Author Archives:

Quick Review: Iron Man 3 (dir. by Shane Black)

Posted on by Leonard Wilson


iron_man_3_poster_finalIt’s kind of hard to write about Iron Man 3 without giving much away, so this will be kind of condensed. If there’s one thing to learn about Iron Man in Iron Man 3, it’s that the events of the Avengers are really weighing down on Tony Stark. While the movie is more of a stand alone feature than being one part of a larger tale (like the first two leading up to Marvel’s The Avengers), it still manages to be a piece of a puzzle in the Marvel Cinematic Universe. It just happens to be one of those corner pieces. It’s not meant to be viewed the way the others are seen, but still manages to pack a punch.

Taking over the reigns of directing from Jon Favreau’s work on the first two films is Lethal Weapon and Kiss Kiss Bang Bang’s Shane Black. Black brings the witty dialogue and buddy partnership from those film into Iron Man 3 with ease, though the story does take some liberties with the comic.

The movie finds Tony (Robert Downey Jr.) unable to sleep or relax much since the New York Incident, having spent a bit of time in a wormhole and a separate dimension for a few minutes. This has left him with panic attacks as well as doing a lot of research in his workshop. This includes a new improvement to the Iron Man suit that allows him to call it piece by piece when needed, which was a nice touch. As a result of the world finding out that we’re not the center of the universe, they upgraded the War Machine and Colonel James Rhodes (Don Cheadle) to the Iron Patriot. The Iron Patriot acts as the first line of defense, which is just in time, considering that a new threat looms on the horizon in the form of The Mandarin (Ben Kingsley). Through televised declarations and using the same circular pattern from the terrorist group that captured Tony Stark in the first film, The Mandarin pledges to destroy all the President (William Sadler) holds dear.

So, the basis of Iron Man 3 is whether Tony Stark can get past what scared and changed him in The Avengers, stop the terrorism of the Mandarin while still finding a way to protect Pepper Potts (Gwyneth Paltrow).

Let’s first start with any problems before we get to the good stuff – because there’s a lot of great things about Iron Man 3. First off, the movie hasn’t any kind of interaction either from any of the other Avengers or from S.H.I.E.L.D. In any form. This isn’t a bad thing, as the story isn’t about them, but at the same time, it could come off as being expected given everything we saw in The Avengers. For me, personally, I was hoping for more of a connection, but it’s not terrible that it doesn’t exist.

Secondly, the women in the movie aren’t flushed out very well. You won’t find anyone on the level of Peggy Carter (Hayley Atwell) in Captain America here. While Rebecca Hall’s Maya Hansen has an important role in the movie, her screen time is really minimal. Given she’s a scientist, I’m not sure there was a whole lot for her to do, but Elizabeth Shue was a scientist in The Saint and she was all over that movie. Paltrow also takes something of a back seat to Downey and even to Favreau, who returns as Happy Hogan. Instead of concentrating on the girls, they introduced a new individual in the form of a kid. It works to some degree, but kind of felt like filler in some ways until they could get to a point where some action was taken.

For me, outside of these two elements, those are the only real problems with Iron Man 3 for someone unfamiliar with the comic book canon (like myself). If you read Iron Man on a regular basis and know  all the characters, you may be really upset at where it goes, because the adaptation in some way really veers off from the comics. Veers off on the levels of Organic Web Shooters in Spider-Man, that kind of deep.

Now for the fun stuff.

What Iron Man 3 does really well is the way it handles the connections and interactions between the characters. Between Black’s and Pacific Rim writer Drew Pearce. The film basically has the same snap as Kiss Kiss Bang Bang and the final confrontation takes place in a location similar to Lethal Weapon II. Between Downey’s narration, James Badge Dale’s (who should get a run at being a comic hero or villain sometime) attitude and the action sequences, the film moves pretty well. Guy Pearce’s Aldrich Killian was cool. While I liked his character a lot, there were a few elements that were over the top. Kingsley’s Mandarin definitely works for the film, but the direction the story goes is a little weird.

Overall, Iron Man 3 is a fun ride for anyone following the Iron Man movies, and is an overall stronger film than the first. The lack of a direct teaser taste for the next Avengers film and a story shift that could upset die-hard comic fans threaten to hurt the story, but it makes up for it (I feel) by at least giving the story a sense of escalation. If Iron Man 2 was about Tony’s efforts in keeping his technology out of the government’s hands, Iron Man 3 would show why it was important. I wouldn’t mind seeing where this all goes.

Quick Review – Injustice: Gods Among Us (by NetherRealm Studios)

Posted on by Leonard Wilson

Injustice-Gods-Among-Us

On my way home recently, I saw a subway poster for Injustice: Gods Among Us, depicting DC Comics characters The Joker really to take a crowbar to the Green Lantern. That seemed interesting, but when I found out that it was a fighting game, I didn’t expect much. Most of the fighting games I’ve played will just toss a number of characters together and have them fight without any real reason to do so. The only game of recent memory to do anything different was Marvel vs. Capcom 3, where you eventually found yourself doing battle with Galactus, but even then, getting to that point was merely a set of random battles from Point A to Point C. After finding out that Ed Boon, creator of Mortal Kombat was involved, I had a feeling the fighting would be good but still empty.

Injustice’s single player game is done in such a way that it gives every character (24 in all, half heroes / half villains) a chance to shine or fall. I haven’t gone all the way through it, but each chapter of the game focuses on a particular hero and the events in that have him or her confronting an enemy to further push the narrative. While I’m not familiar with the story behind it (I’ve always been more of a Marvel than DC fan), it’s compelling enough that I at least want to know what happens next.

The story starts with the full on destruction of Metropolis at the hands of The Joker. As Batman interrogates him, Superman intervenes and we come to find that The Joker somehow manipulated him into killing Lois Lane and his unborn son. The result of this knowledge causes the scene to end in a way that reflects some of the darker tones of the Warner Animated movies like Batman: Under the Red Hood. It shifts to an alternate universe story where – from what I tell – Superman is the ruler of the world with some of the heroes siding with him and becoming your enemies. Can he be defeated? Only crazy button mashing and timing will tell.

As fighting games go, the mechanics to Injustice are very simple. Rooted in the Mortal Kombat style of fighting, you have your basics. Back lets you block anything coming at you high or from the air. Down blocks low sweeps and kicks. Using the diamond formation of console buttons, your light attacks from the 360’s X button / PS3s Square button. Medium Attacks are the 360s Y button / PS3’s Triangle and Heavy comes from the A button / X on the PS3. It’s a good layout that helps the battle flow fast. Combos are also very easy to execute, most of them being of the quick left, right, button press or down, forward button variety. The B button / Circle acts as a special character feature. I thought this was really cool in that every character has either an ability that can be enhanced – Green Lantern charges his ring, Aquaman creates a water shield or Superman uses the Sun to make him stronger. For those were are less than meta, their gadgets / weapons change. Batman brings in a swarm of mini bats, Nightwing’s escrimas fuse together to form a staff and Wonder Woman switches from her lasso to her sword & shield.

InJustice also uses a meter system similar to Street Fighter IV. As you get hurt or string attacks, this meter will fill up in stages. You can use a stage to pull off more advanced moves or if you allow it max out, you can unleash a Signature Move. Some of them are very cool – Both Superman and The Flash have one that I love to do – while others – like Green Lantern’s and The Joker are smile inducing. These are fun, but it would have been nice to maybe incorporate 2 different ones per character. That’s just me.

The backgrounds are used very well in Injustice. If you happen to be near an object that can be used – say a car that’s parked in front of Wayne Manor, a quick bumper button tap lets you smack your opponent with it or throw it at them. Other stages have multiple levels that let you take the battle high or low and damage your enemy in the process. From the street of Gotham City, I sent Solomon Grundy into a chemical truck that exploded, and sent him flying upwards, bouncing off of various apartments until he landed on the roof of a building. That was downright awesome, and strung together with the right combo just adds to the feeling that you’re working with some pretty powerful characters. I haven’t smiled like that since some of my little brother’s Dragonball Z games. Other locations include the Hall of Justice, The Batcave, Atlantis, Themyscira, Arkham Asylum and The Fortress of Solitude. Some of the other locations have multiple levels that be accessed.

And that power can easily be abused, especially when the game goes online. As previously mentioned, the players are divided between those with superpowered abilities (Shazam, Superman, Green Lantern) and the weapons based fighters. I gave the online game a try, which has a number of different modes. While the one on one battles are nice, I liked the Survivor Mode that puts a player as the one everyone needs to dethrone. What’s sweet here is that you can alternate from a theatre mode that lets you watch two people fight or switch over to the current list of people who have waiting to take on the winner. The reigning champ only has so much health to work with from game to game, and I watched one fellow using Black Adam keep everyone at bay with distance shots.  Another used Superman and just kept lasering the opponent. It has room for some cheezy moves, but that’s common with just about any fighter, I think. My Nightwing couldn’t even get close. Then again, I’m not the best fighter in the ring. Every fight you have, whether it’s offline or online gives you some sort of XP, which can be used to unlock and use new Portrait Cards, alternate costumes and backgrounds for your Badge (made popular by Call of Duty).

In terms of problems, the only complaint I have about Injustice is that I hoped there would have been more tailoring to the relationships between the characters. Other than that, the game’s just grand. Marvel vs. Capcom 3 had this system where depending on who you chose and who you were up against, you would get some banter that was character specific. For example, if your tag team of 3 in that game were made up of Thor, Captain America and Iron Man, you’d have an opponent recognize that group as the Avengers. If X-23 faced off against Wolverine, she’d ask him who really was the best at what they do. Injustice does this to a small degree, only happening when you perform a Wager match in a round. Wager matches allow you to bet some of your Meter Power. This results in a scene where the players throw a line at each other before charging at full speed. Whoever wins gains some health. The loser has the opponent’s meter level match his or her damage. Sometimes it works out, other times, it’s just alright. I wanted more of that. My favorite so far is the Nightwing / Joker interaction:

Joker: “I liked you better as Robin.”  / Nightwing: “I liked you better in Arkham.”

Overall, Injustice: Gods Among Us is a great game to play if you’re in either into fighting games or are a fan of the DC Universe. I’m curious as to what the downloadable content is going to contain.

Scenes I Love: Gas Station Madness from It’s a Mad, Mad, Mad, Mad World.

Posted on by Leonard Wilson

I found out comedian Jonathan Winters died and this scene, from the 1963 classic “It’s a Mad, Mad, Mad, Mad World” came to mind. For this and many other roles, he’ll be missed. My family watched this quite a bit growing up and it always made me laugh. Enjoy.

Quick Review: The Incredible Burt Wonderstone (dir. by Don Scardino)

Posted on by Leonard Wilson

url-2I don’t have a whole lot to say about The Incredible Burt Wonderstone. It’s such a compact, little film, there’s not much I can say without telling everyone the entire story. The trailer is the movie, let’s put it that way.

When I was little, I owned this deck of magic playing cards. On the back of every card was a circular pattern that told the reader what card they were holding, the next card in the deck and the card at the bottom of the set (if they were shuffled correctly). It only lasted a few days, but the effect of doing the trick – that look of amazement when the trick actually worked – was pretty cool. Once that time passed, the trick was stale and predictable.

The Incredible Burt Wonderstone is kind of like that. It’s a film that probably won’t be very memorable in the long run, especially when you have other films about magic like Neil Burger’s The Illusionist and Christopher Nolan’s The Prestige. At the start, it seems awesome, but once the story arcs develop, you may start wondering if you need to stick around for the rest. Truth be told, it’s not a film you have to rush out to see, though there are some scenes to laugh at. On the other hand, if you’re going to the movies just to be entertained, to just laugh for a while, this may be what you’re looking for.

After receiving a magic trick set as kid and watching a training video by the great Rance Holloway (Alan Arkin), young Burt Wonderstone decides he’s going to be a magician. He and his new best friend decide to train together over the years, enjoying the tricks until they become The Incredible Burt Wonderstone and Anton Marvelton. They end up doing so well that they become the headliners for a major Casino for the next 10 years, and this strains their friendship. Anton enjoys the magic for the entertainment it is, and Burt considers himself royalty, feeling a sense of entitlement for all the perks he receives. When Steve Gray (Jim Carrey) appears on the scene with his new tricks, Burt and Anton find themselves facing some serious competition. Can the duo come up with something as amazing as Grey serves up? Can Wonderstone deflate his incredibly huge ego?

The story, written by Johnathan Goldstein (Horrible Bosses) and John Francis Daley (Freaks and Geeks) is not bad for what it’s offering. Of the last 3 films I’ve seen (Hansel & Gretel: Witch Hunters, Identity Thief, Jack & the Giant Slayer), it easily has the best pacing, but you can almost close your eyes and dictate what the next scene is going to be. There’s not a whole lot in the way of surprise, story wise…which I guess is what all the magic is for.  Not saying I could ever come up with anything better, though. For the director, Don Scardino, if this is first movie coming off of the 30 Rock episodes he’s done, he does a good job of keeping the story moving. The cast does well, but there’s nothing amazing with anyone here save for Carrey and Arkin. Carrell is basically himself in this film, which works well enough, and I felt that Buscemi was almost reenacting his role from The Big Lebowski. As a group, it seemed to make sense that Buscemi was the straight man to Carrell’s role.

Carrey’s Steve Grey is a lot like a David Blaine or Criss Angel, performing a mixture of illusion and stunt effects.  I have to admit that while I’m not a huge fan of Carrey’s recent efforts, I really don’t think this film would be as fun as it is without him in it. That the movie offers him up in small doses actually helps things. Olivia Wilde was nice as Wonderstone’s new assistant, but I would have liked her to do just a little more, or even better, she could have played a great rival. The same can be said of Alan Arkin, who had me smiling for most of the time he was in the film (though his appearance does kind of leave something of a plot hole in the story, but that’s just me).

The magic itself is more or less hit or miss. Depending on who you’re watching, the “tricks” were either worthy of a chuckle, made you simultaneously laugh and wince (Just about all of Grey’s were that way) or they showed one or two that made the audience at my showing gasp. For those moments, the movie was worth it, and the comedy is definitely there. Overall, I’d see this again if it were on cable or someone showed it to me, but it’s not a film I’d run right back to.

If only I could get that damn Abracadra song out of my head.

Quick Review: Jack the Giant Slayer (dir. by Bryan Singer)

Posted on by Leonard Wilson

url-1Wow, looking at Jack the Giant Slayer, it’s easy to tell where that near $200 million went. Note that this review maybe just a little spoilerish, but not too much if you’ve already watched the trailers for the film.

I walked into Jack the Giant Slayer with a smile on my face. It started off doing something I really love in movies, playing the score for the film as the production companies were announced and going so far as to play with the Bad Hat Harry logo, replacing the Usual Suspects with a set of giants. That had me feeling good, and reminded me of Timur Bekmambetov’s Wanted. Overall, it’s a Brain in your Lap kind of film. As long as you give it too much thought, you’ll be okay. I don’t see myself running back to see it, but I’d probably watch it again if it were on tv.

Everyone knows the story of Jack, who traded in his horse for a bunch of beans. They grew into a giant stalk and he climbed up it to find giants. Director Bryan Singer (X-Men 1 & 2, Superman Returns) reunites with his The Usual Suspects writer Chris McQuarrie, writer/director David Dobkin (Fred Claus & The Change Up), and Darren Lemke (Shrek Forever After) to expand the tale. This version of the story tells of a time where after the beanstalk grew, giants came down from a land far above and waged war with mankind. The great king of the realm was able to stop the war by way of black magic, having a crown forged from the heart of a giant that grants the wearer control over the entire giant army. After banishing the army, he had the stalk cut down and there was peace in the land.

That strange tickle in the back of your mind, if you’re experiencing it, is you recalling the backstory to Guillermo Del Toro’s Hellboy 2: The Golden Army. It’s almost the same thing. Jack even gives a similar set of visuals to tell the tale, which was kind of nice.

So, jump to many years later, and you have Jack (Nicholas Hoult), a poor farmers boy who in trying to sell his horse is given a set of magic beans. The stalk grows, kidnapping the land’s princess in the process (Eleanor Tomlinson) and the King (Ian McShane) sends his guard up it to retrieve his daughter.

What Jack the Giant Slayer does well is that it tries to shift the story around as it moves. For me, I found that when I expected one thing to occur, the movie would twist and give an angle that I hadn’t expected. I like that it at least tried to do that. Mind you, I went to into the film completely blind, having never seen any of the trailers or commercials. If you haven’t seen anything about this film, don’t look at any of the trailers, you’ll only hurt yourself.

Casting wise, this movie is like watching a set of friends get together. Although Hoult is the hero in this story and plays him well, his screen time feels like it’s stolen from him by Ewan McGregor, Stanley Tucci (Captain America: The First Avenger) and Bill Nighy (Pirates of the Carribean: Dead Man’s Chest), who in particular seems to be the go to bad guy these days as the main general of the giants. Ian McShane, who plays the King, is always worth watching, but he suffers from the same issues as Eleanor Tomlinson’s in her role as Isabel. They aren’t given a while lot to do overall. McGregor, on the other hand seems like he’s in his element here as the Captain of the Guard.

Visually, Jack the Giant Slayer is a treat. The differences in size between the giants and mortals are similar to the Ents in the Lord of the Rings films, and some of their appearances (and habits) are down right nasty. The action sequences in the film, and there aren’t many, are good but not exactly extravagant. The movie goes out of its way to try to build a world for the story, and I felt it worked out okay, especially during the 2nd half of the movie. The effects are nice. From a 3D point of view, the sense of distance is there particularly during the climbing sequences, but it’s not required that you see this in 3D, despite that there are objects moved close to the camera.

So, with all this praise, is there anything that’s wrong with Jack the Giant Slayer? Yeah, actually and what’s wrong only has just come to mind while writing this part of the review. Two problems:

1.) The trailer gives you absolutely everything you need to know. I was going to avoid mentioning what problem #2 was, but the trailers already show that at some point there’s a big battle between the giants and mortals. That being said, the rest of the trailer gives away so much to what the film was about that you really don’t need to see it. The action sequences you’re viewing there, that’s the story.

2.) This second one is just a tactical error.  The 2nd Half of the movie, while pretty on the visuals, throws logic completely out of the window, with a scenario that’s pretty one dimensional in design. The actual battle tries to be like the Battle of Helm’s Deep in the Lord of the Rings movies. Humans defending the land, giants attacking it. It worked for the Battle of Helm’s Deep because that a city in a wall. The battle could only come from one direction. However, the city in Jack the Giant Slayer isn’t like that. I was expecting giants to swim around it, or climb over the walls (especially after the damage that was made), but nope. Heck, if undead hordes can pull it off in World War Z, clambering over each other to get over a wall, I can’t imagine creatures more than 5 times the size of humans not being able to do the same. I felt it lacked a lot of imagination there and they could have come up with something just a little more dangerous in that battle sequence.

So, Jack the Giant Slayer was okay. It won’t break any kind of records or make too many waves, but cast saves it from becoming worse than what it could be.

Quick Review: Silver Linings Playbook (dir. by David O. Russell)

Posted on by Leonard Wilson

slpIn Silver Linings Playbook, Pat Solitano (formerly Pat Peoples in the novel written by Matthew Quick, played by Bradley Cooper) is recently released from a mental hospital to the care of his parents. Obsessed over reclaiming the love of his ex-wife, Nikki, he sets out on exercising and reading books to become better when he sees her again. Working under the notion that positivity, mixed with great effort can lead to a Silver Lining, he uses this new outlook to focus on his goal. Of couse, this doesn’t happen without some hiccups. There’s one key scene in the film where he asks his parents where his wedding tape is, and starts tearing through boxes around the house searching for it. With Led Zeppelin’s “What Is And What Should Never Be” blasting in the background as everything escalated, I had an Anton Ego Ratatouille moment.

My mom had this thing where she’d shift from High to Low. Some days would be quiet, but if the wrong word or event happened, she’d explode either into a fit of activity or anger. We would be sometimes careful to not trigger this – “set her off”, she would say. My clearest memory is of having Alice in Chains’ “Don’t Follow” turned up really loud on the family stereo (and on repeat by her request) as she proceeded to break various objects in her bedroom. She isn’t the only one in the family who has that happen with her. My cousin has this thing where at night she has to check all of the burners on the stove at least 2 times before she’s satisfied they’re fine and off. She says she knows everything’s correct the first time, but says she needs to be sure.

We all have our quirks. When people burp around me, I feel compelled to say “Bless You”. It’s only right.

So, sitting in the theatre and watching Silver Linings Playbook, it all felt very familiar to me. The great thing -and possibly the problem near the very end – about it is that the film isn’t completely A Beautiful Mind in it’s sense of seriousness. I’ll admit I found myself smiling and laughing through a lot of it, just as much as I winced during Pat’s trouble spots. As he returns home, he finds his father (Robert DeNiro in a fine performance) already skeptical about him, but content that he has his son back to watch the Philadelphia Eagles games and to be his lucky charm. After being invited to dinner by one of his friends, Pat meets Tiffany (Jennifer Lawrence), who seems to be just as different as he is and he discovers that she’s been in contact with Nikki. She’ll help send word to her about how he’s doing (because a restraining order keeps him from doing so), if he will help her perform in a dance contest. This ends up starting a good friendship between the two and we start to find that Pat is doing better as things progress.

Director David O’Russell keeps the story centered on the two leads. Both Cooper and Lawrence are energetic and have this really great chemistry between them that makes it feel like they had a lot of fun working on this movie. What’s better is that there isn’t a single person in the supporting cast that doesn’t feel like (to me, anyway) that they were miscast or out of step. They could make a tv series with this cast, and it would be watchable. O’Russell also changes the nature of the story in his adaptation, making the dance sequence itself a major focus on the growth between Tiffany and Pat (and by extension, the family and friends). He also eliminates a side story where Pat’s mom leaves his father because of the Dad’s obsessive nature with the Eagles, choosing to replace it with some more heartfelt and/or moments between DeNiro and Cooper (who coindentially worked together in Limitless). I felt it tightened up the story overall.

Another element I enjoyed was the film’s use of music. Stevie Wonder’s “My Cherie Amour” serves as a song that’s important to the story (in the same way that Kenny G’s “Songbird” was to the novel) and as I mentioned before, the Zeppelin song also worked. Alabama Shakes, which are a group new to me, also had a good song with “Always Alright”. The music of the film felt similar to Juno for me in a lot of ways.

The only problem I had with Silver Linings PlayBook, the only thing that didn’t work for me was the way the film ended. Dealing with something as serious as any kind of mental disorder, especially one where there are meds involved, it’s a serious thing. I’m not saying that one in Pat’s situation can’t be with anyone, far from it, but the film paints a picture at the end that everything will be just fine and simple. I don’t know I agree with that. Fine, perhaps, but certainly not simple. Granted, the story sets up such a social tapestry for Pat that if anything were to go wrong, he’d have people who would rally behind him. The ending just makes it seems that he no longer has any quirks and possibly robs an otherwise perfect from a bit of reality.

Overall, the Silver Linings Playbook is a feel good film that’s definitely worth seeing, with an ensemble cast that helps to elevate the great performances by both Jennifer Lawrence and Bradley Cooper. The lack of a heavy-handed nature towards the issues with the main character help the comedic elements of it, but also stutter steps it at the very end for me.

Quick Review: Dragonslayer (dir. by Matthew Robbins)

Posted on by Leonard Wilson

DragonslayerPosterBefore I came on board here at The Shattered Lens, I joined in on Live Tweeting, where you watch a movie with a group  of people, while tweeting about it at the same time. Imagine being one of those audience members in Mystery Science Theatre 3000, and you’ve a rough idea of how fun it can get. Our own Lisa Marie Bowman does this every Saturday with her group, the Snarkalecs, as they cover the SyFy Movie of that week.

On Saturday Nights around 11pm Eastern(or just about every Saturday), Kevin Carr (over at Fat Guys at the Movies) hosts his Late Night Live Tweet, which I’ve participated in from time to time over the last 3 years. Tonight, they’re talking on 1981’s Dragonslayer on Netflix Instant.

Dragonslayer is one of those films that flopped at the box office, but remains iconic for its representation of dragons and for having been Industrial Light and Magic’s first Visual Effects production outside of any of the Lucasfilm movies (Raiders of the Lost Ark and the first two Star Wars films). Even though ILM was popular for what it did for those films, they were considered somewhat exclusive (or rather it’s my belief that they were). Dragonslayer became ILM’s test of whether they were a go to effects studio for the rest of Hollywood. It didn’t quite work out for the film, but at least ILM did well. At one point, the amount of lens flares in this movie would make J.J. Abrams proud.

Walt Disney Pictures, wanting to get into something a little more adult, came up with Dragonslayer just before Tron, but because of then graphic nature of the film (at least by their standards) supposedly had Paramount Pictures handle the distribution of the film and keep their hands clean. The movie contains blood, immolation and a hint of nudity, which seemed unbecoming of the Disney label. Over the years, Disney would come up with Touchstone Pictures, Buena Vista Pictures, and Hollywood Pictures for their more adult fare. I think Disney even had Miramax at one point.

The story behind Dragonslayer is pretty straight forward. In a faraway land in the Dark Ages, a group a people seek out an old wizard named Ulrich (Sir Ralph Richardson – Watership Down and one of my favorites, Time Bandits) to have him slay the dragon known as Vermithrax Pejorative. Why would anyone want to kill a dragon? Well this particular dragon spends it’s time burning nearby villages and to keep it from doing so, the land has a lottery where the winner – a young maiden – is offered as a sacrifice. On looking at the evidence provided – some scales and a claw (to which Urlich exclaims “That’s not a claw, by the gods….that’s a tooth!”), the wizard refuses and asks the team to look for another Dragonslayer. They inform him that he is indeed the last of his kind. His apprentice, Galen Bradwarden (Ally McBeal’s Peter MacNicol) feels that maybe they could do the job, but before Ulrich can get on his way, he is challenged by the head of the King’s Guard, which leads to the wizard’s demise.

Galen, on cleaning up the wizard’s castle, stumbles upon a glowing amulet that enhances his magic ability. then takes it upon himself to get rid of the Dragon after discovering one of Ulrich’s glowing amulets and the ability to perform magic. As a kid, I thought that amulet was the coolest thing. There are of course some complications, mainly the fact that the Monarchy believes having the sacrifices and the Dragon are a good thing, but like all Disney movies, it all works out.

From an acting standpoint, Dragonslayer is okay. None of the performances are really award winning, and actor Peter MacNicol has gone on to say that he was embarrassed to have done the film, and doesn’t even mention it when referencing anything he’s done. Actor Ian MacDiarmid, who played Emperor Palpatine in the Star Wars films, plays a priest in Dragonslayer, which was nice to see.

ILM’s biggest contribution to Dragonslayer was the use of a then new effect called “Go-Motion”. The idea was that most effects at the time were stop motion, similar to what you’d see in a Harryhausen film like Clash of the Titans, As a result, it was often very easy to tell when stop motion was being used due to the jerky but accepted movements of characters. Go Motion used puppets on computers to track their movements, inducing a motion blur and give the appearance that puppets were moving more naturally. I guess it was a lot like rotoscoping for the Lightsaber effects. ILM tried this out with some success in The Empire Strikes Back, and a combination of either Stop Motion or Go Motion was used in many films right up until CGI came along. The look of the Dragon itself was very aggressive and its look can be seen in similar films like Reign of Fire. Most of the effects haven’t held up very well at all under HD, and you can clearly see some of the areas where effects start and end.

It should be noted that Stop Motion is still in use today and is very popular with animated fares like The Nightmare Before Christmas, Coraline, and the Academy Award Nominated Film, Frankenweenie.

Movie Review: Texas Chainsaw 3D (dir. by John Luessenhop)

Posted on by Leonard Wilson

TexasChainsaw3D11012012-thumb-550x382-104468

I like to use 2010’s Nightmare on Elm Street as the basis for horror remakes I’m not fond of. So when Texas Chainsaw 3D was announced, I automatically wrote it off as being something you could put on the shelf right next to this one. I have to admit I was actually surprised. Yeah, it’s a bad movie, but I didn’t find myself scoffing nearly as much as I did Nightmare, which really didn’t work for me at all. I just don’t see myself running back to see this one. I believe part of this has to do with the way the film opens.

Having gone into the film blind, I expected a remake of the remake. Essentially the same story we had with The Texas Chainsaw Massacre: The Beginning. The shock was that the film starts with the events of the original Tobe Hooper film, rendered in 3D (which was very cool, I might add). It then moves to the afternoon after the last victim ran away. This gives anyone who may be unfamiliar with the original a bit of a bridge, and personally having never liked any of the original sequels, I liked the aftermath that takes place.

Essentially, Texas Chainsaw 3d is the story of Heather Miller (played by Percy Jackson’s Alexandra Daddario), who receives word from her lawyer that she’s inherited a home in Dallas, Texas. What she doesn’t realize is that this inheritance comes with a few problems. She decides to hop in a van and head down there, accompanied by her friend Nikki (Tania Raymonde), Nikki’s date Kenny (Keram Malicki-Sanchez), and her boyfriend (Tremaine “Trey Songz” Neverson, who the girls in my audience gave the same whoops and catcalls normally reserved for Pattinson/Lautner in a Twilight Showing).

Basically, the movie becomes the cliché “draw this person into isolation and Bam!” that every horror film has, but I’ll admit that I watched a lot of those scenes with my eyes averted, so in that aspect, it got the job done. The visual makeup effects were done by Robert Kurtzman, the “K” in the KNB Effects group (The Walking Dead’s Gregory Nictotero and Howard Berger are the others), and there’s no shortage of blood in this film. While it’s not quite on the level on what the upcoming Evil Dead looks like – that appears to be on the epic Dead Alive levels – Chainsaw does have limbs lost, blood spurting and Leatherface’s signature weapon used to fullest extent. Those moments of isolation come of as very intense, and the direction isn’t bad.

The 3D in the film was nice, though used sparingly. To be honest, the best use of the effects was in what it added to the pieces of the original film that were used. I really enjoyed the outcome there and there are a few key “weapon in the camera” shots that may make you flinch.

Horror films have their eye candy. Sex sells, let’s face it. In Chainsaw, both Raymonde and Daddario had the guys captivated, and Scott Eastwood (Clint’s Son) works for the ladies. While there’s no nudity in the film, good considering how many kids were at my showing, there’s enough skin to appreciate.

What I didn’t like about the film was that in this day and age where you have smart heroes in horror stories – one need only look at Cabin in the Woods here – Chainsaw resorts to the classic “two step, drop” method, meaning that characters meaning to escape will only make it a few steps before stumbling over their feet. I don’t know if that works anymore for audiences. The times that it happened at my showing brought about more laughter than it did horror. Granted, I can’t say I’d be the best of runners with someone wielding a noisy chainsaw behind me, but you’d be damn sure I’d be up or kicking from the floor if I had to. Additionally, the heroes make a few stupid mistakes, which they have to I suppose. Still, I would have liked a few more smart moves. One other thing is that Leatherface himself, while menacing, doesn’t have the same effect that the Brynarski one in Marcus Nispel’s film with Jessica Biel. The Leatherface in that film was a hulking behemoth of a dude that ran with football player like speeds. Chainsaw 3D’s Leatherface is more like your grandpa that caught you stomping around his rose garden and chased after you with garden shears. It’s the equivalent of seeing Dawn of the Dead running zombies and going back to shuffling walkers.

Overall, Texas Chainsaw 3D isn’t anything fantastic and new. You can wait for it on 3D Blu-Ray. If you are an absolute fan of the series, it’s worth a look for both the connections to the original and a cool Gunnar Hansen cameo. Or you can watch it just for Daddario. Just make sure someone else buys you the ticket.

Hottie of the Day: Alexandra Daddario

Posted on by Leonard Wilson

My pick for Hottie of the Day for January 5, 2013 is Alexandra Daddario.

While Texas Chainsaw 3D will probably a blip in the January 2013 movie set, I doubt anyone seeing the film will forget it’s heroine, Heather Miller, played by Alexandra Daddario. Audiences may know her from Parenthood or Blue Collar, but she’s perhaps best known as Annabeth Chase, daughter of Athena in Chris Columbus’ Percy Jackson and the Olympians: The Lightning Thief. With a pair of brilliant blue eyes, this Italian / Czechoslovakian beauty will also grace audiences with Percy Jackson and the Olympians: The Sea of Monsters later this year and hopefully, more in the future.

alexandra daddario under flash

600full-alexandra-daddario

alexandra daddario tcs3d

alexandra%20daddario%20bikini

264909_416462018422923_358535722_n

Alexandra-Daddario-percy-jackson-and-the-olympians

AlexandraDaddario159791

alexandra-daddario

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

PAST HOTTIES

Quick Review: Zero Dark Thirty (dir. by Kathryn Bigelow)

Posted on by Leonard Wilson

zero-dark-thirty-releases-a-uk-poster-121641-00-1000-100I’m hoping this won’t be the only review for Zero Dark Thirty. I just happened to view it earlier, and these are my thoughts. As other reviews come in, they will more than likely be in depth.

On May 1st, 2011, news spread around the United States as President Barack Obama announced that a successful operation was completed that resulted in Osama Bin Laden’s death. Academy Award Winning Director Kathryn Bigelow’s Zero Dark Thirty is the story of the events leading up to that operation. This is by far one of the trickiest reviews I’ve ever had to write, considering this isn’t a fictional tale, but one based on actual events. Additionally, in trying to tell you about this, even though you know what happens, I’m leaving out tons of details so that the audience can be surprised. In short, Zero Dark Thirty is easily my front runner for Best Picture and Director this year (and this is coming from someone who enjoyed Lincoln and Silver Linings Playbook this year). I enjoyed it so much that right after seeing it today, I went back in for a 2nd showing.

Zero Dark Thirty doesn’t apologize for anything that occurs in the film. There are actions that may have viewers wincing or possibly questioning the motives behind them. At the same time, it doesn’t really try to glorify anyone either. There are no congratulatory celebrations like you’d find in a Michael Bay film. There’s no one approving of nor condemning in this. There’s just a target, and the people are who are – by whatever means they can – trying to eliminate that target, no sugar coating required. I like to think it takes a bit of courage to throw that up there for audiences. I’m not really certain there’s any other way they could have told it without causing some kind of upset. Unlike Act of Valor, which favored the Military Forces presented on screen, Zero Dark Thirty kind of showcases Seal Team 6 as just a group of guys that need to go in and do a job. It may be considered the safe road in having the distance there, but I felt it worked over all.

Jessica Chastain carries the film as Maya, a CIA Operative who makes it her mission to get UBL. I’ve never seen Chastain’s other films, but she comes across with such ferocity in this movie as it process as it’s hard to ignore her and I’ll probably keep an eye out for her other work. Jason Clarke (Brotherhood) also plays an operative who works with her. Zero Dark Thirty has a great ensemble cast that includes Mark Strong (Green Lantern), James Gandolfini (The Sopranos), Chris Pratt (Wanted), Jennifer Ehle (Contagion), Edgar Ramirez (The Bourne Ultimatum), among others. It didn’t feel like anyone missed a beat on this.

The movie moves at an even pace. It felt long the first time I watched it, but considerably shorter the second time. Mark Boal’s script is pretty lean, moving from scene to scene with ease, which may actually be more to Bigelow’s credit. The first audience I saw the film with gave it tons of applause at the climax of the film – the actual raid done in a mixture of night time shots and night vision camera shots -  and at the end credits. The second group only clapped at the end credits. I imagine there’s going to be mixed responses all around.

Zero Dark Thirty is getting some serious praise from Hollywood and condemnation from political officials, from what I’m seeing online. Yes, the movie does contain scenes of torture, but perhaps my having seen too many horror films, I didn’t quite feel that what was displayed was really that bad.  As I saw the film without knowing any of the historical background of the actual events, the movie worked for me as a tense drama. It’s altogether possible that others may feel differently when viewing it, and that’s okay.

Overall, if you’re able to find a theatre that’s playing the film during this preview period, it’s worth seeing. The movie will open in wide release on January 11.