is left in the room, as well as anyone else stupid enough to enter it. Did I mention this is all just in the first 10 minutes?
It’s interesting to revisit Chuck Russell’s 1994 adaptation of The Mask, now almost 20 some-odd years later knowing that this was the second of three Jim Carrey movies (the other two being Ace Ventura: Pet Detective and Dumb & Dumber) that would catapult the funnyman into super stardom. Also, considering that this is a far cry from the original comic book version of the character in which the Mask was conceived as a darker and more violent vigilante, who would’ve thought that when Dark Horse Comics first debuted the character he’d eventually spawn an animated series and kid friendly sequel?! But I digress…
In the movie, Jim Carrey plays Stanley Ipkiss, a mild-mannered, overly nice and yet kind-of nerdy bank teller who, for the most part, can’t catch a break anywhere in his personal life. His female co-workers don’t want to date him (and in fact, take advantage of his niceness); his boss is always riding him (despite him being a model employee), and he’s even getting ripped off by his local mechanics. His best friend Charlie (the late Richard Jeni) believes in him, though, and tries to boost his confidence by bringing him out to the hot new club in Edge City, the Coco Bongo. Meanwhile, gangster (and Coco Bongo manager) Dorian Tyrell (Peter Greene) is plotting the hostile takeover of city turf from mob boss Niko once he and his crew have established their cred by pulling off a risky bank robbery.
Though there’s already been about a dozen since and dozens more to come, Kick-Ass could be considered the final word on the superhero movie; it neatly puts an end to the myth and redefines the genre perfectly. Based on a comic book by Mark Millar and John Romita Jr., and directed by Matthew Vaughn (Layer Cake, X-Men: First Class), Kick-Ass is vivaciously violent and proudly R-rated. It plays as both an action movie and a send-up of the clichés of superheroes and vigilantes flicks. But this is no Hero At Large (a lame John Ritter would-be superhero flick from 1980), though it's humorous and ultra creative, by the end its grim tone moves it closer to the V For Vendetta or even Watchmen heaviness territory.
The film follows three separate New York kid storylines which eventually come together in a most surprising way. Teenage comic-book geek Dave Lizewski (Aaron Johnson), out of loneliness and an urge to make something of himself, dons a superhero costume, names himself Kick-Ass and sets out to fight crime. His first attempt to take on street punks puts him in the hospital, the good news, though, is he comes out with some actual kinda super-powers; severe nerve damage gives him the capacity to endure extreme pain. His next go at taking on petty criminals is captured on camera and makes the antics of Kick-Ass an Internet sensation.