This week we get mathematical in our review of the newest Adventure Time DVD release, Frost & Fire. Featuring 16 episodes of Cartoon Networkâs most random (and therefore most awesome) show heats up with an epic battle between Ice King and Flame Princess. But what about the other inhabitants of Ooo? Are we treated to some Fionna & Cake fan fic? Is there enough Gunter? How much of a jerk is Magic Man? Watch our review and find out.
Chappie is an amazingly frustrating movie, perhaps singular in its ability to vex me. I enjoyed so much of it while I was watching it, director Neill Blomkamp is quite good at evoking an emotional response, but in the days since I’ve seen Chappie I have grown steadily angrier at it. It’s a movie that’s so tone deaf to the world around it and so unnecessarily. All of the pieces of this movie I enjoyed could have been contained in a framework that was not so brashly ignorant of the important issues it brings up only to causally discard.
[[[Rosewater]]] is a movie that Jon Stewart basically had to make after The Daily Show played a major role in the imprisonments of Iranian journalist Maziar Bahari. It works really well as an apology and as an effort to further Bahari’s mission to increase the visibility of journalists who have become political prisoners. Unfortunately, it’s not a particularly good piece of filmmaking.
Stewart is quite green and it shows in almost every facet of the movie. The performances he gets from his actors aren’t quite up to the level of the material he’s trying to create. The movie lumbers along at times where they should move faster and speeds through moments I would love to see breathe more. It doesn’t feel like a student effort, that would be a bridge way too far, but it does feel like a movie by a director that’s learning as he goes.
As a movie critic I believe I am obligated by law to review Focus through the lens of what it means for Will Smith’s career: if we have finally reached the end of the dark ages after almost eight years of films that were both critical and financial mixed bags. I might even tell you that we are back at the peak of the mountain we haven’t seen since I Am Legend and that we have our unquestioned biggest movie star in the world returned to us from the exile of After Earth and Men In Black 3. This isn’t that triumphant return; Will Smith is good but not extraordinary in a movie that will never be a blockbuster nor is it a critical darling. Focus is a perfectly serviceable crime movie that feels confined by a lack of ambition and, perhaps, a lack of budget.
It’s hard to classify Focus, because it is honestly unlike any crime movie I’ve ever seen before. (more…)
One could argue that Moses is the most significant and influential character from the Old Testament. After all, he led the Hebrew out of slavery and delivered the Ten Commandments. His birth story proved influential, notably to Jerry Siegel a few thousand years later. As embodied by Charlton Heston, there was never a mightier figure which is why it has taken until 2014 before anyone attempted a modern day retelling of his story.
Ridley Scott brought all his filmmaker skills to Exodus: Gods and Kings and the movie is a visually sumptuous. The Middle East provides a nice visual backdrop to this story and the movie deserves to be seen on the large screen. Watching the Digital HD version on my computer screen, courtesy of 20th Century Home Entertainment, shows the limitations of epics on any home screen. There is so much detail and scope that deserve the silver screen so the home version blunts its impact.
Scott was roundly criticized for his casting white folk in the lead roles but commercial considerations made any other choice untenable. With that said, he chose well with Christian Bale as Moses, paired opposite Joel Edgerton as his adoptive brother Ramesses II. Yes, more racially accurate people should have been cast from there on down but this is an argument you’re not going to win so let’s move on.
I wish the movie was so deft. The film’s pacing is one of its largest problems. We dwell on a battle with the Hittites at the beginning that has little bearing on the rest of the story and should have been trimmed so we could get on with things. As it is, there are long, drawn out scenes where very little of note happens or gets said. Then, when we get to the 10 plagues, we only see a few of them, when we wanted each and every one. That said, when the plagues arrive, we do get a far better sense of how each decimated the Egyptian people, weakening Ramses’ resolve to keep the Jews in his grasp.
Which brings us to another issue of contention which are the biblical and historical inaccuracies. While Ramesses II is likely the unnamed Pharaoh in the Exodus story of the Bible, the pyramids the Jews are seen building were completed centuries earlier. What were they building? Hard to say but certainly the pyramid for Seti I (John Turturro) since these resting places tended to take over a decade to complete. Moses’ divine power to turn a staff into a snake is absent as is his stutter – he’s downright eloquent at times.
There are some very interesting character dynamics that are begging to be better explored. First, there’s Moses being raised by Seti after his daughter and his even-handed treatment from Seti, much to Ramesses displeasure. Then you have Moses and his long-lost brother Aaron (Andrew Tarbet) or his wife Zipporah (Maria Valverde). But the chief dialogue is between Moses and God, in the form of a young boy named Malak (Isaac Andrews), who is at least seen next the Burning Bush. Malak seems unhappy with Moses’ performance and attitude but sticks with his chosen avatar and there’s no reason given. Why Moses? Why let the Jews suffer for years while Moses goes into exile, marries, and raises a son of his own? Nope, no one questions this, just somberly accepts their fate.
The film overall is somber and dreary, lacking in the spark of life. There’s little sense of joy in the palace or the caves or the huts or the desert. There’s a distinct lack of humor in the tale, which may be true in the Bible, but here, we had a chance to bring more life to the players.
Instead, we get a visually feast beginning with the arrival of the plagues right through the parting of the Reed Sea (wherever that was). Here, Scott easily outdoes Cecil B. DeMile and brings us a parting worthy of the moment’s spectacle.
The 2:30 film has a very nice transfer and plays smoothly. The colors are rich and the sound, through standard computer speakers, was acceptable.
The Digital HD comes complete with the bonus features, which features Scott’s Commentary. There also The Lawgivers’s Legacy (23:14), where academics extol the facts and suppositions surrounding whether or not there was a real Moses and if so, when did he operate and whom did he oppose. There are nine Deleted Scenes (14:37), the most valuable one being Moses coming down from the mountain to find his people worshipping the Golden Calf. Additionally, there are fourteen BTS Enhancement Pods (48:13) covering each major aspect of mounting a production of this nature. Finally, there are The Gods & Kings Archives split between Pre-production, Production and Post-Production stills, sketches, artwork, and design.
I know it says “Dark Circle” on the cover. In the past the cover has said “Red Circle” and before that “Archie” and before that “MLJ.” But it’s all Archie Comics to me, and I mean that as a compliment.
I think their first “Dark Circle” comic book was The Fox, by Dean Haspiel and Mark Waid. I loved it. I say “I think” because comics publishers do reboots faster than elves make shoes. Maybe the next Fox by Haspiel and Waid will restart the series again. But, for conversation’s sake, let’s say last week’s Black Hood #1 by Duane Swierczynski and Michael Gaydos was the second Dark Circle title.
And that’s where I got confused.
First, for the record, I liked this latest Black Hood. Like most contemporary comics, there wasn’t enough story in the first issue for me to make a real commitment, but I enjoyed what I read, deployed some clever concepts, and I look forward to the next issue. I can’t say that about a lot of costumed superhero comics these days.
But… well… damn… it’s still an Archie Comic. It says so right there on the copyright notice. And it was Archie Comics (as opposed to “Archie comics”) that heralded “approved reading.” It was Archie’s cofounder John Goldwater who created the Comics Code. In fact, after all the other publishers dropped the Code, Archie was the last publisher at the table. Briefly. They drank the last survivor’s wine and dropped out. That was in 2011.
I started reading comics about the time the Code came along, so forgive me when I say I’m a bit taken aback when I read an Archie Comic and encounter the word “asshole” twice, “shit” three times, and “fuck” seven times.
Yes, I counted.
Don’t get me wrong. There is absolutely nothing wrong with using such language. It’s been commonplace for a long time, and using the real words is much better than using stupid euphemisms that simply implant the censored word into the reader’s mind anyway. Fuck hypocrisy!
But… damn… it’s an Archie Comic! Does this mean they’re going to hire S. Clay Wilson for their Fly-Girl title? Hey, that would be great!
But it does make me wonder. Archie Comics is about to reboot Archie comics with the melodious words of Mark Waid. How many cans of Tree Frog Beer can Reggie Mantle chug? And what’s the real reason why they call Forsythe Pendleton Jones III… Jughead?
Maybe they’ll give a new answer to the time-old question “Are you a Betty, or a Veronica?”
Lionsgate had an opportunity to take advantage of the crass commercial stunt of splitting Mockingjay into two films and enrich the world and characters. Somehow, though, they squandered the opportunity and turned out a leaden adventure that did little more than spin its wheels as we are forced to wait for the final chapter. Given the content of Suzanne Collins’ final installment in her Hunger Games trilogy, this could have been a done-in-one, albeit lengthy, final film. However, it was decided to split it into two and here, we should have gotten to know everyone a little better.
After being available for online viewing, Mockingjay – Part 1 arrives on disc Tuesday in the standard combo pack, giving you Blu-ray, DVD, and a digital copy.
Katniss Everdeen’s journey from Tribute to Icon showed us a petulant, reluctant hero in the making and with Jennifer Lawrence wonderfully assaying the part, her growth should have been stronger on screen then the print version. She remains resistant and reluctant, finally willing to trade being used as a stalking horse in exchange for help freeing Peeta Mellark (Josh Hutcherson and the other Tributes held by the Capitol. She clearly sucks at being anything than what she is as seen in the amusing public service ad filming scene but finally reveals her inner fire when District 8 is bombed.
The game being played against President Snow (Donald Sutherland, the second best bit of casting in the series) is a tricky one, especially considering his decades of advantage. His moves are cold and calculating, yet his clearly is over-confident and misfires when he bans the Mockingjay symbol from being displayed. As he tightens his grip on the districts, more and more rebellion is sparked. That he and Katniss exchange moves for as long as they have shows he has underestimated her. But not before outfoxing her on more than one occasion, including the brainwashing of Peeta, surreptitiously releasing him so he would become his secret weapon, which is more or less where this half ends.
The first set of missed opportunities are close to home. Mom and Prim have survived the devastation of District 12 and they are seen here and there and yet neither one is given much to say or do and their relationship with Katniss is at arm’s length, which goes against everything established in the first book. Then we have the introduction of President Coin (Julianne Moore). In the BTS material, she is said to have had a strong take on the character but it doesn’t come through on screen. Her growing relationship with Katniss would have been nice to see much as more could have been done with Plutarch (the dearly missed Philip Seymour Hoffman) and even Hamish (Woody Harrelson).
Instead, we go from District 13 to visit District 12, rescue a cat; visit District 8 and narrowly avoid being blown up, and back to District 13 as others try to free the Tributes. Katniss broods a lot and seems so obsessed with Peeta’s freedom she barely has time for Gale Hawthorne (Liam Hemsworth), whose love for her has forged him into a hero, not that you can really tell given how little he’s given to do.
The movie is incredibly faithful to the book but screenwriters Peter Craig and Danny Strong made one significant change: Effie Trinket (Elizabeth Banks) has survived and has been brought to District 13 where she bonds with Katniss in a nice way. Given their skills, it’s sad that this was a brief highlight and so much of the film is a series of action set pieces and missed opportunities. Director Francis Lawrence did a far stronger job with Catching Fire and while he handles the scope and action nicely, the human touches feel thin. One hopes the final act redeems all concerned and ends the series on a high note.
The film’s transfer to High Definition is splendid with sharp colors and little lost to the shadows. The audio is just fine, too.
The Blu-ray comes with an assortment of special features built around the eight-part, two and a quarter hour “The Mockingjay Lives: The Making of Mockingjay – Part 1“: 8-part feature-length documentary which covers everything from the story to the special effects, costuming, and casting. The BTS footage demonstrates just how much fun they had shooting the film, which is good considering how dour the story is. What’s frustrating is that the director, producers, and cast all have strong ideas about the characters and story but so little of it made it on screen. There is also a commentary from Lawrence and Producer Nina Jacobson. “Straight From the Heart: A Tribute to Philip Seymour Hoffman” is a nice ten minute tribute specific to his involvement in the last three films in the set. Songs of Rebellion: Lorde on Curating the Soundtrack” features Lorde detailing all the choices she made in assembling the soundtrack album and we have her “Yellow Flicker Beat” music video. There are also a handful of deleted scenes, only one of which I think should have been restored to the film.
Overall, it was entertaining but disappointing but I will be there for the finale to see if they can trump the great wreck of a second half the novel itself was.
Attention Bronies: My Little Pony – Friendship is Magic: Adventures of the Cutie Mark Crusaders was released on DVD this week. As you know, a pony’s cutie mark shows their special talent on their flank for all to see, but what if you’re a pony who hasn’t figured out how you are unique yet? Cutie Marks are the quest for the Cutie Mark Crusaders and this DVD features them in 5 episodes (well, really truly only 4 because “Pinkie Pride” is about Pinkie Pie’s party planning showdown with a pony called Cheese Sandwich, voiced by Weird Al), plus bonus features like coloring pages, a sing-a-long and digital wallpaper. All the details are in this week’s video…as well as our true feelings about Scootaloo and Rainbow Dash.
There’s a certain amount of bravery in making a movie like Hot Tub Time Machine 2. Not, you know, actual bravery because making a sequel is usually an admission that the studio would rather take the money than make a clever new film but comedy sequels are almost always terrible. In a sequel you’re selling the promise of the same thing but good comedy comes from being able to surprise your audience. While there are comedy sequels that succeeded in being funny enough (Addams Family Values, 22 Jump Street, and Back to the Future Part II jump out at me) none of them ever rise to the level of their original and are usually, at best, tolerated. Hot Tub Time Machine 2 is, at least, a tolerable movie but if it were five years from now and both were on Netflix I can’t imagine a scenario where I chose it over the original film.
The bravest part of making Hot Tub Time Machine 2 was the moment in production when it became clear John Cusack would not be returning. (more…)
Aquaman finally gets his due in Justice League: Throne of Atlantis, out now from Warner Home Entertainment. In the latest installment in the new linked video continuity, all inspired by the uninspiring New 52 reality. As is fitting in a spotlight film like this, Aquaman’s origins are explored so we also get the tried and true enmity between Arthur Curry and Orm, the Ocean Master. There’s lots of shouting, fighting, fish, and Sturm und Drang but honestly, not a lot of warmth and emotion—much like the current source material.
Queen Atlanna (Sirena Irwin) rules over forgotten Atlantis which is about to be proven a real legend as it braces for war. The undersea kingdom is discovered when Cyborg (Sean Patrick Thomas) investigates a sub having gone missing. Upon discovering the existence of Atlantis, he summons the rest of the Justice League — Superman (Jerry O’Connell), Batman (Jason O’Mara), Wonder Woman (Rosario Dawson), Green Lantern (Nathan Fillion), Flash (Christopher Gorham) and Shazam (Sean Astin).
As the story churns along we meet drifter (get it?) Arthur Curry (Matt Lanter), who gets caught up in the battle, displaying unusual abilities to telepathically command sea life. He also meets Mera (Sumalee Montano) who has powers of her own and its true love in an eye blink. Arthur finally meets Orm (Sam Witwer), his half-brother who is angry at everyone. Aiding him, because one villain is never enough anymore, is Black Manta (Henry Lennix).
What is missing from the mess of heroes, villains, and fish is heart. Writer Heath Corson has become their go to writer but he is a by-the-0numbers scripter so there’s a sameness permeating the video. Director Ethan Spaulding may need to learn about characterization and pacing but Producer James Trucker should know better given his strong pedigree.
I’ve written previously about my dislike of the current character designs, too top heavy, too angular, and not really resembling their comic book counterparts. It’s more of the same here but it also looks a little cheaper, a little more rushed and stilted which is a shame.
The video comes in 1080p/AVC-encoded format which is fine for this limp effort bettered only by the DTS-HD Master Audio 5.1 surround track.
As has become habit with these discs, there are some fine and some less fine special features. What’s really missing is a piece placing Aquaman in context, exploring his 70+ year existence, noting his other media appearances and examining how he’s become the butt of pop culture humor. But that piece is missing. Instead, we have Villains of the Deep (12 minutes), which examines, instead, Ocean Master and Black Manta. While good, it needs the good guy counterpoint. There’s also Scoring Atlantis: The Sound of the Deep (30 minutes) which is a lengthy examination of the development and scoring with composer Frederik Wiedmann, Tucker, recording engineer John Rodd, and conductor Russell Steinberg.
A nice surprise is the Robin and Nightwing Bonus Sequence (4 minutes) as Tucker explains how this 45-second piece worked as a prequel to the Batman/Green Lantern Scarecrow chase. 2014 NY Comic-Con Panel (27 minutes) showcases Tucker, Corson, character designer Phil Bourassa, dialogue director Andrea Romano, and Aquaman’s voice Matt Lanter.
From the DC Comics Vault (83 minutes) offers up four episodes: “Aquaman’s Outrageous Adventure!” and “Evil Under the Sea!” from Batman: The Brave and the Bold, “Menace of the Black Manta and The Rampaging Reptile-Man” from the 1967-70 Aquaman series, and “Far from Home” from Justice League Unlimited.
Columns / Glenn Hauman / News
Stephen Colbert, we have your writer for “The Chronicles of Amber”!
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