The Amazing Spider-man


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The Amazing Spider-Man

I am pleasantly surprised that I enjoyed the film. The only thing that interested me from the trailers was his new fangled compact web shooters.  It was not a perfect film but it gave me a more authentic Peter Parker than the previous films.

What I Loved:

  1. Garfield’s Peter Parker… he gave the character a soul. He made the audience empathize with Peter’s joy and pain.
  2. The scientifically gifted Peter Parker: the film clearly and smoothly demonstrated throughout the film.
  3. Eugene “Flash” Thompson had some depth… he wasn’t another generic one dimensional bully. He offered Peter a proverbial shoulder to cry on after his uncle died and he reacted gently to Pete’s outburst. He even went the extra step of checking up on Pete some time after.  These acts of kindness redeemed Flash in my eyes.
  4. The introduction of Gwen Stacy, Peter Parker’s true love and intellectual equal: Emma Stone was a better fit in this role than Kirsten Dunst was as MJ.
  5. The compact web shooters: I loved this design. It makes sense and wouldn’t mind if the comic Peter Parker refined his classics to this model.
  6. The chemistry that Garfield and Stone had on screen, it didn’t feel wooden or forced like some other super hero romances.
  7. Captain Stacy centering Peter by telling him that Spider-Man’s blind vendetta put innocent people’s lives at stake. He prevented this film from going to the dark places that the previous films have traversed.
  8. I loved Sally Field and Martin Sheen as May and Ben Parker.  I was visibly shaken when Ben wrestled the crook and was shocked. I don’t recall being emotionally moved in the Raimi films.
  9. The animal motiff, like Peter hunting like a spider and using his web to track his prey.

What Irked Me:

  1. Curt Connors wasn’t a very interesting or compelling villain. He lacked a certain spark and his motivation wasn’t believable either. I felt that depriving Connors of his family weakened his overall potency in addition to lumping him with Norman Osborne. His passion would have been more believable if he wanted to be whole for the sake of his family, especially his young son.  I would have loved if the Lizard was a separate personality instead of an uninhibited and unhinged Connors.  If they fleshed out the Lizard as Golem to Connor’s Smeagol would have added some depth but I guess time constraints prevented this.  The mysterious guest at the end was more interesting that Connors… I will end my rant now… forgive me for exposing my geek.
  2. The web fluids: I disliked the fact that Peter didn’t invent it.  He just lifted it from OsCorps. It takes something away from his overall brilliance IMO.
  3. The lack of accelerated healing (well not quite Wolverine but faster than the average human’s).
  4. The loose ends like the people on the Q train that saw Pete display his powers or the first thug & his gang who got their collective arses kicked by Pete. Wouldn’t they have gone to the police or tabloids after Spider-Man debuted. How come only one spider escaped? It would be interesting if some more escaped and we ended up with some more Spider-People.

Lawless: Trailer #2


As I’ve mentioned on this site before, Lawless is the movie that I’m most excited about seeing later this year. 

It’s not necessarily that I think it’s going to be a great film or because I’ve suddenly managed to figure out the appeal of Shia LeBouf (though he does look about as appealing as I’ve ever seen him look in the previews for this film). 

No, I’m looking forward to Lawless because it looks like it’s going to be a stylish and sexy throwback to the classic gangster films of the past.  As I’ve been saying for a few months now, Lawless captured me the minute I saw Gary Oldman firing that tommy gun and smirking at the camera.  Add to that, this film’s original trailer also featured Tom Hardy at his Tom Hardiest and Guy Pearce with one of the weirdest movie haircuts (not to mention accents) ever. 

(Plus, the film apparently features dancing!  Yay!)

A second trailer for Lawless was released earlier today and you can view it below.  While this second trailer contains many scenes that should be familiar from the first trailer, it also puts a lot more emphasis on the film’s violence in general and Tom Hardy in specific.  I have to wonder if that has anything to do with all the buzz surrounding Hardy’s villanous performance in the upcoming Dark Knight Rises.

Lawless opens August 31st and I know I’ll be there.

Trailer: The Man with the Iron Fists (Official)


One thing that seemed destined the moment RZA (with his hip-hop group the Wu-Tang Clan) arrived on the scene in the early 1990’s was him finally making a martial arts film. Not just a martial arts film, but a wuxia kung fu film that he and the other in the Wu-Tang Clan had watched as kids and cotinued to obsess over as adults. RZA’s own brand of hip=hop was infused with many sound bites and track beats from the classic kung fu flicks of the 70’s and 80’s. Even the group’s name was taken from one of those very kung fu classics, Shaolin and the Wu-Tang.

Now RZA has teamed up with genre filmmaker Eli Roth to make his dream to a reality with the upcoming martial arts film The Man with the Iron Fists which RZA has directed from a story written by both him and Roth. It also stars RZA (making him a triple-threat in this production) with Russell Crowe, Lucy Liu, Rick Yune, Jamie Chung, Daniel Bautista and MMA fighter Cung Le. The fight choreography was handled by renowned martial arts fight choreographer Corey Yeun.

The first official trailer has now been released and it’s in awesome Red Band which shows just a hint of how ultra-violent the film will end up being. All I can say is that near the end of the trailer we get eyeballs!

New Sailor Moon Series to Return in 2013


News that should make fans of Sailor Moon fans everywhere happy has been reported by Anime News Network that the storied mahou shoujo franchise will make a return with a new tv anime series. The announcement was made by idol group Momoiro Clover Z, the series’ publisher Kodansha and it’s creator Naoko Takeuchi and that the new anime adaptation of Takeuchi’s work will return in the summer of 2013.

This news has been greeted very positively by those who remember fondly the original set of anime series which aired over in Japan and around the world from 1992 thru 1997. Even now the series continues to make constant reruns on syndicated tv worldwide with the iconic Sailor Scout characters still some of the more popular anime characters cosplayed by both male and female.

There’s no word on whether the original voice actors of the earlier seasons will return to reprise their role, but for now fans of Bishōjo Senshi Sailor Moon are just ecstatic that a brand-new series will be making it’s way back onto the tv airwaves in a year’s time.

Source: Anime News Network

Lisa Marie Does The Amazing Spider-Man (dir. by Marc Webb)


I have to admit that, before I saw The Amazing Spider-Man on Tuesday, all I knew about the character was that he could climb walls, shoot webs, and that Tobey Maguire played him in three films, two of which were fun and one of which wasn’t.  However, my boyfriend is a Spider-Man fanatic so, on Monday night, I asked him to tell me everything that he knew about the character and everything that I should know before I even tried to write a review of this latest film.

“Everything?” he asked.

“Everything,” I replied, “I mean, I know about the spider bite and his uncle and Kirsten Dunst and all that.  How much more could there be?”

Well, he told me how much more there was.  A few hours later, I threw up my hands in exasperation and jealousy while shouting, “Well, if you love Spider-Man so much, why don’t you take him to the movies!?”  Being the wonderful and patient guy that he is, Jeff explained to me the many reasons why he prefers my company to Spider-Man’s.  While most of those reasons would probably be considered too TMI for me to go into too much detail about on this site, it was still nice of him to reassure me.  The fact of the matter is that Spider-Man has became a cultural icon, a figure that is now known not only to the cute guy who grew up with him but also to people, like me, whose knowledge of costumed super heroes is pretty much limited to what shows up on the movie screen.

Perhaps that’s why Marc Webb’s reboot of The Amazing Spider-Man has been so highly anticipated.  Having seen it, I’m happy to say that the film, while uneven, has plenty to please both fans and newcomers alike.

The first part of the film pretty much retells the familiar origin of Spider-Man.  Peter Parker (Andrew Garfield) is a nerdy high school outcast who lives with his aunt and uncle (Sally Field and Martin Sheen).  A scientific genius, Peter is bullied by jocks and spends his time pining for a girl who he can’t work up the courage to talk to.  One day, Peter gets bitten by a radioactive spider and soon, he has all the powers of a spider.  At first, Peter has a selfish reaction to his new powers and he sees little reason why he should use them to protect a society that has rejected him.  However, that all changes once Peter’s saint of an uncle is killed by a criminal that Peter earlier refused to help capture. 

As many critics have pointed out, this is all familiar to anyone who saw the first Spider-Man film but that familiarity doesn’t detract from the film’s effectiveness.  The fact of the matter is that Spider-Man, much like Batman, has become a part of American folklore.  These are stories that are meant to be told and retold with each teller bringing his own unique spin to the material.

The film works best during this first half, when Peter is first discovering and learning how to deal with his powers while pursuing a tentative romance with Gwen (played by Emma Stone) under the disapproving eye of her father (Denis Leary), who just happens to be a police detective obsessed with capturing Spider-Man.  This is largely because the first half of the film is dominated by Andrew Garfield.

Andrew Garfield has been one of my favorite actors ever since I first noticed him in Never Let Me Go and he brings a wonderfully unpredictable energy to the familiar story of how Peter Parker became Spider-Man.  To his credit, Garfield plays Peter as such an awkward teenager that he’s actually somewhat creepy when we first see him.  Whereas Tobey Maguire just came across like a shy nice guy, Garfield’s performance establishes Peter as a classic outcast and that gives his heroic transformation an extra poignancy.  Unlike a lot of critics, I don’t feel that it’s necessary to praise Garfield’s performance by attacking Maguire’s.  Maguire was the perfect Peter Parker for Sam Raimi’s unique brand of pop art.  Marc Webb, for the first half of the film, take a far more realistic approach to the material and it’s an approach that’s well-suited to Andrew Garfield’s far more neurotic and internalized approach to the role.  If Maguire’s performance owed a lot to Jimmy Stewart, Garfield’s performance reminds one of a young Dennis Hopper.  It, of course, also helps that Garfield has a wonderful chemistry with both Martin Sheen and Emma Stone.

Though the audience I was with seemed to disagree, I found the film’s second half to be significantly weaker than the first.  The latter part of the film is dominated by a pretty standard super-villian, a one-armed scientist (played by Rhys Ifans) who knew Peter’s parents and whose attempts to regenerate his missing arm leads to him turning into a lizard man who lives in the sewers.  Though Ifans is a talented actor and he certainly has the mad scientist look down, his character remains something of a cipher.  You’re never quite sure what Ifans is attempting to do or why he’s attempting to do it and, as a result, his final confrontation with Spider-Man is never quite as compelling (or fun) as one would hope.  It all feels rather oddly generic.

Complaints aside, I enjoyed The Amazing Spider-Man and I’m looking forward to the inevitable sequel.  I’m just hoping that the next film in the franchise has a villain that can match up to Garfield’s interpretation of the lead role.

AMV of the Day: Safety Dance (Nichijou)


In what will be one of several posts about my experience during this year’s Anime Expo 201, I have chosen to begin this series by choosing the latest “AMV of the Day”. While I wasn’t present when this video was shown to attendees (the schedule for the AMV contest panel conflicted with several other panels pantsukidasai56 and I were already committed to attending) I still sought it afterwards.

“Safety Dance” by Shin (listed under the Youtube account of tehninjarox) was well-received by those who attended the AMV Contest panel. While it didn’t win Best Comedy category it was picked as the winner of the Random/Fun category which is like the place where the hard to categorize and label videos end up. It’s a hodgepodge group of videos which tend to range from the weird, funky right up to just plain psychedelic.

The video is another feather in the cap of Shin who is considered one of the top AMV producers. Using the song “Safety Dance” by Men Without Hats (plus some dialogue from Futurama) and the quirky anime series Nichijou, Shin has created a really hilarious and unique AMV which really shows his editing skill in keeping the song in-sync with the anime characters in the video. The anime itself works well with the song with all the scenes of dancing (funny dancing but dancing nonetheless).

I think if I was present during the AMV Contest when this video played at Anime Expo 2012 I probably would’ve voted for this to win. I’m just glad that many others thought the same and made sure it won.

Anime: Nichijou

Song: “Safety Dance” by Men Without Hats feat. dialogue from Futurama

Creator: Shin (tehninjarox)

Past AMVs of the Day

Review: The Newsroom S1:E2 – “News Night 2.0”


After seeing the second episode of The Newsroom, which is my first Aaron Sorkin show experience, I’ve learned four things:

1.) In the Sorkin Universe, guys may be asses, but girls seem to make all the huge mistakes.

2.) Everyone is just one moment away from emotionally exploding.

3.) The “Walk and Talk” gets things done.

4.) There are very few moments of silence.

Okay, here we are with the second episode for The Newsroom. This one appears to be tighter compared to the pilot episode and an overall improvement from that, though it still has it’s problems. The episode overall is about the construction of News Night 2.0, the revised version of the broadcast that will concentrate on giving the news and not letting the ratings control the content. It’s a great plan, but issues do arise. Charlie (Sam Waterston) has to warn one of Will’s colleagues, Reese (Chris Messina) about giving Will the numbers on the ratings. As Will is a big fan of the ratings, Charlie fears that this will sway him from following the new broadcast process. Reese explains that he’s not the bad guy, but is only giving Will what he wants. Despite the warning, he still speaks with Will in a later scene.

That I liked, the notion that Will is still laboring under the belief that he should shoot for the news that people want to hear versus the news they should. This episode was partially supposed to show how going against that process didn’t work out for him and should ground him going forward. In some ways, I think it succeeded. The News Night Team is trying something different, but in order for that to work, everyone has to be on board. By the end of the episode, you come to find out who’s with Mac on this, and who’s against it. I’m loving where the show is going on that front.

We now have our antagonists in Reese, who wants Will to keep the old format going and we have Don. Don is staying with the NewsNigh Team to make sure the transition goes well, but at the same time, is rooting for Will to fail because it puts his new show in that prized time slot. I’m under the impression that later on, we’ll see both of these individuals trying to sabotage things.

Here’s what worked for me:

The Introduction of both Reese and Sloan. Both Chris Messina and Olivia Munn had some good scenes in the episode. They both appeared to be even keeled for the most part. Reese’s “walk and talk” with Will was nice, though in doing a bit of research, I’ve discovered it’s bit of a Sorkin staple.  Olivia Munn’s character, Sloan Sabbith is introduced when Mackenzie hires her to perform the Financial News segment to start before Will’s broadcast. I’m hoping her character gets some more time in. Of course, I’ve been a fan of Olivia’s for years, so there’s some bias there, admittedly. It’s cool seeing how far she’s come. Sabbith also happens to be one of the only girls who hasn’t had some kind of serious emotional crash, yet (and that’s still questionable).

More pop and zip. Overall the episode moved very well. I didn’t get the feeling of slowdown from the pilot, with it’s empty areas and all the time spent trying to figure out who was what. It was basically, “What’s our show?”, “Who do we need to get it going?”, “Oh damn, we messed up!”, “The Broadcast”, “The Aftermath”. I wouldn’t mind seeing that template keep going. By the time we reached Will’s actual broadcast, I was all smiles. It’s quick, to the point and there’s just never a quiet moment. Everyone has something to say to fill in the space, all the time. I wish I could write the dialog in my fiction like that.

And then there’s the one glaring problem:

Women are Always the Source of the Issue in a World Where Men Seemingly Do No Wrong. During last year’s Oscars, Lisa Marie and I got into a debate over her hatred of Sorkin and my love for The Social Network. We agreed to disagree that he can do dialog and that he kinda, sorta, maybe has a problem with writing women. I was pretty sure I won that argument when Sorkin accepted his Oscar – I was rooting for him to win. This episode, however had me face palming myself, like a PR agent watching their star client mess up with everyone watching.

Again, where Sorkin excels in dialog and moving that forward, the girls get the short end of the stick. Every mistake and problem that occurs in this episode is the direct result of something a girl should have done or didn’t do or blew out of proportion. The flow moves in this pattern:

1.) Girl makes big mistake. As her Superior Male supervisor is going to blow up because of it, she loses her mind in a theatrical fashion. (Both Maggie and Mac do this to great effect, it’s like they haven’t had tea or something.).

2.) Girl gets verbally chewed out by Superior Male. This also seems to happen publicly where people can see it.

3.) Girl apologizes, kowtows and hopes the Male she works for doesn’t look bad because of her actions.

It may sound a little exaggerated, but it’s there. Now you may say, “Len, that’s not right. The girls are on equal footing with the guys. And you’re a guy, it shouldn’t matter, should it?” Perhaps it shouldn’t, but as someone who prefers seeing women in media that don’t complain about broken fingernails, The Newsroom still needs improvement on this level. I can’t claim to understand women in the slightest, but I’ve seen and have known tons of them that just aren’t this…submissive, for want of a better word. Case in point – It’s stated that Mackenzie McHale was a journalist in war-torn areas for a long time. Yet, in the Newsroom, she comes across as being particularly clumsy and high-strung. I would have expected a calmer person, kind of a like a Kathryn Bigelow. Could you imagine Mac, the way she is in the Newsroom, being as effective in a warlike environment? That bothered me a bit, honestly. If Sorkin could fix that one part, he’d be downright perfect. It has me wondering what the first show he doesn’t write will be like. That this has become the only problem for me says a lot for how much better the show’s done in these two episodes.

So basically, I’m loving where the show is going, but it needs to up the girl factor. I’m hoping Sloan may be that factor. For the next episode, I’ll try not to be issue like a dead horse, but if they keep giving me the ammo, I’m be tempted to fire off a round or two.

Artist Profile: Howard Terpning (1927– )


Artist Howard Terpning was born in Illinois and grew up in the midwest.  He first started drawing at the age of seven and, after serving with the U.S. Marines, he enrolled in Chicago Academy of Fine Arts.  After art school, Terpning found employment as a commercial illustrator.  Along with doing magazine illustrations, Terpning designed the posters of over 80 films.  In 1967, he went to Vietnam as a civilian combat artist.  His six Vietnam paintings hang in the National Museum of the Marine Corps.  In 1974, Terpning retired from doing commercial work and devoted his time to paintings inspired by Native American history and culture.  Terpning’s paintings hang in galleries around the world and he has collected over 42 awards for his work.

Trailer: Anna Karenina


So, earlier today, I saw a movie called Seeking A Friend For The End Of The World and … well, it wasn’t very good. 

But, fortunately, it was preceded by a trailer for a film that’s got me very excited about the future of 2012.  That film is Joe Wright’s adaptation of Leo Tolstoy’s Anna Karenina.  Just judging from the trailer, it looks like this is going to be a visually sumptuous and intriguing adaptation of Tolstoy’s novel. 

It doesn’t hurt that Joe Wright’s last film was my personal favorite of 2011, Hanna.

Review: True Blood S5E4 — “We’ll Meet Again”


Tonight’s episode of True Blood could very well have been called “Everybody hates Sookie.”  Seriously, Sookie did not have an easy time of it for most of tonight though, in the end, she got to have drunken sex with Alcide so I guess things didn’t work out too badly for her.

But before we get to that…

When we last saw Tara (Rutina Wesley), she was torturing herself in a tanning salon.  At the start of tonight’s episode, Pam (Kristen Bauer Von Straten) finally abandoned her facade of indifference long enough to save Tara and, as her maker, command to Tara to stop with the attempts at self-destruction.  Though still reluctant, Pam has started to take Tara under her wing and accept her responsibilities as a “maker.”  By the end of the episode, Pam was even bringing Tara a willing young woman to feed upon. 

However, Pam had more to deal with than just Tara.  Having finally been released from the Authority HQ, Bill and Eric go straight to Pam and demand to know if she told anyone about Russell.  While Eric interrogated Pam, Bill talked to Tara about her new life as a vampire.  For me, Bill and Tara’s scene was one of the highlights of the season so far.  It was beautifully acted by both Rutina Wesley and Stephen Moyer and it was a nice change from the show’s often frantic pace.

Speaking of noteworthy acting, Alexander Skarsgard got his own Emmy moment in tonight’s episode when he released Pam from his control.  He did this to protect her from both Russell and the Authority and tonight’s episode skillfully got every note of drama and pathos out of the moment that it could.

Meanwhile, Jason and Andy were invited to accompany corrupt old Judge Clements for a night out on the town.  Of course, in this case, that meant going out to a deserted field and stepping through a portal that led to some sort of fairy-run Moulin Rouge-type nightclub.  I enjoyed the sequences in the nightclub, if just because they were so decadent and over-the-top.  Jason didn’t enjoy it quite as much because he ran into his cousin Hadley, who apparently works at the club.  Hadley let it slip that the nightclub’s actually a “safehouse” and that Jason and Sookie’s parents were killed by vampires.  When Jason had a bad reaction to that bit of  information, both he and Andy are promptly kicked out of the club and back through the portal.  Who would have guessed that faery bouncers could be that effective?

Speaking of vampires, Nora (Lucy Griffiths) finally breaks down and tells Roman (Chris Meloni) who the secret Sanguinista Chancellor is.  It turns out, to no one’s great surprise, that it’s the little kid vampire, Alexander Drew.  Roman promptly responds by giving Drew the true death and who can blame him?  That kid was a smug, spoiled little brat and, for a little kid,he certainly made a big mess when he exploded.

Even with all that going on, tonight’s episode truly belonged to Sookie and Anna Paquin’s frequently underrated lead performance.  The beginning of the show finds Sookie with not a friend in the world.  Alcide is mad at her for killing his fiancee.  Lafayette is mad at her for telling Alcide about Debbie.  Eric and Bill are missing.  Tara’s blames Sookie for her transformation into a vampire.  To top it off, she can hear the thoughts of everyone in town and it quickly becomes apparent that all of them blame her for everything bad that’s happened over the course of the entire series.

Poor Sookie!  Seriously, who couldn’t relate to that feeling in one way or another?

Lafayette, meanwhile, has one of his possessed moments and this leads to him attacking Sookie’s car.  Later, when Sookie is driving home, her brakes go out and she ends up crashing her car.  Shaken but unhurt, Sookie stumbles back to her house and does what anyone would do under these circumstance.

She starts drinking.

By the time Alcide shows up to tell her that he’s covered up her involvement in Debbie’s death, Sookie is totally drunk and soon, she and Alcide are engaging in perhaps the tamest sex scene in True Blood history.  And to that, I say, “You go, girl.”  It probably would have been better if a jealous Bill hadn’t been standing outside her window watching (and seriously, windows have blinds for a reason) but still, it’s about time something good happened to Sookie.

A Few Random Observations:

  • I apologize if tonight’s review isn’t one of my better efforts.  I’ve been dealing with an onslaught of allergies and asthma for the past week and I have to admit that I’ve spent much of tonight in a sort of daze.
  • Tonight’s unofficial scene count was 35.
  • You’ll notice that I haven’t spent much time on Terry’s flashbacks to Iraq.  That, quite frankly, is because that little subplot doesn’t hold that much interest to me.  So far it just feels as if it’s an excuse for Alan Ball to indulge in some nostalgic criticism of George W. Bush and the Iraq War without having to acknowledge that Barack Obama has pretty much been pursuing the same foreign policy in the rest of the Middle East.  I’m still hoping that the show does something unexpected with this whole subplot but, so far, it’s all been pretty predictable.
  • “How you like Bush now!?” was the epitome of a line so heavy-handed that it probably backfired.  What made this line annoying to me is that it was hard to shake the feeling that the show would never have had the guts to feature soldiers committing a war crime in Afghanistan while shouting, “Yes, we can!”  (Much less, “How you like Obama now!?”)
  • No appearances by the Rev. Newlin tonight but I’m sure he’ll play a big role in the later half of the season.  I get the feeling that there was a lot of foreshadowing going on with Bill and Jessica’s discussion concerning whether or not Bill was still king of Louisiana.
  • Compared to last week, there was a definite shortage of memorable lines in tonight’s episode.  However, Kristen Bauer Von Straten’s delivery of the line, “3 days old and she already has an eating disorder…” was perfectly delivered with just the right combination of concern and self-pity.
  • Anna Paquin’s version of the Pina Colada Song was adorable.

If I was the type to give out grades, I’d give tonight’s episode a good solid B.  If nothing else, I was glad that Bill and Eric finally got out of the Authority HQ.  I have to admit that I’m starting to wonder if Russell is actually going to show up this season or is he just going to be an unseen metaphor.

Time will tell.