Saturday, December 19, 2009
Wednesday, November 25, 2009
Monday, November 23, 2009
Wednesday, October 28, 2009
Tuesday, October 6, 2009
Tuesday, August 25, 2009
Wednesday, August 12, 2009
Don't get me wrong. G.I. Joe: The Rise of Cobra isn't exactly high art. It's not Citizen Cane. It's not The Dark Knight and it sure as hell ain't Saving Private Ryan. At the same time, it never pretends to be, and that's what makes it good. The producers of G.I. Joe set out to make a light and fun summer action movie and that's exactly what they achieved.
I was wary about this movie from the get go. First of all, there was the director: Stephen Sommers. This is the guy responsible for Van Helsing, a mangled attempt at a movie so bad that it made me forget that his previous films, The Mummy and The Mummy Returns were actually enjoyable. (Not great, but enjoyable). Then there was the initial trailer, which showed soldiers in mech suits charging through Paris, and the character Snake Eyes flipping off of cars flying through the air. It looked a bit too Matrix-ish.
Monday, July 20, 2009
Monday, June 29, 2009
Monday, June 8, 2009
Thursday, June 4, 2009
That, or as a title, "Batman and Robin" never bodes well for the franchise.
I've pretty much been a huge Batman devotee for as long as I can remember. I've witnessed the many different interpretations of the Caped Crusader, and in the ten years I've actually been reading the comic itself, I've been able to identify when the writing has been exceptionally good as opposed to when its just getting by.
I can also put my foot down and say when the writing has just plain gotten bad. As acclaimed a writer Grant Morrison is, his work on Batman has definitely been one of the series low points. When it was first announced he'd be writing for the series, there was much acclaim and hooplah behind it, as he was expected to do drastic and daring things with the series. Unfortunately, I think he kind of went overboard in an attempt to be outlandish.
That being said, I decided to give him another shot with his new series Batman & Robin. I honestly don't see myself picking this up past the first issue. To start with, it looks like it's going to spiral out of control pretty quickly. I didn't really warm up to the idea of a flying Batmobile or having Bruce Wayne's son Damien take on the role of Robin. The last time such an obnoxious character was picked to be Robin, fans called in and voted to have him killed off. Violently.
Considering that the teaser page at the back of the issue promises more of the strangeness that plagued R.I.P. such as multiple Batmen, and the characther claiming to be Thomas Wayne, I'm going to hold off on it. And better yet, I won't be without my Batman fix either.
Paul Dini is going to be writing two Batman titles: a solo book and one devoted to the women of Gotham. Dini deserves alot more acknolwedgement than he's been given for his work on Batman. While Morrison was making the franchise wierd and unapproachable, Dini kept things pretty level. At the same time Morrison was working on the main Batman title, Dini was at work on Detective Comics. For most of his run, he stuck with one shot issues that were loosley tied together. He also opted to do his own thing, independent of Morrison.
Wednesday, June 3, 2009
Like I said, I do want to see it eventually. The problem is that hearing it in drunken quotation form pretty much kills the humor, because you already know the jokes before they're coming. This already happened with me and Old School. I missed it in theaters because I was studying abroad when it came out, and when it came out on video nobody insisted that it be on the top of my must-see movie list (apparently because they all presumed I'd seen it already). I'd caught bits and pieces over the years, but by the time I finally sat down to watch it in its entirety, pretty much every thing that would have been funny because it caught me off guard had already been ruined.
The band's rendition of "Total Eclipse of the Heart"? I'd already heard so many people do that one at karaoke I'd almost forgotten that it's not supposed to have "fuck" every other word. The streaking? Blue dying? Heard it all months in advance.
So this time around, I'm getting in on the ground floor and seeing Hangover before everybody else decides to quote lines from it to cover up a lack of original wit. Now here's just hoping all the best lines weren't in the trailer.
Tuesday, June 2, 2009
So one thing I decided I’d do when I started this blog was to shed some light on movies that never really made it into the public consciousness, despite being thoughtfully crafted, and just plain enjoyable to watch. Today, I thought I’d cover the anime film Little Nemo, seeing as how I finally got to watch it over the weekend. If you want to see a trailer for it, click here.
Odds are that if you remember this film at all, it’s probably in the form of a half remembered advertisement you saw as a kid for one of those “non-Disney” cartoons we all shied away from. It never did get what one would call a major release, and even in the days of where old anime classics experienced a revival on DVD as anime became more popular in America, this film never got caught up in the hubbub.
For those unfamiliar with the character, Little Nemo began as a comic strip created by Winsor McCay in the early 20th century. The strip chronicled Nemo’s journeys through a fantastical realm known as Slumberland, and each strip usually ended with him waking up and falling out of bed. The strip was also notable for it’s brilliant colors and surrealistic imagery. Generally, they took up an entire page of the comic pages. (On a side note, supposedly one of the reasons Bill Waterson retired from writing Calvin & Hobbes was because he wanted to draw his comic in the style of Little Nemo, but newspapers wanted something smaller and with panels that could be more easily rearranged.)
The movie was produced by Japanese anime studio Tokyo Movie Shinsha, but was largely worked on by American talents such as Ray Bradbury, Chris Columbus (famous for Home Alone and the first two Harry Potter movies) and the Sherman Brothers, who previously worked on music for several Disney films. Despite being made in 1989, it didn’t make its way stateside until 1992. Strangely enough, the video game adaptation made its way stateside before that.
As for the plot of the movie, I’m going to be honest. It’s not exactly Disney. Even when Disney was in its pre-Little Mermaid slump, it was putting out stuff with more character development than this. The story is pretty simple. One night Nemo is visited in his bed by the personal entourage of Morpheus, the King of Dreams. The king requests that he comes to Slumberland to be his daughter’s playmate. He doesn’t explore Slumberland too long before a mischievous character named Flip accidentally gets Nemo to unleash an evil known as the Nightmare, and naturally Nemo’s the one who has to stop it.
I say it’s a simple story because there’s never really any motivation given for the characters actions. Morpheus’s invitation to Nemo is completely arbitrary (not to mention the level of responsibility he gets entrusted with) and there’s no reason given for why Flip creates the amount of havoc he does, other than it helps move the story along.
What the film lacks in story, it certainly makes up in style. The film manages to effortlessly toe the line of depicting a world that is strange and surreal, without confusing the viewer. The world in which the story is set frequently transforms into something completely different in a way that perfectly mimics the non sequitur nature of dreams. For example, the opening sequence has Nemo wake up in his bed, discovering he can fly it out the window. He flies around the city, but suddenly finds himself among unfamiliar ruins, hounded by a speeding train.
Even the non-surreal visuals are incredible. Slumberland, as depicted in the movie, is a world that resembles the most extravagant palaces of Europe if they were the size of entire cities. Then there’s the animation itself. Like many anime movies, everything is drawn with such fluid detail that even the way smoke is animated, it seems to have character.
Despite it’s simple story, the whole package is overall pretty enjoyable. I suspect that had I seen it as a kid, this movie would have been something I watched over and over. Although it’s clearly targeted for younger audiences, this movie is a good example of how to make a family film parents can enjoy that doesn’t involve slyly sneaking in “adult” references, or tries to hock some product to kids. Aside from a scene halfway through the movie where the Nightmare breaks into Slumberland, it’s as family friendly as one could ask for. Granted that scene in question is a bit freaky and I’m sure it would have given me bad dreams as a kid. In fact, I think they cut it out of the initial American release, but it’s not that bad.
Unfortunately, Little Nemo is still a bit hard to find, so unless you use Netflix, Blockbuster.com, or your local library has a good inter-library loan system, it’s going to be a hard one to track down. On the plus side, it’s pretty cheap to buy, as Amazon.com has it listed for about $8. Yes, that’s twice the cost of a rental, but if you’re an anime fan or a parent looking for a quality family film, it’s worth owning.
Hopefully in upcoming years this movie will gain some level of notoriety and be easier to find.