JUSTICE LEAGUE :: ACTION :: 051

Justice League (2017)

Usually when people see a review for a film that gets 3 out of a possible 10, and is one with a Hollywood budget of $300 million, they immediately ask, “How can this be”?

For one, it starts with the tagline, “You can’t save the world alone.” Obviously they are trying to build a team that rivals the numbers of the Avengers, however, the tagline should be…

“You can’t save the world without Superman.”

I don’t want to hate on Zack Snyder because he DID give us Dawn of the Dead, 300 and The Watchmen but ever-since that point his movies were made with an overuse of CGI, and a desire to appeal to studio executives and kids obsessed with constant action. Please let it be known that I don’t fault Zack Snyder entirely as I do notice the occasional spark of genius.

What I’d really like to know is whose fault it was to CGI Superman’s face at the beginning and ending clips of the film? Fake and unforgivable. I heard from somewhere that Henry Cavill had to keep a mustache for another project, and for those two scenes, they simply CG-ed it out, quite unsuccessfully.

The scourge of this story rests largely on the fact that the villain is a CGI-generated alien invader named Steppenwolf. Though Aquaman is interesting, there is no time to get the audience to understand and form attachments with the characters the same way that Marvel did with the Avengers. It all felt rushed.

I thoroughly enjoyed the portrayal of Barry Allen (aka The Flash) as he added the much needed levity to the film. Even though this was almost a “copy and paste” team introduction (see Spiderman’s intro into the Avengers) his presence made viewing the Justice League bearable. Way to go Ezra Miller!

There were many things that went wrong with this movie and it rightfully won an award for the Golden Schmoes’ Best Disappointment of the Year (IMDB). It would be hard for me to believe that anyone above the age of 20 (just picking a number) would vote this any higher than a 5… because it just isn’t made for an adult audience in my opinion.

But enough of me… what did you think? Did you have a favorite part? Who’s your favorite character and why?

* Slight Spoiler *
When Superman returns from the dead, there’s a momentary, psychotic episode whereby he takes on the Justice League single-handed and wipes the floor with them! My favorite part of this is as The Flash is trying to encircle Superman, and Superman is grappling and restraining the others, his eyes are tracking him, slowly. This made for an eerie yet humorous moment and a great display of just how incredible Superman’s powers are.

I sit here and wonder… will villains always be computer-generated and must directors continually try to top the other films with more fighting, greater explosions, and extra carnage? I pine for the Donner/Lester Superman I and II – the villains Lex Luther and General Zod.

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MAN OF STEEL, STEALS MY CHILDHOOD :: ACTION :: 44

MAN OF STEEL.  REVIEW 043

It’s been over 3 years since I’ve reviewed a film.  After seeing Zack Snyder‘s remodeling of the Man of Steel, and the dismantling of a personal childhood hero, I felt compelled to get back into the game; at least one more time.

I think most of us thought the trailer was phenomenal. Am I right?  And sensationally reviewed or not, I was going to sit in that theater and watch Superman fly into space, back into our lives and consciousness again.

Now, I don’t consider myself very resistant to change – but as I sat in that theater, I could feel my body cringe and the lightness in my heart sadden (similar to the feeling I had with George Lucas’ changes in Star Wars).

I needed to face some facts.  The viewing audiences are not the same as they were, nor are the studio executives and movie critics of Hollywood.  Critics don’t want to stand against a film, obviously because there is more exposure and more money in promotion.  Directors are becoming fixated on smoke & mirrors (CGI), diluting the story and disrupting the pace in order to keep viewers stimulated.  What they miss (when they follow this formula) is that people go to the theater to be “moved” (as James Lipton once put it).  Man of Steel, although superbly cast, is over-stimulating, devoid of humor, and re-invents Kal-El as a confused and somewhat immature orphan.

MY QUICK OVERVIEW

“I think it’s safe to say that Christopher Reeve still holds the mantle, that simplicity is best, and that 2-hours of special effects and blowing stuff up doesn’t amount to one General Zod being flung into a big Coca-Cola sign.”

THE BEGINNING (No ‘real’ Spoilers)

The malaise began immediately – no John Williams music*, no traditional Superman opening – instead, we go straight to Kal-El’s birth (and labor is just as just as painful on Krypton as it is on Earth).  Was that a spoiler?  I apologize if it was.

After Jor-El (Russell Crowe) sends his son to planet Earth, we meet a seemingly steriod-laden ‘Clark Kent’ (Henry Cavill) [who actually didn’t go by that name in order to hide his identity] as he helps man a fishing vessel.  I was confused to see that there were no ‘crystals’ to speak of on Krypton or in Superman’s possession, and a mode of Kryptonian transportation is a flying komodo dragon (very ‘Avatar’ of Synder/Goyer/Nolan).

THE CHARACTERS

One of the saving graces of this film is due to the fact that it is star-studded, with each actor delivering a great performance.  It is a bit concerning, however, that the 13 year old Clark exhibits more emotion and depth than the main star.  But with that aside, Laurence Fishburne makes an excellent Perry White, Amy Adams Lois Lane, Diane Lane Martha Kent, Kevin Costner Jonathan Kent, and the list goes on.

Being a fan of the strong women in films, I greatly enjoyed Faora-Ul (Antje Traue) who plays the Kryptonian ‘right hand’ of General Zod (Michael Shannon).  But if you’re going to have General Zod and play on the banishment into the Phantom Zone, then why not have Ursa and Non (from Superman & Superman II)?  If you’re going to have Perry White and Lois Lane, why no Jimmy Olsen?  Did Snyder/Goyer/Nolan want the movie devoid of any comic relief (apart from the unneeded ‘measuring dicks’ remark from Lois Lane)?

THE SENSE OF URGENCY

A strong element that I feel should be attached to any action film is a sense of urgency, suspense, or of possible death.  In Superman you had the intense helicopter scene where Lois Lane (Margot Kidder) is tangling from a seat belt.  In Superman II, you had 3 super villains hell-bent on provoking Superman through the destruction and killing of Metropolis citizens.  Superman had to change the battlefield, he had to use brain over brawn in order to save lives.  In Superman Returns, the ‘Man of Steel’ saves Lois Lane (Kate Bosworth) yet again, this time in a Boeing-Space Shuttle Launch catastrophe – not to mention, 2 near drownings, a Kryptonite shiv stuck in his side by Lex Luthor (Keven Spacey), and Superman’s death/’resurrection’.

CHEMISTRY

Iron Man has Pepper Potts, Spiderman has Mary Jane Watson, and Superman has Lois Lane.  Love, whether guys like it in their films or not, is a potent ingredient when it comes to film.  On-Screen chemistry is a hard thing to pull off in a lot of cases.  Some have it and some don’t.  However, in Man of Steel, there wasn’t enough time and attention to the Superman-Lois Lane story to feel that love was even possible.  But maybe ‘Love’ wasn’t what the director and writers were going for?

As someone who dabbles in script-writing himself, I don’t think we should simply ‘forgive’ Goyer/Nolan for this problem and I don’t think the audience should overlook the importance of this connection.  You must remember, Nolan played the same trick on us with the last Batman movie.  How did Catwoman go from unobtainable, pesky thief to finally locking lips with Batman in the end?  Shouldn’t Bruce Wayne find that odd or suspect?  Again, I suppose a kiss at the end of the movie is all studios think we want out of two attractive actors.

DIRECTION

Both Richard Donner and Bryan Singer are directors who care deeply for story.  They go to great lengths to make sure that their actors understand the characters of the film and the tone, mood and intensity at which they want their actors to play their respective parts.  To be fair, there is so much that goes on behind-the-scenes between directors, producers and studios that criticisms are merely opinions on the final product; nothing more.  Why was there nearly 45 minutes of non-stop action in the third act of Man of Steel?  Was it because they wanted to show us something new (which they did not) as far as visual effects, or did they do it to cover weaknesses to the story?

STORY-TELLING

The integral component to any movie is story.  Ideas, themes, scenes can be amazingly brilliant – but if there is little-to-no originality, if it’s un-relatable, and/or has no consistency, the film may be doomed to fail.  The way for audiences to relate to Superman is through Clark Kent.  Yes, Snyder/Goyer/Nolan gave us flashbacks of young Kent being bullied, and learning that he was an alien – and maybe the placement was decent (given the pace of the film) – but it wasn’t enough for the audience (in my opinion) to understand how these feelings changed his constitution, challenged and helped to form his sense of right and wrong.

When it comes to original, forward-thinking ideas, I thought the movie was shallow.  Krypton had a Matrix-like incubation chamber, villians that climbed after Superman using The Hulk method, and I already mentioned the flying dragons of Avatar.  In Superman II, Mario Puzo‘s story had Superman outsmarting the General Zod and his entourage by reversing the direction of his radiation chamber, deceiving both the villians and the audience at the same time.  I won’t spoil it for those that see Man of Steel, but let me just say that General Zod meets his end not-so-spectacularly. It left both my wife and I looking at each other going, “huh!? well,… alrighty then.”  On thing it certainly reminded me of was Nolan’s Dark Knight Rises and the seemingly obvious way at which he ‘permanently dispatched’ Bane.  Any warrior knows to go to his enemies’ weakness, and Bane clearly had a breathing problem (sorry if that was a spoiler, but the Dark Knight’s been out for a year!).

MUSIC*

I can’t believe I forgot about the music [I’m a fitting this in several days later].  While John Williams’ epic tracks continue to be what people hum when they think of Superman, Hans Zimmer didn’t do a bad job at all.  Hans has a great understanding of rhythm, pace, and mood and thereby, creates a superb soundtrack to a less-than-mediocre movie.  The sound is bold and original and would definitely be something I’d listen to at home.  My only criticism is that I wish it had a small resonation, an echo, of Williams’ theme(s).  I don’t believe, especially when it comes to Superman, that to incorporate the old with the new (in this situation) would be “taking the easy road” or plagiarism, but of a musical collaboration.

A QUICK ASIDE

I have even more respect for Bryan Singer’s vision, Superman Returns (2006).  Some of the reasons why people didn’t like Singer’s version is are: too close to Donner/Lester’s version, Brandon Routh’s portray was too like Christopher Reeve, it was too heavy with the the love triangle and with the Christ mythology/symbology.  As Singer explained to Ed Gross (2011. ComicBookmovie.Com),

“…I am very much in love with the Donner picture, and for me the journey was exciting because I got the chance to reprise those images and explore it. When you’re fascinated by something and you love it, part of making the movie is trying to please everyone and make a successful movie, but part of it is an experimental kind of thing.”

In Singer’s version, there is a sense of peril, urgency, and you truly felt for the characters involved – partly because they are extensions of the characters we know and love.  The Boeing/Space shuttle scene that reintroduces Superman to the world was genius, nail-biting, unique and nostalgic.  A good example (Superman) of this

“I hope this hasn’t put any of you off flying.  Statistically speaking…”

Great nod to the original.  It was almost as if Mr. Reeve was mouthing the words.  It sure felt good to hear those words again.

FINAL WORD

It will do me some good to get some time and distance from this film.  It might seem silly to some, but writing has always been a cathartic and certainly stress-relieving experience for me.  It’s a difficult thing for any director to tackle – especially trying to live up the the expectations of the 8 year-old inside me.  But on the other hand, I don’t feel like I was asking too much.  What I got from Man of Steel was mind-numbing action with only glimpses of greatness thrown in here and there (i.e. the touching scene w/ Mr. Kent and young clark, the school bus scene); all of which were in the opening trailer.  I will have to come to terms with this I know… because I share Bryan Singer’s thought (as he said to the Voices of Krypton), that my idea of a great Superman film “would simply be a reboot” of Donner’s (/Puzo’s) visions with “balls-to-the-wall” action sequences*

Of course, done the right way!

by: MICHAEL JOYCE

Also of: CombativeCorner.Com, OutFoxxed.Com & YourTherapy.Info

MOVIE DETAILS

WARNER BROS.  2006

PG-13.  TIME: 2 HOURS 28 MIN.

ACTION/ADVENTURE/FANTASY

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JUNEBUG :: DRAMA :: 038

I’ve been lucky the past few weeks.

I say “lucky”, because as a film buff,… as someone who loves to dive into the gigantic pool of cinema (often daily), I watch many films that lack substance.

Away We Go wasn’t like that, and Junebug certainly isn’t either.

JuneBug was absolutely a joy to watch from the moment George Johnsten uttered his character’s first words, “I’m from Pfafftown, North Carolina.”

As many of my readers know, I’ve lived and grown up in the city of Winston-Salem, not fifteen minutes away from where this story takes place.  And although North Carolina is the host state for many movies (primarily Wilmington, NC), very few have had stories so closely affixed to our “Southern ways,” not-to-mention the universal complications within families, Life, and our place in them.

BEAR BONES

Meet George Johnsten (Alessandro Nivola) a charming, near-perfect Southern gentleman.

It’s been three years since he’s been home to visit his family, and it just so happens that his wife, a passionate and career-driven Chicago art dealer, Madeleine (Embeth Davidtz), must visit a reclusive artist in Pinnacle, North Carolina (not far from where George grew up).  Seeming like the perfect opportunity to meet her hubby’s family for the first time, her visit creates a windstorm of emotion and uncovers more than could ever have been perceived, about her in-laws, her relationship with George and herself.

Strangely enough, my celebrity crush of Amy Adams, who plays George’s doe-eyed, child-like and very pregnant sister-in-law didn’t  officially begin until I saw this film.  Nominated for an Academy Award for “Best Supporting Actress (2005)” for her role as Junebug’s “Ray of Southern light,” is an inquisitive and perpetually “sunny” character that says (virtually all in one breath):

[Ashley; about Madeleine] I wonder what she looks like.  I bet she’s skinny.  She probably is.  She’s skinnier’n me and prettier too.  Now I’ll hate her.  I can’t wait!

But obviously she never does (hate her)… as Ashley doesn’t seem to hate anyone.

Ashley’s clearly the “creme-filled center” of Junebug (if you find the “creme” to be the yummiest part of the doughnut), however this film’s sugary-goodness comes from the remaining cast.  Peg (played by Celia Weston), the matriarchal mother-in-law to Madeleine, does two things: voices her opinions and looks after her young’ns.  Her husband, Eugene (Scott Wilson) plays the role of the tight-lipped father… a common trait among spouses of brazen, out-spoken, women.  Even though through most of George and Madeleine’s visit Eugene’s looking for a lost screwdriver (a “Phillips head”), his character shines with the reality of what many good ol’ Southern boys become (especially with a wife such as Peg).  Sometimes what Eugene says is for his benefit only, mostly he keeps quiet, and (like many of us) conveys a Buddhistic wisdom.  Consider for a moment a tense moment in the film when Madeleine walks in on a private conversation between Eugene and Peg.  Maybe she heard what Peg had said about her; maybe not.  Peg gets up from the table and leaves the room.

[Madeleine] She’s a very strong personality.

[Eugene]  That’s just her way.  She hides herself.  She’s not like that inside.  (pause) Like most.

Where the story comes up short is through the character of Johnny (Ben Mckenzie), Ashley’s frustrated and tantrum-giving husband.  He’s a torrent of anger and self-loathing; second-rate when it comes to his successful brother, and emotionally handicapped when it comes to showing affection (this is, perhaps, because he feels that he is undeserving of it).  This is evident in the scene where Johnny desperately scrambles to tape a television show on meerkats.  He knows Ashley loves them.  But like everything in his life thus far, he fails.  Either the acting of Ben Mckenzie was over-done, or it was poor directing on  Morrison’s part,… but it was very hard to believe that Ashley; adorable and pregnant – quite plumply of a bump with his child, could ever arouse such anger and internal discord.

The only other sour point, comes by way of the mentally-challenged, heavily accent, “sought after” genius artist, David Walk.  He lives in Pinnacle, NC (which gives us sentimental Carolinians a beautiful shot of Pilot Mountain) but paints lurid, allegorical pictures of American history.  Madeleine, intent on signing and representing him in the art world, comments over a particular piece –

I like all the dog heads and computers,… and scrotums.

I know very little of art, but the art that I do have an appreciation for… makes sense.  People look like the people they are drawn after.  Picasso, someone whose work I wouldn’t pay for (if I never knew the value) seems more like art than the shallow and jejune “art” described as “breath-taking.”

Junebug, written by Angus MacLachlan and directed by Phil Morrison, is…above all else… a story that shows that the problems of Life can seldom be solved within the scope of a single film.  The evolution of the character’s relationships with one another, the deep undercurrent of emotion and pain, and any sort of resolution or understanding cannot be deciphered in 106 minutes (nor could it be solved in 300).  I can’t wait to personally own this film, not only to watch again, but to pass amongst my fellow North Carolinians as a relatable, highly-authentic story about real people… living, loving… and dealing.