Indiana Jones and the Kingdom of the Crystal Skull
3 stars
That right there, giving it 3 stars, pains me. I really wanted to like this more. But because George Lucas was involved, Indiana Jones and the Kingdom of the Crystal Skull went from a moderately enjoyable to completely ridiculous faster than Dr. Jones can piss off the Nazi party.
It's been about 20 years since we last saw Dr. Henry "Indiana" Jones, Jr. (Harrison Ford), and that's how much time has passed in his little movie-verse. The year is 1957, right in the middle of the Cold War, and the KGB, led by Irina Spalko (Cate Blancett) has enlisted the help of Indiana to track down the famed and elusive Crystal Skull of Akator, with ties to a lost city of gold in Peru. Don't worry, Indy hasn't gone Red. He's an unwilling participant, the KGB is using him for his knowledge of ancient artifacts. After he narrowly escapes a nuclear blast test (thank you 1957 home appliance construction), Indy returns to his day job: college professor, only to find out a former colleague, Dr. Oxley (John Hurt) has been captured by the KGB, and Ox's protege, Mutt Williams (Shia Labeouf) has come to Dr. Jones for assistance in tracking down Ox. Which leads them to Peru and the search for the Crystal Skull.
I can't really get into more without revealing key plot details, but that's the long and short of it. And it's a really great premise.
Indiana Jones 4 succeeded where several reboots and sequels have failed. It didn't fall into the trap of "Hey, remember this from the original? It was funny then, so we're gonna do it 20 times in the new one." *cough*Pirates 2*cough* It alluded to the original trilogy, in so much as it provided good bridging stories for several favourite characters, including Dr. Jones, Sr. and Marcus Brody. And there certain logical references, including a flash of the Ark of the Covenant in a secret hanger. But it never strayed into the territory of *nudge nudge wink wink*.
The problem is that it is 20 years on. Harrison Ford is showing his age. The franchise is showing its age. The 80's were a different cinematic landscape than the 00's (I believe the preferred nomenclature is the Odds, or something like that). And I appreciate the throwback to both the original franchise specifically, and to the old serial genre in general.
In the 80's, the films were centered the mythos surrounding the Judeo-Christian faith, and they took several liberties with it in the name of entertainment. And let me state that that was always the intended purpose of the films: to entertain. And they all, including this new one, succeeded fantastically at entertaining. But in 2008, the social climate concerning religious dogma, particularly concerning the Judeo-Christian faith, has become more of a taboo than it was 20-30 years ago. And I think that hindered the development process of the Indy 4. They had to take on a new artifact from a different era and a different culture. Maybe that strayed a bit too far out of my Indiana Jones comfort zone.
But since they went with the ancient Mayans, let's focus on that. Really entertaining, and I stuck with it even through Mutt Williams swinging on vines like Tarzan. But where it jumped the shark into complete ridiculousness was the end, when it switched from Spielberg to Lucas real fast. I sat in the theatre thinking "What the hell?" Only I used a slightly stronger word in place of hell. I still can't grasp my head around the ending. Oh, I understood it. I just can't believe that they did it, because it's so phenomenally stupid. And the thing of it is, is that it's not entirely stupid. Just one aspect. Had they ended the sequence a few minutes sooner, it would have been semi-OK. But no, they went for it, and it's just a severe letdown.
Ford slips back into Indiana Jones like an old baseball mitt. He's dusting it off, finding his comfort zone, all the little spots that made the character his own. But there are definite signs of aging. Fortunately he doesn't come across as an old guy trying to recapture his youth. He plays the character as too old for the action, but he does it anyway, and he does it brilliantly.
I can't finish this review without talking about Cate Blanchett. There are so few great villainous roles written for women, and she's the perfect actress to take it on. She's the finest of our time, and throws in the right amount of villainy, naivety and curiosity.
I spoke earlier of the throwbacks to the original trilogy, and perhaps the biggest and best was saved for the third act. Karen Allen returns as Marion Ravenwood. It brings the story full circle, rather than being a cheap attempt to bridge the films.
If you liked the original trilogy, you'll be entertained by Crystal Skull. But don't expect it to be the greatest Indy film, because it isn't. As much as that pains me to write.
- Brodie Mann
Thursday, May 29, 2008
Friday, May 23, 2008
Seven Instances of Real Life Proving Movies Right
In most case scenarios, real life tends to prove the movies wrong. From sound/explosions in space, to lit cigarettes igniting a gas spill. But what about when movies are correct? Here's a list of movies proven correct by the real world.
7) Brad Pitt + Angelina Jolie = Sexiest couple in the history of the world
We all know that Angelina Jolie is the sexiest woman EVAR! And Brad Pitt is the sexiest man EVAR! Putting them together in a movie is one thing. That's just good marketing. Which is why Mr. and Mrs. Smith was such a success. Oh yeah, they're also damn fine actors. But those two shacking after making the movie up is an explosion of sexiness that this world was not entirely ready for. And their kids? Holy crap. They're gonna be so good looking, that to look upon them will induce face-melting the likes we haven't seen Raiders of the Lost Ark. Just watch this scene. Even when they're kicking each others asses it's hot. And it gives way to a wicked hot sex scene. It's a tame sex scene, but still hot.
6) J. Dawson was a real dude. Told rich chicks he was an artist so he could see them nekkid.
There were many surprises to come out of the film Titanic. Did you know that the ship was real? And really did hit an iceberg? News to me. But more so, there was a real J. Dawson who died on the real Titanic. Still no word on whether he did the nasty in the steamed up backseat of a Renault.
5) Distilled Urine- Nutritious! Delicious! Full of Electro-lytes
One of the coolest scenes of Waterworld was when Kevin Costner urinates in a jar, distills it, then drinks it. But we here in the real world would never have to do that, that's why it's funny when Costner does it. And technically that's still true. Except for NASA astronauts. In an effort to reduce costs of hauling water into space, NASA is exploring technology to distill urine. (click for full article). Costner: Trailblazer in Piss drinkin'!
4) Nazi's are bad
Time really told on this one, and it could have been devastating to the plot of Raiders of the Lost Ark had it gone the other way. But luckily for Spielberg and crew... Nazis were dicks.
3) Scott Peterson in Chryo-stasis
We all remember that overlooked gem of an action flick known as Demolition Man. Simon Phoenix, the baddest mother f***er in 1993 gets frozen in a chryo-prison, in hopes for reanimated rehab sometime in the future. So does the cop who caught him, Mr. John Spartan. In 2030, he's unleashed on the Utopian society known as San Angeles. After going on a murder/death/kill spree, Phoenix decides to unleash the baddest of the bad also in Chryo-prison. You have to overlook the fact that he sets Jeffrey Dahmer free, even though he died a year after the flick was released. Because if you look on the screen with the list of criminals he's setting free, we see Scott Peterson. Now, in 1993, it was impossible to know that 10 years later Scott Peterson would kill his wife Laci and their unborn baby, but he did. Proving Sylvester Stallone right.
2) Bob Fosse is a psychic- predicts own death 8 years prior to following through with it.
Bob Fosse, one of the hardest working guys in show biz back in his time, directed big budget, Academy award winning/nominated Hollywood movies. But that was his side job. His real job was directing/producing/choreographing/costuming/designing/starring in/ushering big budget Broadway musicals. And after all that... he still found time to pop pills, smoke like a fish, drink like a chimney and have more sex in one night than Paris Hilton has before breakfast. So in 1979, he felt it was necessary to write/direct/produce his own semi-autobiographical film, All That Jazz with Roy Scheider playing the role of Joe Gideon (Fosse). SPOILER ALERT! Gideon dies of a heart attack from all that work, pills, booze, sex and cigarettes. 8 years later, Fosse kicks the bucket, also because of work, pills, booze, sex and cigarettes. Creepy. How'd you like that... to predict your own damn death.
1) San Dimas High School Football does, in fact, rule!
As you may recall, the primary focus of Bill and Ted's Excellent Adventure was the fact that they had to give a history report, which is why they were traveling through time in the first place. Well, the last half of the flick is cut with scenes of other students giving their oral reports. One of the students was a football player. He was struggling. So gain the favour of the crowd, he calls out "San Dimas High School Football RULES!!" Are we supposed to take his word for it? Up until last year, yes. But then this happened. Undeniable proof that San Dimas High School football is the best ever!
7) Brad Pitt + Angelina Jolie = Sexiest couple in the history of the world
We all know that Angelina Jolie is the sexiest woman EVAR! And Brad Pitt is the sexiest man EVAR! Putting them together in a movie is one thing. That's just good marketing. Which is why Mr. and Mrs. Smith was such a success. Oh yeah, they're also damn fine actors. But those two shacking after making the movie up is an explosion of sexiness that this world was not entirely ready for. And their kids? Holy crap. They're gonna be so good looking, that to look upon them will induce face-melting the likes we haven't seen Raiders of the Lost Ark. Just watch this scene. Even when they're kicking each others asses it's hot. And it gives way to a wicked hot sex scene. It's a tame sex scene, but still hot.
6) J. Dawson was a real dude. Told rich chicks he was an artist so he could see them nekkid.
There were many surprises to come out of the film Titanic. Did you know that the ship was real? And really did hit an iceberg? News to me. But more so, there was a real J. Dawson who died on the real Titanic. Still no word on whether he did the nasty in the steamed up backseat of a Renault.
5) Distilled Urine- Nutritious! Delicious! Full of Electro-lytes
One of the coolest scenes of Waterworld was when Kevin Costner urinates in a jar, distills it, then drinks it. But we here in the real world would never have to do that, that's why it's funny when Costner does it. And technically that's still true. Except for NASA astronauts. In an effort to reduce costs of hauling water into space, NASA is exploring technology to distill urine. (click for full article). Costner: Trailblazer in Piss drinkin'!
4) Nazi's are bad
Time really told on this one, and it could have been devastating to the plot of Raiders of the Lost Ark had it gone the other way. But luckily for Spielberg and crew... Nazis were dicks.
3) Scott Peterson in Chryo-stasis
We all remember that overlooked gem of an action flick known as Demolition Man. Simon Phoenix, the baddest mother f***er in 1993 gets frozen in a chryo-prison, in hopes for reanimated rehab sometime in the future. So does the cop who caught him, Mr. John Spartan. In 2030, he's unleashed on the Utopian society known as San Angeles. After going on a murder/death/kill spree, Phoenix decides to unleash the baddest of the bad also in Chryo-prison. You have to overlook the fact that he sets Jeffrey Dahmer free, even though he died a year after the flick was released. Because if you look on the screen with the list of criminals he's setting free, we see Scott Peterson. Now, in 1993, it was impossible to know that 10 years later Scott Peterson would kill his wife Laci and their unborn baby, but he did. Proving Sylvester Stallone right.
2) Bob Fosse is a psychic- predicts own death 8 years prior to following through with it.
Bob Fosse, one of the hardest working guys in show biz back in his time, directed big budget, Academy award winning/nominated Hollywood movies. But that was his side job. His real job was directing/producing/choreographing/costuming/designing/starring in/ushering big budget Broadway musicals. And after all that... he still found time to pop pills, smoke like a fish, drink like a chimney and have more sex in one night than Paris Hilton has before breakfast. So in 1979, he felt it was necessary to write/direct/produce his own semi-autobiographical film, All That Jazz with Roy Scheider playing the role of Joe Gideon (Fosse). SPOILER ALERT! Gideon dies of a heart attack from all that work, pills, booze, sex and cigarettes. 8 years later, Fosse kicks the bucket, also because of work, pills, booze, sex and cigarettes. Creepy. How'd you like that... to predict your own damn death.
1) San Dimas High School Football does, in fact, rule!
As you may recall, the primary focus of Bill and Ted's Excellent Adventure was the fact that they had to give a history report, which is why they were traveling through time in the first place. Well, the last half of the flick is cut with scenes of other students giving their oral reports. One of the students was a football player. He was struggling. So gain the favour of the crowd, he calls out "San Dimas High School Football RULES!!" Are we supposed to take his word for it? Up until last year, yes. But then this happened. Undeniable proof that San Dimas High School football is the best ever!
Wednesday, May 21, 2008
The Chronic-WHAT-cles of Narnia: Prince Caspian
The Chronicles of Narnia: Prince Caspian
4.5 Stars
You know, Peter Jackson, god bless him, but he set the bar so impossibly high for epic fantasy film making. Damn your rings and the lords of them. However... directer Andrew Adamson continues to come within striking distance of said bar with his thus-far very impressive and equally epic Chronicles of Narnia series, continuing this past week with part 2, Prince Caspian.
So, the Pevensie children, Peter, Susan, Edmund and Lucy (William Moseley, Anna Popplewell, Skandar Keynes and Georgie Henley, respectively), when we left them at the end of The Lion, the Witch and the Wardrobe, they had vanquished the White Witch, brought peace to Narnia, and grown up to be legendary Kings and Queens. Then they get transported back to the real world, where literally no time has passed, and they are back to being kids. In the second installment, it's a year later for them, yet 1300 years have passed in Narnia. And they return after Prince Caspian (Ben Barnes) calls for them on Susan's mystical horn. Caspian is the rightful heir to the throne, but in a move reminiscent of the Bard, his uncle, King Miraz (Sergio Castellitto) made a deadly move for the throne by killing Caspian's father. Miraz is a tyrant, all the Narnians are now thought to be extinct, yet they're just living in hiding. So Caspian, along with the Pevensies, must bring peace, order and balance back to Narnia.
As previously stated, the bar for epic fantasy is so, well, epically high, that it seems almost unattainable. And it's hard to compare The Chronicles of Narnia to Lord of the Rings, because they are so different thematically, in tone, in presentation, in style and in it's target demographic. The target audience for LotR is people who perpetually live in a fantasy land, while living in their parents' house, having never had sex, while the target audience for Narnia is children.
But there is still that similar genre, so comparisons must be made. The reason the Narnia films have done, and will continue to do, so well where others like Eragorn and Golden Compass and even Bridge to Terabithia have failed is that it seems to refuse to placate to the childhood nostalgia aspect. The others have played it safe by staying safely within the realm of "kids movie," never having to invest a lot in grabbing older audiences. But Narnia is going all out in it's movie making. While it is significantly toned down, when compared to LotR, it doesn't feel like a "kids movie." And it is the one series, I feel, that can truly be enjoyed on every level by kids, parents, and even grandparents.
Adamson presents the film, and the story, for that matter, as is. He doesn't "dumb it down" for the kids, and he doesn't get too convoluted with the storytelling. He respects the source material, C.S. Lewis, and the audience, and that's the strongest thing this film has going for it. And despite the PG rating, the battle scenes are really intense. Very well done.
I always take time to discuss the actors, because they need to respect the material just as much as the director or writer does. Adamson gets some absolutely fantastic performances from the young actors, who descend in age at 21, 19, 16 and 12 (Moseley, Popplewell, Keynes and Henley). Their grasp of the characters they play, the importance of the script, their handling of the script, and the subsequent gravitas they bring to the characters shows talent that some actors more than twice their age struggle to exhibit. With the third installment, The Voyage of the Dawn Treader already in pre-production (set for a 2010 release), I'm gonna miss Moseley and Popplewell. Peter and Susan are not in that book (not for long anyway), so they won't really be in the flick. And they'll be missed. By me anyway.
Definitely hit the theatres for this one.
4.5 Stars
You know, Peter Jackson, god bless him, but he set the bar so impossibly high for epic fantasy film making. Damn your rings and the lords of them. However... directer Andrew Adamson continues to come within striking distance of said bar with his thus-far very impressive and equally epic Chronicles of Narnia series, continuing this past week with part 2, Prince Caspian.
So, the Pevensie children, Peter, Susan, Edmund and Lucy (William Moseley, Anna Popplewell, Skandar Keynes and Georgie Henley, respectively), when we left them at the end of The Lion, the Witch and the Wardrobe, they had vanquished the White Witch, brought peace to Narnia, and grown up to be legendary Kings and Queens. Then they get transported back to the real world, where literally no time has passed, and they are back to being kids. In the second installment, it's a year later for them, yet 1300 years have passed in Narnia. And they return after Prince Caspian (Ben Barnes) calls for them on Susan's mystical horn. Caspian is the rightful heir to the throne, but in a move reminiscent of the Bard, his uncle, King Miraz (Sergio Castellitto) made a deadly move for the throne by killing Caspian's father. Miraz is a tyrant, all the Narnians are now thought to be extinct, yet they're just living in hiding. So Caspian, along with the Pevensies, must bring peace, order and balance back to Narnia.
As previously stated, the bar for epic fantasy is so, well, epically high, that it seems almost unattainable. And it's hard to compare The Chronicles of Narnia to Lord of the Rings, because they are so different thematically, in tone, in presentation, in style and in it's target demographic. The target audience for LotR is people who perpetually live in a fantasy land, while living in their parents' house, having never had sex, while the target audience for Narnia is children.
But there is still that similar genre, so comparisons must be made. The reason the Narnia films have done, and will continue to do, so well where others like Eragorn and Golden Compass and even Bridge to Terabithia have failed is that it seems to refuse to placate to the childhood nostalgia aspect. The others have played it safe by staying safely within the realm of "kids movie," never having to invest a lot in grabbing older audiences. But Narnia is going all out in it's movie making. While it is significantly toned down, when compared to LotR, it doesn't feel like a "kids movie." And it is the one series, I feel, that can truly be enjoyed on every level by kids, parents, and even grandparents.
Adamson presents the film, and the story, for that matter, as is. He doesn't "dumb it down" for the kids, and he doesn't get too convoluted with the storytelling. He respects the source material, C.S. Lewis, and the audience, and that's the strongest thing this film has going for it. And despite the PG rating, the battle scenes are really intense. Very well done.
I always take time to discuss the actors, because they need to respect the material just as much as the director or writer does. Adamson gets some absolutely fantastic performances from the young actors, who descend in age at 21, 19, 16 and 12 (Moseley, Popplewell, Keynes and Henley). Their grasp of the characters they play, the importance of the script, their handling of the script, and the subsequent gravitas they bring to the characters shows talent that some actors more than twice their age struggle to exhibit. With the third installment, The Voyage of the Dawn Treader already in pre-production (set for a 2010 release), I'm gonna miss Moseley and Popplewell. Peter and Susan are not in that book (not for long anyway), so they won't really be in the flick. And they'll be missed. By me anyway.
Definitely hit the theatres for this one.
Wednesday, May 14, 2008
Speed Racer
Speed Racer
3 Stars
I've often pondered if a movie can scrape by on sheer entertainment factor alone. Speed Racer answers yes, but barely.
Based on the 60's anime series (check out the first season on Hulu), Speed Racer (Emile Hirsch) is the kid brother of racing legend Rex Racer, who walked out on the family business and met an untimely death in a cross country rally race. Ten years later, Speed is the next big thing in racing, and he must now compete to save his family's independent auto company, and to bring honour back to the sport of racing. In order to do so he must compete in the same race that killed his brother, there-by qualifying for the Grand-Prix. He's able to do so with the help of his father Pops (John Goodman), girlfriend Trixie (Christina Ricci), mechanics Sparky and Spritle (Kick Gurry and Paulie Litt) and the mysterious Racer X (Matthew Fox).
I defended this flick for a long time because I figured it would come up against the same kind of nay-sayers that 300 hit last year. They just wouldn't understand the filmmaker's vision and direction. What Andy and Larry Wachowski were going for is a bizarre amalgamation of live action and anime. And fortunately for the film, they accomplish it. It's a high energy, very kinetic, very fantastical film. I was dazzled by the sheer ballsiness of it. And it did entertain me for the entirely too long 135 minute run time.
But it came apart in the writing. That's where it got it's length. Too often the story plodded along toward the action. That could be the problem with translating anime to a feature film. Anime is known for taking forever to go somewhere (and why it got so popular with the ADD afflicted youth of America, I'll never understand). And it's sort of an irony of hypocrisies that the film called Speed Racer moves at a snails pace. But the Wachowski's never seemed to figure out that this wasn't a high concept action flick like The Matrix. It was a film based on an anime about a guy who races a really cool car to fight corporate corruption and avenge his brother's death. Stick to the racing guys.
But the remarkably talented cast did their damnedest to work with the little they were given. Hirsch (Alpha Dog, Into the Wild) has set himself up as one of the most promising young actors in the game, and even with the kitchy dialog and drawn out non-racing scenes, you get this sense that he really is trying to do both his talent and the material justice. If only the Wachowski's had done the same.
Ricci (Black Snake Moan) is pitch perfect as Trixie. As is Goodman (The Big Lebowski) as Pops. The two seemed to have a deeper understanding of the characters, that went beyond what was handed to them at rehearsals. Granted, Pops and Trixie aren't the most complex characters in the world, but they certainly are fun, and iconic in their own way. They knew it was important to get the characters right, and they did. Kudos to them.
I would have to say that kids and those with only a passing interest in the original Speed Racer would enjoy this (especially kids), as the more hard core fans will only leave the theatre disappointed and feeling nothing but resentment and disdain for the brothers Wachowski.
- Brodie Mann
3 Stars
I've often pondered if a movie can scrape by on sheer entertainment factor alone. Speed Racer answers yes, but barely.
Based on the 60's anime series (check out the first season on Hulu), Speed Racer (Emile Hirsch) is the kid brother of racing legend Rex Racer, who walked out on the family business and met an untimely death in a cross country rally race. Ten years later, Speed is the next big thing in racing, and he must now compete to save his family's independent auto company, and to bring honour back to the sport of racing. In order to do so he must compete in the same race that killed his brother, there-by qualifying for the Grand-Prix. He's able to do so with the help of his father Pops (John Goodman), girlfriend Trixie (Christina Ricci), mechanics Sparky and Spritle (Kick Gurry and Paulie Litt) and the mysterious Racer X (Matthew Fox).
I defended this flick for a long time because I figured it would come up against the same kind of nay-sayers that 300 hit last year. They just wouldn't understand the filmmaker's vision and direction. What Andy and Larry Wachowski were going for is a bizarre amalgamation of live action and anime. And fortunately for the film, they accomplish it. It's a high energy, very kinetic, very fantastical film. I was dazzled by the sheer ballsiness of it. And it did entertain me for the entirely too long 135 minute run time.
But it came apart in the writing. That's where it got it's length. Too often the story plodded along toward the action. That could be the problem with translating anime to a feature film. Anime is known for taking forever to go somewhere (and why it got so popular with the ADD afflicted youth of America, I'll never understand). And it's sort of an irony of hypocrisies that the film called Speed Racer moves at a snails pace. But the Wachowski's never seemed to figure out that this wasn't a high concept action flick like The Matrix. It was a film based on an anime about a guy who races a really cool car to fight corporate corruption and avenge his brother's death. Stick to the racing guys.
But the remarkably talented cast did their damnedest to work with the little they were given. Hirsch (Alpha Dog, Into the Wild) has set himself up as one of the most promising young actors in the game, and even with the kitchy dialog and drawn out non-racing scenes, you get this sense that he really is trying to do both his talent and the material justice. If only the Wachowski's had done the same.
Ricci (Black Snake Moan) is pitch perfect as Trixie. As is Goodman (The Big Lebowski) as Pops. The two seemed to have a deeper understanding of the characters, that went beyond what was handed to them at rehearsals. Granted, Pops and Trixie aren't the most complex characters in the world, but they certainly are fun, and iconic in their own way. They knew it was important to get the characters right, and they did. Kudos to them.
I would have to say that kids and those with only a passing interest in the original Speed Racer would enjoy this (especially kids), as the more hard core fans will only leave the theatre disappointed and feeling nothing but resentment and disdain for the brothers Wachowski.
- Brodie Mann
Wednesday, May 07, 2008
Iron Man
Iron Man
5 Stars
The trailer for this film spoke volumes. The film... speaks an entire library. It falls in line with the great superhero films, like Spider-Man 2 and Batman Begins. And in some ways, tops them. Such is Iron Man.
Tony Stark (Robert Downey, Jr.) is a multi-billion dollar industrialist who made his money from weapons development for the military. After experiencing the destructive nature of his arms first hand while a hostage in Afghanistan, Stark feels it necessary to change his life's goal, much to the chagrin of his business partner, Obadiah Stane (Jeff Bridges). Keeping Stark on track and in line are his assistant/love interest Pepper Pots (Gwyneth Paltrow) and his military liaison/best friend Jim Rhoades (Terrance Howard). In order to combat his former war profiteering ways, Stark develops an advanced suit of armor with the latest in robotics, computers, weaponry and metals, leading him to be affectionately known as the Iron Man.
In recent years, mostly since 2005's Kiss Kiss Bang Bang, Downey has become one of my favourite actors. and the character of Stark/Iron Man is the best for him. Or maybe he's the best for the character. The thing fascinating thing about Stark is his motives behind being a hero. With Batman it's revenge, Superman the desire to do good and Spider-man it's guilt. But with Iron Man, it's atonement. Stark experiences first hand the wrath of his weapons. And then he realizes that he has to do more than just denounce weapons production. He has to right his wrongs. Only way to do that, is to be Iron Man.
And that's where Downey takes over. Downey has a knack for playing uniquely troubled characters. Tony Stark is one that he deeply understands, as he himself is a fan of the comic book. Downey figured out the character, and enveloped it. Too many times we had Brandon Routh as Superman or Tom Jane as The Punisher. But with this, it was Robert Downey, Jr. is Iron Man.
But Downey, as talented as he is, did not make this flick on his own. There was the bizarre, inexplicable romantic chemistry between him and Paltrow, as his long suffering assistant Pepper Potts. The two actors have had very different careers, and never in a million years would I have picked those two to portray romantic leads in a film. But for some reason, it worked. The fact that they are so different, and so are the characters, made it work.
Jeff Bridges (The Big Lebowski, Arlington Road) is an actor, who if you were to ask me to define his career, I couldn't. He's played a multitude of characters in a myriad of different genres. But his turn as the villainous Obadiah Stane/War Monger is a fantastic look at a villain. He wasn't the traditional villain. He wasn't driven by hatred for the hero, or megalomaniacal desires. He's driven by protecting his own interests in war profiteering. He's the embodiment of true villainy. He's looking out for number one, and he's protecting his greedy interest. He's got no real regard for anyone else, just himself. He's the perfect counterpoint to Downey's Stark.
Director Jon Favreau deserves a lot of the credit for this film. He kept the reigns on the story to keep it from getting too out there, and actually explored the practical science of Iron Man. Sure you have to suspend some disbelief as several pieces of technology don't exist or completely defy laws of physics. But a lot of it is very interesting. And Favreau, like Downey, knows and understand the material. He was able to respectfully bring Iron Man to the big screen.
I highly recommend this for anyone. It combines what made the dreadful Fantastic Four popular and what made Batman Begins so damn good. It finds the balance with light fun, hard core action and in-depth character study.
5 Stars
The trailer for this film spoke volumes. The film... speaks an entire library. It falls in line with the great superhero films, like Spider-Man 2 and Batman Begins. And in some ways, tops them. Such is Iron Man.
Tony Stark (Robert Downey, Jr.) is a multi-billion dollar industrialist who made his money from weapons development for the military. After experiencing the destructive nature of his arms first hand while a hostage in Afghanistan, Stark feels it necessary to change his life's goal, much to the chagrin of his business partner, Obadiah Stane (Jeff Bridges). Keeping Stark on track and in line are his assistant/love interest Pepper Pots (Gwyneth Paltrow) and his military liaison/best friend Jim Rhoades (Terrance Howard). In order to combat his former war profiteering ways, Stark develops an advanced suit of armor with the latest in robotics, computers, weaponry and metals, leading him to be affectionately known as the Iron Man.
In recent years, mostly since 2005's Kiss Kiss Bang Bang, Downey has become one of my favourite actors. and the character of Stark/Iron Man is the best for him. Or maybe he's the best for the character. The thing fascinating thing about Stark is his motives behind being a hero. With Batman it's revenge, Superman the desire to do good and Spider-man it's guilt. But with Iron Man, it's atonement. Stark experiences first hand the wrath of his weapons. And then he realizes that he has to do more than just denounce weapons production. He has to right his wrongs. Only way to do that, is to be Iron Man.
And that's where Downey takes over. Downey has a knack for playing uniquely troubled characters. Tony Stark is one that he deeply understands, as he himself is a fan of the comic book. Downey figured out the character, and enveloped it. Too many times we had Brandon Routh as Superman or Tom Jane as The Punisher. But with this, it was Robert Downey, Jr. is Iron Man.
But Downey, as talented as he is, did not make this flick on his own. There was the bizarre, inexplicable romantic chemistry between him and Paltrow, as his long suffering assistant Pepper Potts. The two actors have had very different careers, and never in a million years would I have picked those two to portray romantic leads in a film. But for some reason, it worked. The fact that they are so different, and so are the characters, made it work.
Jeff Bridges (The Big Lebowski, Arlington Road) is an actor, who if you were to ask me to define his career, I couldn't. He's played a multitude of characters in a myriad of different genres. But his turn as the villainous Obadiah Stane/War Monger is a fantastic look at a villain. He wasn't the traditional villain. He wasn't driven by hatred for the hero, or megalomaniacal desires. He's driven by protecting his own interests in war profiteering. He's the embodiment of true villainy. He's looking out for number one, and he's protecting his greedy interest. He's got no real regard for anyone else, just himself. He's the perfect counterpoint to Downey's Stark.
Director Jon Favreau deserves a lot of the credit for this film. He kept the reigns on the story to keep it from getting too out there, and actually explored the practical science of Iron Man. Sure you have to suspend some disbelief as several pieces of technology don't exist or completely defy laws of physics. But a lot of it is very interesting. And Favreau, like Downey, knows and understand the material. He was able to respectfully bring Iron Man to the big screen.
I highly recommend this for anyone. It combines what made the dreadful Fantastic Four popular and what made Batman Begins so damn good. It finds the balance with light fun, hard core action and in-depth character study.
Friday, May 02, 2008
Live from... Marquette? It's... Friday morning?
Brodie Fanns!
What we've got tonight is one of the most important and longest running shows in television history.
Saturday Night Live.
In it's 33 year history it has certainly had it's ups and downs. It's highs and it's lows. It's really fucking high man's and it's terrible lows. But through it all, you cannot argue the undeniable talent that has walked through the doors at studio 8H. And I'm just talking cast and writing staff. Fuck the hosts/musical guests.
Here's the first ever sketch on SNL:
I obviously wasn't around for it's start, it's older than me by 10 years and 18 days. I joined in the fun during it's 3rd hey day of the early 90's era. Phil Hartman, Kevin Nealon, Mike Meyers, Dana Carvey, Chris Farley, David Spade, Adam Sandler, Jan Hooks, early Tim Meadows. That's when I joined, It was later that I got into the older stuff, thanks to some old records of my dad's, and thankfully TV specials about the show. And of course reruns.
In the late 70's, there really wasn't anything to cater to the younger crowd in terms of late night comedy. Sure, I look back on Johnny Carson as a pioneer, but had I been around 30 odd years ago... it would have been different.
But along comes this cat named Lorne Michaels. A nobody at the time. And he says, "Hey, I've got a show for you." Several pitches later, "... The Aristocrats!"
Kidding. It was a late night variety show, musical guests, sketch comedy, short films. It's about what's hip, what's cool, what's now. And he puts together this phenomenal ensemble cast of Dan Aykroyd, Chevy Chase, Gilda Radner, John Belushi, Jane Curtain, Garret Morris and Larraine Newman. The first guest host was George Carlin, first musical guests were Billy Preston and Janis Ian. The first sketch I saw of the original cast was this one, from the 7th episode with Richard Pryor:
That sketch would never make the air today. Why? Too racially charged. But it's hilarious. It's one of the funniest sketches in SNL history, and it would never make the air today.
It showed brilliant writing, and brilliant timing between the two comedian/actors. You just don't get that today.
I don't really want to get into the full history of the show, for several reasons. a) it's just too damn long and storied. b) I don't know it all. c) a lot of it would probably boring to you.
If you really want to get into it, there is this great book called "Live From New York: An Uncensored History..."
That hyper-link takes you to the Amazon page for it. It's really good, it's written like a documentary (and should be a documentary), with excerpts written by cast, crew, writers, network execs and guests. It's a compendium. It's written by people much more knowledgeable than I.
But here's the thing about SNL and me. It, for whatever reason, spoke to me. It came into my life right when I was getting into comedy. And it showed me how much there was to it, and how much fun it could be. And how smart it could be.
Best cast is debatable, best Weekend Update anchor is debatable (not really, it was Norm McDonald), best cast member is debatable, best sketch is debatable, best host is debatable. But what isn't debatable, is the fact that this show is an institution. Even for people who have been around longer than the show, at this point, it's hard for them to remember a time when the show wasn't on the air.
Even though it really does suck right now, I still watch SNL. I will continue to watch SNL. There is promise in three newer cast members. Bill Hader, Kristin Wiig and Andy Samberg.
Bill Hader (as Al Pacino):
Andy Samberg (with Chris Parnell):
Kristin Wiig (as Penelope):
I liked that last sketch. It needs work. But it's interesting. The character could use some fine tuning. It's almost there.
And with that... I leave you with one of my all time favourite sketches. It involves Christopher Walken. And it doesn't involve a cowbell.
- Brodie Mann
What we've got tonight is one of the most important and longest running shows in television history.
Saturday Night Live.
In it's 33 year history it has certainly had it's ups and downs. It's highs and it's lows. It's really fucking high man's and it's terrible lows. But through it all, you cannot argue the undeniable talent that has walked through the doors at studio 8H. And I'm just talking cast and writing staff. Fuck the hosts/musical guests.
Here's the first ever sketch on SNL:
I obviously wasn't around for it's start, it's older than me by 10 years and 18 days. I joined in the fun during it's 3rd hey day of the early 90's era. Phil Hartman, Kevin Nealon, Mike Meyers, Dana Carvey, Chris Farley, David Spade, Adam Sandler, Jan Hooks, early Tim Meadows. That's when I joined, It was later that I got into the older stuff, thanks to some old records of my dad's, and thankfully TV specials about the show. And of course reruns.
In the late 70's, there really wasn't anything to cater to the younger crowd in terms of late night comedy. Sure, I look back on Johnny Carson as a pioneer, but had I been around 30 odd years ago... it would have been different.
But along comes this cat named Lorne Michaels. A nobody at the time. And he says, "Hey, I've got a show for you." Several pitches later, "... The Aristocrats!"
Kidding. It was a late night variety show, musical guests, sketch comedy, short films. It's about what's hip, what's cool, what's now. And he puts together this phenomenal ensemble cast of Dan Aykroyd, Chevy Chase, Gilda Radner, John Belushi, Jane Curtain, Garret Morris and Larraine Newman. The first guest host was George Carlin, first musical guests were Billy Preston and Janis Ian. The first sketch I saw of the original cast was this one, from the 7th episode with Richard Pryor:
That sketch would never make the air today. Why? Too racially charged. But it's hilarious. It's one of the funniest sketches in SNL history, and it would never make the air today.
It showed brilliant writing, and brilliant timing between the two comedian/actors. You just don't get that today.
I don't really want to get into the full history of the show, for several reasons. a) it's just too damn long and storied. b) I don't know it all. c) a lot of it would probably boring to you.
If you really want to get into it, there is this great book called "Live From New York: An Uncensored History..."
That hyper-link takes you to the Amazon page for it. It's really good, it's written like a documentary (and should be a documentary), with excerpts written by cast, crew, writers, network execs and guests. It's a compendium. It's written by people much more knowledgeable than I.
But here's the thing about SNL and me. It, for whatever reason, spoke to me. It came into my life right when I was getting into comedy. And it showed me how much there was to it, and how much fun it could be. And how smart it could be.
Best cast is debatable, best Weekend Update anchor is debatable (not really, it was Norm McDonald), best cast member is debatable, best sketch is debatable, best host is debatable. But what isn't debatable, is the fact that this show is an institution. Even for people who have been around longer than the show, at this point, it's hard for them to remember a time when the show wasn't on the air.
Even though it really does suck right now, I still watch SNL. I will continue to watch SNL. There is promise in three newer cast members. Bill Hader, Kristin Wiig and Andy Samberg.
Bill Hader (as Al Pacino):
Andy Samberg (with Chris Parnell):
Kristin Wiig (as Penelope):
I liked that last sketch. It needs work. But it's interesting. The character could use some fine tuning. It's almost there.
And with that... I leave you with one of my all time favourite sketches. It involves Christopher Walken. And it doesn't involve a cowbell.
- Brodie Mann
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