Besides for a few syndicated episodes I saw at a friend's place, a handful of others in translation, the episode on the DVD I found in a box of Orville Redenbacher's, and the entire Marvel Comics limited series, I'm not exactly familiar with the classic A-Team TV show. I know the premise, I know the characters, but I haven't seen enough of that action-filled program to tell just how accurate Hollywood's new big-screen adaptation of it is. That being said, I laughed a lot watching the TV show, and in the movie theatre, I grinned from start to finish.
Now, normally I'm very, VERY weary of Hollywood adaptations or, even worse, "reimaginings" or existing franchises. If you've read any of my other tongue-in-cheekly titled "Accurate Look at" reviews here on The Nail Gun, you might see why: they're half-assed cashgrabs that don't care about the source material and will deface whatever they want to make that money. The A-Team, however, is not like that. Unlike those other movies which are completely brainless, The A-Team is smart. It is well thought out, well-written, and is in on the joke. It is supposed to be over-the-top and characters even mention that it's completely ridiculous. It is carefully planned action with brains behind it, rather than the usual shootout/explosion/car chase/fight scene formula of action flicks, with awful writing, bad acting, too much CGI, and fake tits thrown in. The action is over-the-top on purpose for the sake of intense humour, rather than just plain excessive in order to drive up the CG bill. It's a light-hearted action comedy, really, and the humour and adrenaline does not stop.
The film starts with an explanation of how the team came together, and how B.A. got his fear of flying. A friend of mine told me that the opening scene itself was worth the price of admission. Had I left the theatre once that high-octane introduction was over, I would have got my money's worth. But instead, I stayed until the end and got more than I bargained for.
The A-Team was better than I expected and much better than it should have been. I love Liam Neeson, and his Hannibal combines the cool wisdom of Qui-Gon Jinn with the badassity of his character from Taken. Bradley Cooper is great as Face, the ladykiller disguise guy. I wasn't sure what to think about the casting choice for B.A. (they used some UFC fighter), but he was able to act, and he won me over in very little time. And of course, District 9's Sweetie Man returns with a vengeance and knocks 'em dead as Howlin' Mad Murdock. This guy had talent with a capital T and I'm looking forward to his other projects. In terms of story, the movie explains the team's origins and the events that lead up to their needing to run from the law. You know, the stuff the narrator mentions in the opening of the TV show. Yeah, that stuff. He basically summarizes the movie for you. Not that that's any excuse to miss this one.
The story itself is a rather convoluted scheme of secrets and mysteries which isn't exactly plausible, but neither are most of the action sequences, but it's all part of the fun. It's so ridiculous that anything can happen, so viewers aren't sure what to expect, despite the Team's careful planning of every mission. That's another thing that separates The A-Team from crappy action flicks - the Team fights not only with guns, fists, helicopters, and GMC vans. They use their heads and plan things out rather that rushing in with explosions and bad CG. It's a smart, genuinely funny action movie instead of a brainless action flick that ruins a timeless franchise, which is what it would have been in someone else's hands.
It's not all plausible, it's not all credible, it doesn't all make sense, but it is ridiculous on purpose. It's a fun, exciting and genuinely enjoyable comedic action film with brains and lots of love for the source material. There are even a few cameos by two of the original A-Team TV show actors. I laughed much more than I anticipated, and when I wasn't laughing, there was still a huge grin on my face. While I strongly doubt older A-Team fans (the ones who tuned into the show every week) will be quite as thrilled as I was, the movie delivers the action and characters to a new generation, while maintaining the fun of the classic program. It's well worth checking out. Just lighten up and get ready to laugh.
EDIT: Having just watched some oldschool A-Team, I have to say that the movie is truer to the show than I thought. Some elements of the TV series were translated beautifully to the screen, such as the Team's smart-talking, the building-stuff montages, and Murdock's Howling Madness.
Tuesday, June 15, 2010
Monday, May 31, 2010
What The?! -- Avenegrs Dissassembled
In my last article, I posted an introduction to the new Marvel Universe crossover event: The Heroic Age. We are in the middle of the month and I still have optimistic pessimism for this whole debacle. But as I promised, I’m going back to the start, to how this whole thing started.
In the Beginning, Stan Lee created Spider-Man and the Fantastic Four. Okay maybe I went a bit too far back. A few decades later, in the year 2004, Ronald Reagan passed away, and Clint Eastwood’s Million Dollar Baby won numerous Academy Awards. I was just a wee lad back then, finishing high school and eager to enter first year of college in September. At this point in my life, comic books meant nothing to me. They were simply an aspect of the world that I acknowledged. But that does not mean important things were happening in the Marvel Universe. That year’s major crossover, Avengers Disassembled, was beginning to assemble.
Avengers Disassembled is quite unique; it was not necessarily a “crossover” like the events that come after it. Several series have had Disassembled in their title, such as Thor, Captain America, and Iron Man, but the main storyline (which consisted of four, count ‘em, 4!) issues of the Avengers. These four issues of the ongoing series are required to comprehend the entire event. If you are asking “So what?”, then you probably have not seen what happened with Civil War, or even worse, Secret Invasion.
Unfortunately, there is a downside to the brevity of the event. Since the storyline is only four issues, it’s not very well developed. Everything is introduced in the first few pages, and then explained in the last few. There’s little-to-no build-up, or character development. Despite this, the story does have characteristics to it that make up for its shortcomings. Unlike other story arcs, this event is key to the future of the Marvel Universe.
It begins as a normal day at the Avengers Mansion. The Avengers are just chatting mildly about previous encounters. Nothing exciting. But soon something shocking appears on the security system, and terrifies the Avengers. The recently deceased and now decaying hero Jack of Hearts strolls slowly to the mansion. Relax, he’s no one special. I would love nothing more than to tell you more about him, but I know jack-shit about him. After these four issues, he is practically forgotten. Just know that he used to be Avenger before he DIED-died (for reals!). A different Ant-Man, (not the wife-beater, goes to his friend and asks what’s happening. Jack of Hearts, after moaning something ominous, blows up, killing Ant-Man and destroying almost half of the mansion. Yes, I am not making this up, this is Marvel’s doing.
Meanwhile, at the UN… Iron Man, currently the Secretary of Defense, descends into a drunken rage, without ever drinking. He loses his mind and accusing the Latverian diplomat of being a terrorist, a madman and a monster. Back at the mansion, the Vision suddenly appears and crashes the Quinjet on the mansion grounds, destroying the other half of the mansion. He comes out of the debris and creates duplicates of Ultron, who immediately attacks the Avengers. She-Hulk hulks out to a point of illiteracy (something she has almost never done before) and rips Vision in half, essentially “killing” him. He got better. Already, have seen three deaths in the first issue of this event. There was neither grieving nor tears, only quick and apathetic deaths.
The Avengers take a break from dying, and decide to turn their anger on each other. If that wasn’t enough, all of the previous Avengers appear on the grounds (don’t ask me, I still don’t know). Suddenly, they are thrown into a large battle against the alien race known as the Kree. During the battle, Hawkeye is mortally wounded sacrifices himself to blow up the enemy ship.
“But UXM266, why are the Kree here?!” you might ask. The True Believer is Magic.
Eventually Dr. Strange gets his act together, walks into the mass hysteria, and accuses Wanda Maximoff, aka the Scarlet Witch as the perpetrator for all these deaths. He claims that her mutant abilities are too powerful At first, people believed she created hexes, which were minor inconveniences. In fact, she has the ability to warp reality, create false images in peoples minds, and generally act as a Deus Ex Machina for future Marvel events, stories and retcons. The story ends with Magneto coming to the ground and taking his daughter away to be cured. The Avengers then split up for numerous reasons, such as the loss of loved ones or morale.
I have mixed feelings about this event. Though I do like the tension it created between America’s Golden Boy Team, I was turned off by how quickly everything happened. The ratio for breakups and “deaths” in these four issues is far greater than most seven-parters. Despite its premature delivery and the lack of care for most of the characters, I felt it was a good beginning for even greater crossovers. The tensions start to develop between friends, while superheroes are beginning to be feared by the public. I feel that what they did to Wanda is a complete copout. I’ve never liked heroes or villains who are essentially gods, or have the power to alter the fabric of time and space. It seems like lazy writing and an excuse to do whatever one wants and pass it off as magic.
This event is not resolved in the following issues. Though it begins with the Avengers, the wrath of the Scarlet Witch begins to spill over to the homo superiors (mutants), and something must be done before it’s too late…. For we are going to enter the World of Magneto! The next post will not be House of M and Decimation. Instead, I’m going to write a letter of appreciation to the mutant Cyclops.
Monday, May 10, 2010
What The--? The Heroic Age
Okay class, time for a history lesson. Remember these important periods events:
- Golden Age (1930s-1940s)
- Silver Age (1956-late 1960s/early1970s)
- Bronze Age (1970s-1980s)
- Modern Age (mid 1980s-2010)
- Heroic Age (May 2010-Next Major Marvel Crossover)
- Avengers #1
- Secret Avengers #1
- New Avengers #1
- Avengers Academy #1
- X-Men #1
- Wolverine #1
- Young Allies #1
- Luke Cage running the group of super villains called the Thunderbolts, replacing Norman Osborn
- Hope Summers (who is assumed to be a reincarnated Jean Grey.) is returning t the X-Men
- Wolverine is going to Hell.
- Captain America *Batman ripoff* was never dead, but actually sent back to the past. He's back
- Iron Man has no recollection of Civil War. He and Steve are now back to being best of buds.
Shinier, braver, and with 100% more Gorilla!
Even though I complained about the decisions Marvel has made, I am not opposing this decision. I’m just sceptical like I’ve been with every other Marvel event. Here’s hoping for the best! As a special treat, I would like to spend some time going over the major crossovers that occurred since the beginning of the end, those which lead to the beginning of this new age. In the next issue: the Avengers Disassembled!
Tuesday, April 27, 2010
An Accurate Look at: Hollywood's "Kick-Ass" Adaptation
When I first saw an issue of the Kick-Ass comic on the wall of my favourite comic shop (Carsley's Comics, Montreal's best-kept secret!), I couldn't help but smile. The title, art, and tagline grabbed my interest, and when I finally bought the first issue and read it, I couldn't wait for more. I read them all and really got attached to them. I guess, as a horny bespectacled geek with incredible powers of opposite sex repulsion, the comic really spoke to me. And let's be honest, you've wanted to, at one point or another, be able to do superheroics. I know I have. There, I said it.
I love the book. When I heard about the movie, I was excited. (Well, rather, read about the movie in the back of an issue.) The TV spots and trailers got me pumped. I wasn't crazy about the costume redesigns, but hey, I was sort of expecting that. As long as they didn't mess up the coming-of-age superhero story, I'd be happy.
So I get to the movie theatre and a brace myself for the ride. I mean, the comic is a straight-forward 8-issue miniseries which I read in 2 hours. How could they possibly mess up a film adaptation?
Surprise, kiddies. They messed up the film adaptation. I had no issues with the casting, and the generic superhero-ish music was good. It starts out accurately enough, but then it all falls apart. It's like the writers read the comic, picked-and-chose points they liked, threw out meaningful, important elements that should have stayed, and tossed in needless excessive action-flick content instead of the characters and story that made the book so great.
If you've read my other movie-related articles, you know I don't write spoilers. [And if you haven't read them, just browse the site for posts that begin with the tongue-in-cheek phrase of "An Accurate Look at:"] With that in mind, there really isn't anything much I can mention without spoiling the story, other than some of the most important elements of the book were omitted, making many of the characters seem either excessively flat or just too over-the-top. By reducing the comic's story to an action-packed teen comedy, the mood of the book is completely killed. It was like listening to someone try to tell someone else about something they'd heard but don't know about. Some of the details are there, but the information is just plain wrong.
While the room howled with laughter and applause, I literally exclaimed "What the f#%@?" while looking around. You know that clichéd supervillain hand gesture? Where the fingers are spread out, gripping something that isn't there? It might be easier to visualize if I use a picture:
I'm not even joking when I tell you that my hands hurt afterwards from them both being in that position due to rage. By now, I should be no stranger to Hollywood butchering my favourite comics, but that doesn't make me less annoyed each time it happens. I'm used to facepalming in movie theatres, but this is the first time I've hurt myself due to anger. Yes, something is most definitely wrong with me.
Once again, Hollywood misses the point of the source material. The book is about a young man who tries something ridiculous, and through his actions and interactions with others, learns about the world and grows as a character. It's a coming of age story about missing youths, illusions, expectations, and violence. The movie conveniently pushes all that character junk aside and focuses on the ridiculous. Sure, it's funny, and I laughed at times, but there is more to the Kick-Ass of the comic's world than just comedy. As the book shows us (graphically at times), the joke ends, and that's when reality begins.
The Kick-Ass movie entirely misses the point, mood, message, and spirit of the comic and does not do it justice. It feels like the whole flick would be one of Dave's daydreams in biology class, wearing his Kick-Ass costume under his school clothes. It's that excessive. Yes, I'm attached to the comic, but I'm able to recognize its flaws and shortcomings. Unfortunately, the unplausible elements of the comic were only made worse in the movie. Compared to the movie, the book is non-fiction. Honestly, spend the money on the trade rather than the movie ticket.
I love the book. When I heard about the movie, I was excited. (Well, rather, read about the movie in the back of an issue.) The TV spots and trailers got me pumped. I wasn't crazy about the costume redesigns, but hey, I was sort of expecting that. As long as they didn't mess up the coming-of-age superhero story, I'd be happy.
So I get to the movie theatre and a brace myself for the ride. I mean, the comic is a straight-forward 8-issue miniseries which I read in 2 hours. How could they possibly mess up a film adaptation?
Surprise, kiddies. They messed up the film adaptation. I had no issues with the casting, and the generic superhero-ish music was good. It starts out accurately enough, but then it all falls apart. It's like the writers read the comic, picked-and-chose points they liked, threw out meaningful, important elements that should have stayed, and tossed in needless excessive action-flick content instead of the characters and story that made the book so great.
If you've read my other movie-related articles, you know I don't write spoilers. [And if you haven't read them, just browse the site for posts that begin with the tongue-in-cheek phrase of "An Accurate Look at:"] With that in mind, there really isn't anything much I can mention without spoiling the story, other than some of the most important elements of the book were omitted, making many of the characters seem either excessively flat or just too over-the-top. By reducing the comic's story to an action-packed teen comedy, the mood of the book is completely killed. It was like listening to someone try to tell someone else about something they'd heard but don't know about. Some of the details are there, but the information is just plain wrong.
While the room howled with laughter and applause, I literally exclaimed "What the f#%@?" while looking around. You know that clichéd supervillain hand gesture? Where the fingers are spread out, gripping something that isn't there? It might be easier to visualize if I use a picture:
I'm not even joking when I tell you that my hands hurt afterwards from them both being in that position due to rage. By now, I should be no stranger to Hollywood butchering my favourite comics, but that doesn't make me less annoyed each time it happens. I'm used to facepalming in movie theatres, but this is the first time I've hurt myself due to anger. Yes, something is most definitely wrong with me.
Once again, Hollywood misses the point of the source material. The book is about a young man who tries something ridiculous, and through his actions and interactions with others, learns about the world and grows as a character. It's a coming of age story about missing youths, illusions, expectations, and violence. The movie conveniently pushes all that character junk aside and focuses on the ridiculous. Sure, it's funny, and I laughed at times, but there is more to the Kick-Ass of the comic's world than just comedy. As the book shows us (graphically at times), the joke ends, and that's when reality begins.
The Kick-Ass movie entirely misses the point, mood, message, and spirit of the comic and does not do it justice. It feels like the whole flick would be one of Dave's daydreams in biology class, wearing his Kick-Ass costume under his school clothes. It's that excessive. Yes, I'm attached to the comic, but I'm able to recognize its flaws and shortcomings. Unfortunately, the unplausible elements of the comic were only made worse in the movie. Compared to the movie, the book is non-fiction. Honestly, spend the money on the trade rather than the movie ticket.
Wednesday, February 17, 2010
An Accurate Look at: "Halo Legends"
Say what you want about fratboys' favourite game involving using thumbsticks to have generic Mary Sue space marines shoot at each other, but the Halo universe is surprisingly deep and fleshed-out, unlike many of the franchise's fans. Whether you like the games for the story, the music, the technology, the characters, the world design, or the multiplayer, or are just a fan of the comics, novels, or merchandise and have never played the games, there's something for you in Halo Legends. Even if you're not very familiar with the Halo universe, Legends is an exciting sci-fi journey that will introduce you to the war-torn galaxy and thrust you into it.
Halo Legends is a series of eight animated episodes (the first two being halves of one story), made by Production I.G, the group responsible for the groundbreaking Ghost in the Shell animés (without a doubt, 2nd Gig is one of the greatest seasons of television I have ever had the privilege of watching, animated or otherwise). The first 2 chapters introduce the history of the Halo universe. As a PC gamer who hasn't yet played Halo 2 since I wasn't going to get a new OS just to play it and Halo 3 isn't even available yet, these episodes were helpful in getting me caught up. They're slow, but dark. Chapter 3, "The Duel," is a heavily-stylized tale featuring the Arbiter being torn between duty and honour. Chapter 4 is titled "Homecoming" and follows a Spartan-II subject who didn't want to be chosen, and features one of the songs right from the soundtrack of HALO: Combat Evolved used particularly effectively. Chapter 5, "Odd One Out," is the story of (I kid you not), Spartan 1337, the clumsy one (remind you of anyone?). It serves as much-needed comic relief, considering the depth and darkness of the other shorts. Chapter 6, "Prototype," is a return to seriousness, in which a troubled sergeant tries to fight the ghosts of his past. (Also, the vehicle introduced in this chapter SERIOUSLY needs to be made into an action figure.) I should also mention that fans of Production I.G's Ghost in the Shell series might pick up on a reference they planted in this episode. The seventh chapter is called "The Babysitter" and follows some ODSTs on the mission of their lives. Which might just be the last mission of their lives. And the final short, "The Package," is a CG-animated space-flying dog-fighting battle as a team of Spartans, led by the Master Chief himself, attempt to retrieve a package stolen by the Covenant.
Legends is immensely enjoyable and exceeded my expectations. The format of a series of short films works to its advantage, showing different facets of the war in ways a single two-hour film could not. My biggest complaint about Legends is the lack of the games' original voice actors. Having Cortana voiced by anyone other than the lovely Jen Taylor just feels wrong. Granted, the actress who gives Legends' Cortana her voice does sound like Jen, but she can't act like Jen, and her performance unfortunately falls somewhat flat. I also found the ending to be a letdown. Sure, I see what they did there, but I was expecting more, especially since it started so strongly.
Halo Legends is an epic journey through time and space, across planets, peoples, and battlefields. The scope of the film is remarkable. There's much more here than just guys in space suits blowing stuff up. The seven-action packed tales present a galaxy in peril and the brave efforts of soldiers doing their jobs with impossible odds against them. I also particularly enjoyed how they portrayed the Spartans: they are looked up to by their fellow soldiers, they are feared by their enemies, and they are devastating when unleashed in the field -- but they are human. They are fallible. And they are mortal.
Legends' seven action-packed tales of sacrifice and honour are exciting, but also touching and powerful. Never thought you'd hear something Halo-related be "touching," did you? And that damn sad tune gets to me every time. Legends reveals the grit and pain of war. It's not all pulling a trigger and getting Gamerscore, boys and girls.
Halo Legends is available on DVD, Blu-Ray, and as 2-disc special edition DVD set. And no, you won't get any Achievements by watching it, but that's not a reason to avoid this adventure. Frat boy Halo fans will clearly not see the merit in Halo Legends. But for all you Halo fans out there with taste, Legends is not to be missed.
Halo Legends is a series of eight animated episodes (the first two being halves of one story), made by Production I.G, the group responsible for the groundbreaking Ghost in the Shell animés (without a doubt, 2nd Gig is one of the greatest seasons of television I have ever had the privilege of watching, animated or otherwise). The first 2 chapters introduce the history of the Halo universe. As a PC gamer who hasn't yet played Halo 2 since I wasn't going to get a new OS just to play it and Halo 3 isn't even available yet, these episodes were helpful in getting me caught up. They're slow, but dark. Chapter 3, "The Duel," is a heavily-stylized tale featuring the Arbiter being torn between duty and honour. Chapter 4 is titled "Homecoming" and follows a Spartan-II subject who didn't want to be chosen, and features one of the songs right from the soundtrack of HALO: Combat Evolved used particularly effectively. Chapter 5, "Odd One Out," is the story of (I kid you not), Spartan 1337, the clumsy one (remind you of anyone?). It serves as much-needed comic relief, considering the depth and darkness of the other shorts. Chapter 6, "Prototype," is a return to seriousness, in which a troubled sergeant tries to fight the ghosts of his past. (Also, the vehicle introduced in this chapter SERIOUSLY needs to be made into an action figure.) I should also mention that fans of Production I.G's Ghost in the Shell series might pick up on a reference they planted in this episode. The seventh chapter is called "The Babysitter" and follows some ODSTs on the mission of their lives. Which might just be the last mission of their lives. And the final short, "The Package," is a CG-animated space-flying dog-fighting battle as a team of Spartans, led by the Master Chief himself, attempt to retrieve a package stolen by the Covenant.
Legends is immensely enjoyable and exceeded my expectations. The format of a series of short films works to its advantage, showing different facets of the war in ways a single two-hour film could not. My biggest complaint about Legends is the lack of the games' original voice actors. Having Cortana voiced by anyone other than the lovely Jen Taylor just feels wrong. Granted, the actress who gives Legends' Cortana her voice does sound like Jen, but she can't act like Jen, and her performance unfortunately falls somewhat flat. I also found the ending to be a letdown. Sure, I see what they did there, but I was expecting more, especially since it started so strongly.
Halo Legends is an epic journey through time and space, across planets, peoples, and battlefields. The scope of the film is remarkable. There's much more here than just guys in space suits blowing stuff up. The seven-action packed tales present a galaxy in peril and the brave efforts of soldiers doing their jobs with impossible odds against them. I also particularly enjoyed how they portrayed the Spartans: they are looked up to by their fellow soldiers, they are feared by their enemies, and they are devastating when unleashed in the field -- but they are human. They are fallible. And they are mortal.
Legends' seven action-packed tales of sacrifice and honour are exciting, but also touching and powerful. Never thought you'd hear something Halo-related be "touching," did you? And that damn sad tune gets to me every time. Legends reveals the grit and pain of war. It's not all pulling a trigger and getting Gamerscore, boys and girls.
Halo Legends is available on DVD, Blu-Ray, and as 2-disc special edition DVD set. And no, you won't get any Achievements by watching it, but that's not a reason to avoid this adventure. Frat boy Halo fans will clearly not see the merit in Halo Legends. But for all you Halo fans out there with taste, Legends is not to be missed.
The Legacy of Rapture Continues...
So, recently - several years after its initial release - I obtained a copy of Bioshock. And finished it quite promptly. To say the least, I was sucked wholly into the world of Rapture and its filthy and degenerate populace. The game's steampunk-esque world and intricate storyline are worth the buy alone. The game itself plays like a dream, alternating between plasmids (like superpowers...that become part of your DNA) and regular weapons. The hacking system was fun, the graphics beautiful, the game just the right level of challenging. And for those who like to simply rush through games in order to reach the ending, I don't recommend this for Bioshock. I recommend taking the extra few minutes to explore small areas and discover the tape recorders which reveal background plot and secret information about Rapture, widening its range even further. Although the end Boss fight was a might to quickly finished in my opinion, the game itself was hours of fun and includes hours of re-playability with different plasmid and tonic (like...body enhancements) choices.
The story is that you are a man on a plane in 1959 and you crash in the ocean, stumbling upon a lighthouse like structure in the middle of the ocean. You enter and discover the underwater city of Rapture, a city meant for the worlds best and brightest to be themselves with no hindrance - an intellectual Utopia. But it has all gone horribly wrong, with gene-splicers gone mad, raving and violent, everywhere. You are helped by man via radio named Atlas who tells you you must take down Andrew Ryan, Rapture's creator and current Head Honcho. Along the way you must collect ADAM to buy upgrades and extra plasmids and tonics. The only way to do so is to harvest or rescue a Little Sister...who is protected by the heavily armored and deadliest creature in Rapture, the Big Daddy.
Luckily for me, when I received and finished Bioshock, Bioshock 2 was only within a month of release. So, I pre-ordered, and I got. I finished Bioshock 2 and was left just as impressed as I was before, I refreshing feeling from a sequel. Considering it was almost three years on in development, I suppose it was likely to be good. The adventure continues, but this time it is ten years on since the end of Bioshock and you are playing the Alpha Series of Big Daddies, your name is Delta. One of the original, plasmid using, more independent thinking Big Daddies, your quest to save Rapture from itself continues.
The game-play did not go untouched, however. Plasmids have been edited and made severely better. Enemies have been made tougher, and some new faces show up - it can't be all the same, your a Big Daddy now. The system for hacking was changed, not for the better I feel, but I suppose to a more realistic format. At least, compared to previously. The ADAM gathering, which is now done by adopting a Little Sister as your own so she can collect the ADAM from the "angels" (Can you see the light in their tummies?), is incredibly hard. Or, can be. The game is surely tougher, despite the fact you are constantly dual wielding plasmids and weapons at the same time, including the signature Big Daddy drill.
The new nemsis, Sophia Lamb, has taken over Rapture and attempted to mold it in her image - and that imagine is reminiscent of a certain Dorian Grey. New splicers and Big Daddies attempt to stop you on your quest to save the Little Sisters and take down Sophia Lamb and her new weapons, the Big Sisters.
A fun game with many hours of game-play and re-playability, this game is highly worth the expense. And if you're into art and music, I recommend the Rapture Edition which includes the soundtrack of Bioshock 1 on vinyl, the soundtrack of Bioshock 2 on CD, the Art Book for Bioshock 2 and some Rapture posters. Mahalo.
The story is that you are a man on a plane in 1959 and you crash in the ocean, stumbling upon a lighthouse like structure in the middle of the ocean. You enter and discover the underwater city of Rapture, a city meant for the worlds best and brightest to be themselves with no hindrance - an intellectual Utopia. But it has all gone horribly wrong, with gene-splicers gone mad, raving and violent, everywhere. You are helped by man via radio named Atlas who tells you you must take down Andrew Ryan, Rapture's creator and current Head Honcho. Along the way you must collect ADAM to buy upgrades and extra plasmids and tonics. The only way to do so is to harvest or rescue a Little Sister...who is protected by the heavily armored and deadliest creature in Rapture, the Big Daddy.
Luckily for me, when I received and finished Bioshock, Bioshock 2 was only within a month of release. So, I pre-ordered, and I got. I finished Bioshock 2 and was left just as impressed as I was before, I refreshing feeling from a sequel. Considering it was almost three years on in development, I suppose it was likely to be good. The adventure continues, but this time it is ten years on since the end of Bioshock and you are playing the Alpha Series of Big Daddies, your name is Delta. One of the original, plasmid using, more independent thinking Big Daddies, your quest to save Rapture from itself continues.
The game-play did not go untouched, however. Plasmids have been edited and made severely better. Enemies have been made tougher, and some new faces show up - it can't be all the same, your a Big Daddy now. The system for hacking was changed, not for the better I feel, but I suppose to a more realistic format. At least, compared to previously. The ADAM gathering, which is now done by adopting a Little Sister as your own so she can collect the ADAM from the "angels" (Can you see the light in their tummies?), is incredibly hard. Or, can be. The game is surely tougher, despite the fact you are constantly dual wielding plasmids and weapons at the same time, including the signature Big Daddy drill.
The new nemsis, Sophia Lamb, has taken over Rapture and attempted to mold it in her image - and that imagine is reminiscent of a certain Dorian Grey. New splicers and Big Daddies attempt to stop you on your quest to save the Little Sisters and take down Sophia Lamb and her new weapons, the Big Sisters.
A fun game with many hours of game-play and re-playability, this game is highly worth the expense. And if you're into art and music, I recommend the Rapture Edition which includes the soundtrack of Bioshock 1 on vinyl, the soundtrack of Bioshock 2 on CD, the Art Book for Bioshock 2 and some Rapture posters. Mahalo.
Saturday, January 23, 2010
Conan the Entertainer
Late-night TV wasn't funny to me until I started watching Conan O'Brien's show years ago. The unfunny old guy and the annoying dick who jacked Bruce Campbell's chin are not entertaining in the least. (The guy from The Drew Carey Show is great, though.) Conan's damn funny. He used to write for SNL years ago and his seasons of The Simpsons are by far the pinnacle of that series (which today is put a hollow shell of what it once was). Conan's strange humour and self-deprecation made his late-night program immensely enjoyable. Nothing was taken seriously because everything was fun, even the really messed-up characters, such as Vomiting Kermit, the Insult (occasionally) Comic Dog, and the Masturbating Bear.
Flash forward a few years. Conan gets to take over The Tonight Show, which is a huge deal. I watched the first episode, laughed like hell, and loved it. It was great to see Conan with Max and the band at an earlier time doing the same kind of gags they usually do. The bits about Conan dicking around in the studio backlot were hilarious - pretending to do an exorcism on cohost/sidekick Andy Richter as the studio tour bus drove by, turning his desk into a go-kart and drag racing a forklift operator, and taking a tour group out on the town, to name just a few moments. Don't forget his other escapades: going guitar-hunting thanks to Craig's List with his buddy Slash in tow, and pimping around LA in his green '90s Ford Escort, getting girls pregnant by just looking at them and making Fabio himself feel jealous.
Remember the BIG events outside his studio? The human cannonballs? The Grave Digger monster truck leaping over a ramp to stomp a giant pumpkin? The "Conan, Please Blow Up My Car" contest in which they actually blew up the winner's old clunker? (Don't feel bad. The winner received a brand new car as a prize.)
Well, all that's over. You know what's been going on. And it's not funny.
Last night was Conan's final episode on The Tonight Show before it will return to the humourless drivel it was prior to his arrival. Conan had a few jokes about what will become of their new studio, suggesting they leave it empty as a metaphor for NBC programming. How fitting.
His guests included Steve Carrell as an NBC bureaucrat, followed by a tired, nostalgic Tom Hanks, who emerged from backstage with round sunglasses and two glasses of scotch - one for Conan and one for himself. Sidekick Andy Richter, of course, carries a flask in his breast pocket. Tom Hanks and Conan spoke about the good old days, when Hanks hosted SNL and Conan, "the Irish kid," would write sketches for him.
The musical number was an incredible performance by Neil Young. Yes, the Neil Young. When he heard the news about the NBC late-night fiasco, he was the first to offer Conan support.
The closing act of the show featured Max and the band and guest Will Ferrell performing Free Bird, with Conan on guitar. While Ferrell's overall unfunniness and inability to sing ruined what should have been a powerful finale to Conan's stint on The Tonight Show, the most powerful moments of the episode was the montage of various unforgettable moments from the seven months Conan hosted (including some of the clips mentioned earlier), Conan's farewell speech, and the audience's unstoppable roaring applause. I've never cried watching late-night talk shows, but if any episode ever gave me a reason to, it would be this one.
Farewell, Conan. Thanks for the laughs and the good times. Best of luck in the future. I can't wait to see you on my TV screen again.
Flash forward a few years. Conan gets to take over The Tonight Show, which is a huge deal. I watched the first episode, laughed like hell, and loved it. It was great to see Conan with Max and the band at an earlier time doing the same kind of gags they usually do. The bits about Conan dicking around in the studio backlot were hilarious - pretending to do an exorcism on cohost/sidekick Andy Richter as the studio tour bus drove by, turning his desk into a go-kart and drag racing a forklift operator, and taking a tour group out on the town, to name just a few moments. Don't forget his other escapades: going guitar-hunting thanks to Craig's List with his buddy Slash in tow, and pimping around LA in his green '90s Ford Escort, getting girls pregnant by just looking at them and making Fabio himself feel jealous.
Remember the BIG events outside his studio? The human cannonballs? The Grave Digger monster truck leaping over a ramp to stomp a giant pumpkin? The "Conan, Please Blow Up My Car" contest in which they actually blew up the winner's old clunker? (Don't feel bad. The winner received a brand new car as a prize.)
Well, all that's over. You know what's been going on. And it's not funny.
Last night was Conan's final episode on The Tonight Show before it will return to the humourless drivel it was prior to his arrival. Conan had a few jokes about what will become of their new studio, suggesting they leave it empty as a metaphor for NBC programming. How fitting.
His guests included Steve Carrell as an NBC bureaucrat, followed by a tired, nostalgic Tom Hanks, who emerged from backstage with round sunglasses and two glasses of scotch - one for Conan and one for himself. Sidekick Andy Richter, of course, carries a flask in his breast pocket. Tom Hanks and Conan spoke about the good old days, when Hanks hosted SNL and Conan, "the Irish kid," would write sketches for him.
The musical number was an incredible performance by Neil Young. Yes, the Neil Young. When he heard the news about the NBC late-night fiasco, he was the first to offer Conan support.
The closing act of the show featured Max and the band and guest Will Ferrell performing Free Bird, with Conan on guitar. While Ferrell's overall unfunniness and inability to sing ruined what should have been a powerful finale to Conan's stint on The Tonight Show, the most powerful moments of the episode was the montage of various unforgettable moments from the seven months Conan hosted (including some of the clips mentioned earlier), Conan's farewell speech, and the audience's unstoppable roaring applause. I've never cried watching late-night talk shows, but if any episode ever gave me a reason to, it would be this one.
Farewell, Conan. Thanks for the laughs and the good times. Best of luck in the future. I can't wait to see you on my TV screen again.
Tuesday, January 19, 2010
Funny Games Hedges Its Bets
As I type, I have just finished watching perhaps one of the most disturbing films I've ever seen. Written and directed by Caché's Michael Heneke, Funny Games is a powerful deconstruction of the presentation of violence in the media, and the expectations of the audience. Those of you who have seen either Caché or any other of Heneke's films know that he likes to disrupt the audience's experience by giving them the unexpected in the most powerful way possible, and Funny Games does just that.
A happy, wealthy suburban family George (Tim Roth), Ann (Naomi Watts) and their son Georgie (Devon Gearhart) are just beginning their holiday in their beautiful summer home when two creepy and soft-spoken teenagers, Paul (Michael Pitt) and Peter (Brady Corbet) invade their home and proceed to toy with the family for their own twisted amusement.
Ann: Why don't you just kill us?!
Peter: Never underestimate the importance of entertainment.
Exactly. Heneke is clearly toying with the audience's desire to see a film where the family is tortured (physically and emotionally) with the real possibility of death. This is done in a fashion which can only be described as "soul destroying" as you watch the family desperately trying to get free from the grasp of these insane people, whilst simultaneously making the audience uncomfortable with some very unexpected moments of breaking the fourth wall from Paul. The film comments on how violence is seen in film and on the news, how the audience is separated from the violence by the television screen, but that doesn't stop it (philosophically) from being real.
Paul: [Fiction] is just as real as reality because you can see it too.
Overall the film is stylistically brilliant and very well scripted, but definitely not for the faint of heart. Although the viewer is uncomfortable for almost all of the film, it is still (for lack of better terms) an enjoyable watch - that is, if you don't mind your soul being just a little destroyed. Mahalo.
A happy, wealthy suburban family George (Tim Roth), Ann (Naomi Watts) and their son Georgie (Devon Gearhart) are just beginning their holiday in their beautiful summer home when two creepy and soft-spoken teenagers, Paul (Michael Pitt) and Peter (Brady Corbet) invade their home and proceed to toy with the family for their own twisted amusement.
Ann: Why don't you just kill us?!
Peter: Never underestimate the importance of entertainment.
Exactly. Heneke is clearly toying with the audience's desire to see a film where the family is tortured (physically and emotionally) with the real possibility of death. This is done in a fashion which can only be described as "soul destroying" as you watch the family desperately trying to get free from the grasp of these insane people, whilst simultaneously making the audience uncomfortable with some very unexpected moments of breaking the fourth wall from Paul. The film comments on how violence is seen in film and on the news, how the audience is separated from the violence by the television screen, but that doesn't stop it (philosophically) from being real.
Paul: [Fiction] is just as real as reality because you can see it too.
Overall the film is stylistically brilliant and very well scripted, but definitely not for the faint of heart. Although the viewer is uncomfortable for almost all of the film, it is still (for lack of better terms) an enjoyable watch - that is, if you don't mind your soul being just a little destroyed. Mahalo.
Sunday, January 3, 2010
An Accurate Look at: James Cameron's "Avatar"
Last year, I got into a free screening of a 15-minute preview of James Cameron's Avatar. You might remember that I wasn't particularly enthused. Hence my not reviewing the film when it came out in December, instead waiting until the New Year to bother seeing it. Was it worth it? Let's find out.
Avatar takes place in the future, on a dangerous, distant alien world called Pandora (note the name). Humans are there for the sole purpose of robbing it of its natural resources, an element called "unobtanium" (note the name). Along with the military forces is a team of scientists, lead by a lady named Grace (note the name) who wishes to learn of the planet rather than rape it.
The humans are obviously at odds with Pandora's natives, a race of blue anthropomorphic cats, hereafter referred to as "furries." The furries are primitive, living with nature, wearing little clothing, and fighting with bows and knives. Some uptight people would probably get upset and draw comparisons between the furries and African tribes (and there's a lot of evidence for them, believe me).
To get closer to furries and attempt any kind of communication, Grace's team technologically transmits their consciousnesses into some lab-made furry bodies. With these "avatars," they are able to roam Pandora and interact with the natives. But not all goes well, as you'd imagine.
The world of Avatar is very well-designed and feels complete. The humans have incredible technology: holograms, cryosleep, badass mech suits, and of course, the avatar technology. The furries have their own culture, their own customs, their own language, and their world is beautiful. Some of the scenery is breathtaking. And the animals of the world are frighteningly unusual. There's a real sense of being on another world. This isn't just New Zealand with a giant fibreglass tree, people.
But a fleshed-out world is nothing without characters. Unfortunately, Avatar's characters are dull archetypes. You have the Unlikely Hero/Chosen One (complete with troubled past!), the Geek Who Learns to Be A Man, the Hotshot Driver, the Gruff Drill Sergeant military guy, the Profiteer, etc. None of the characters are particularly fleshed out. They all feel very flat and uncompelling. The story has been done before. Ever seen Dances With Wolves? Then you've seen Avatar. Combine uninteresting characters with a generic, predictable lacklustre story, and what do you get? A letdown of an overhyped blockbluster.
But what about the amazing IMAX DIGITAL 4-D? Surely the stunning visual effects will redeem Cameron's flick? While I enjoyed the 3D of the 15-minute preview, those scenes were obviously chosen to demonstrate said 3D. In the final film, though, the pop-up visuals really don't stand out. While other 3D flicks milk their AMAZING 4-D GRAPHICS for all its worth with gimmicks such as axes flying "through" the screen and other objects "reaching out" towards the audience, Avatar features none of that crap. You will notice the 3D and in some scenes it looks great - just look at the hologram projectors. But as they've avoided obvious shots such as spaceships flying out of the screen, nothing in particular stands out. The 3D ends up feeling underused, and, outside of a few scenes, you'll wonder why you bothered paying so much for an Imax 3D ticket in the first place. Don't get me wrong. The 3D is constant throughout the film, it just doesn't seem to add much. Perhaps it would have ha dit not been so subtle.
Avatar is an overhyped version of Dances With Wolves set in space, with elements of Alien thrown in and some freaky furry crap off Deviant Art somehow made the cut. The good action scenes and terrific creature design do nothing to save the film's uncaptivating story and flat characters. Yet another disappointing overmarketed blockbluster.
Avatar takes place in the future, on a dangerous, distant alien world called Pandora (note the name). Humans are there for the sole purpose of robbing it of its natural resources, an element called "unobtanium" (note the name). Along with the military forces is a team of scientists, lead by a lady named Grace (note the name) who wishes to learn of the planet rather than rape it.
The humans are obviously at odds with Pandora's natives, a race of blue anthropomorphic cats, hereafter referred to as "furries." The furries are primitive, living with nature, wearing little clothing, and fighting with bows and knives. Some uptight people would probably get upset and draw comparisons between the furries and African tribes (and there's a lot of evidence for them, believe me).
To get closer to furries and attempt any kind of communication, Grace's team technologically transmits their consciousnesses into some lab-made furry bodies. With these "avatars," they are able to roam Pandora and interact with the natives. But not all goes well, as you'd imagine.
The world of Avatar is very well-designed and feels complete. The humans have incredible technology: holograms, cryosleep, badass mech suits, and of course, the avatar technology. The furries have their own culture, their own customs, their own language, and their world is beautiful. Some of the scenery is breathtaking. And the animals of the world are frighteningly unusual. There's a real sense of being on another world. This isn't just New Zealand with a giant fibreglass tree, people.
But a fleshed-out world is nothing without characters. Unfortunately, Avatar's characters are dull archetypes. You have the Unlikely Hero/Chosen One (complete with troubled past!), the Geek Who Learns to Be A Man, the Hotshot Driver, the Gruff Drill Sergeant military guy, the Profiteer, etc. None of the characters are particularly fleshed out. They all feel very flat and uncompelling. The story has been done before. Ever seen Dances With Wolves? Then you've seen Avatar. Combine uninteresting characters with a generic, predictable lacklustre story, and what do you get? A letdown of an overhyped blockbluster.
But what about the amazing IMAX DIGITAL 4-D? Surely the stunning visual effects will redeem Cameron's flick? While I enjoyed the 3D of the 15-minute preview, those scenes were obviously chosen to demonstrate said 3D. In the final film, though, the pop-up visuals really don't stand out. While other 3D flicks milk their AMAZING 4-D GRAPHICS for all its worth with gimmicks such as axes flying "through" the screen and other objects "reaching out" towards the audience, Avatar features none of that crap. You will notice the 3D and in some scenes it looks great - just look at the hologram projectors. But as they've avoided obvious shots such as spaceships flying out of the screen, nothing in particular stands out. The 3D ends up feeling underused, and, outside of a few scenes, you'll wonder why you bothered paying so much for an Imax 3D ticket in the first place. Don't get me wrong. The 3D is constant throughout the film, it just doesn't seem to add much. Perhaps it would have ha dit not been so subtle.
Avatar is an overhyped version of Dances With Wolves set in space, with elements of Alien thrown in and some freaky furry crap off Deviant Art somehow made the cut. The good action scenes and terrific creature design do nothing to save the film's uncaptivating story and flat characters. Yet another disappointing overmarketed blockbluster.
Make Way, Make Room for the Brothers Bloom!
It is very rare to encounter a film which so immediately becomes one which you can watch and rewatch without its contents becoming tired and bland. Even rarer is it to come across such films whilst on a fourteen hour flight between Sydney and Los Angeles. As I flicked through the entertainment system on my flight, I came across an interestingly titled film called "The Brothers Bloom" which I had never heard of. This was strange to me, as I like to keep up with new films, and it had a cast including Adrian Brody, Mark Ruffalo and Rachel Weisz.
To use the words 'cute' and 'endearing' to describe this film would be an understatement. So would 'hilarious' and 'quirky'. The film opens with a fairytale-esque sequence of the main characters Steven (Ruffalo) and Bloom (Brody) as children, with narration that rhymes in a cadence similar to that of Disney films or other such children's films, but with a distinct dark humour to it. After this and as soon as the film opens properly, you are met with a story so intriguing and characters so compelling and likable that you are actually disappointed when the films ends, wanting more. The brothers Bloom are conmen who find their final mark in the form of eccentric (and beautiful) shut-in, Penelope (Weisz).
Although there are moments with the intricacy of the plot is confounding, it can be revealed upon further viewings, which will be wanted as a result of the overall sweetness and enjoyability of the film as a whole. It is a thoroughly enjoyable film and will leave you with tears of joy and the laughter of sadness. Mahalo.
To use the words 'cute' and 'endearing' to describe this film would be an understatement. So would 'hilarious' and 'quirky'. The film opens with a fairytale-esque sequence of the main characters Steven (Ruffalo) and Bloom (Brody) as children, with narration that rhymes in a cadence similar to that of Disney films or other such children's films, but with a distinct dark humour to it. After this and as soon as the film opens properly, you are met with a story so intriguing and characters so compelling and likable that you are actually disappointed when the films ends, wanting more. The brothers Bloom are conmen who find their final mark in the form of eccentric (and beautiful) shut-in, Penelope (Weisz).
Although there are moments with the intricacy of the plot is confounding, it can be revealed upon further viewings, which will be wanted as a result of the overall sweetness and enjoyability of the film as a whole. It is a thoroughly enjoyable film and will leave you with tears of joy and the laughter of sadness. Mahalo.
Saturday, January 2, 2010
Happy New Year!
On behalf of all of The Nail Gun's staff, I would like to wish all of our readers a very Happy New Year and I hope you have had a great holiday season.
2010 content is on its way, so stick around!
2010 content is on its way, so stick around!
Monday, November 23, 2009
Interstella 5555: A film
So, I just finished watching the Daft Punk anime film "Interstella 5555" which is a film version of their concept album "Discovery". The film is very enjoyable in the sense of it being a sci-fi, family style anime with no dialogue content, the story being told through music and images only.
Despite it having no words of dialogue, the story is fairly effectively told, despite it being a very strange sci-fi story of apparent world domination through an ancient, undying evil...through the use of several music stars from other universes. It is a very strange story, but the characters are likable, and it's fun and interesting to see every song on the album fit to the animation built for it.
The film can also very easily be analyzed through any number of lenses - the man who kidnaps the band forces them onto earth and makes them look human, and then to make the people of earth imitate them in every way. This can be interpreted easily as a metaphor for both colonialism, and for capitalism. The film also focuses on the band's loneliness, perhaps being a comment on the disillusionment with being a celebrity.
All in all, it's a fun watch if you have a spare hour in your day, and enjoy the heavy electronic beats of Daft Punk.
Despite it having no words of dialogue, the story is fairly effectively told, despite it being a very strange sci-fi story of apparent world domination through an ancient, undying evil...through the use of several music stars from other universes. It is a very strange story, but the characters are likable, and it's fun and interesting to see every song on the album fit to the animation built for it.
The film can also very easily be analyzed through any number of lenses - the man who kidnaps the band forces them onto earth and makes them look human, and then to make the people of earth imitate them in every way. This can be interpreted easily as a metaphor for both colonialism, and for capitalism. The film also focuses on the band's loneliness, perhaps being a comment on the disillusionment with being a celebrity.
All in all, it's a fun watch if you have a spare hour in your day, and enjoy the heavy electronic beats of Daft Punk.
Akos Pakos
Hello literate masses! Good to see you again. Recently, I've been reading a very interesting book that I hope will interest you all. Have you ever wondered where the term "Hocus Pocus" and "Abra Kadabra" came from? Have you ever been curious as to why salt, water and blood are so important in culture, and in magic? Have the spirits and amulets ever interested you? What about the origin of the names of angels and the gods? Then this is the book for you!
Joshua Trachtenberg's "Jewish Magic and Superstition" (1935) is a great overall introduction to all the facets of Jewish magic in the medieval era until now. It covers amulets to incantations, spirits to divination, names to exorcisms. Albeit, the chapter on names is a little dry, and some of the chapters can be too wordy, but generally this is a very accessible, academic book on the topic of early Jewish, Western European and some Christian magics and superstitions and the real reasons behind them, and the reasons why they are or aren't in practice now.
It's sixteen chapters are an everything you want to know guide to these topics. That being said, it is true that, as a result of it being written so early in the 20th Century it is, perhaps, of the academic language persuasion, but it is still a very accessible book. Though, fair warning, there are some paragraphs and quotes entirely in other languages (German, Italian, Latin, etc.) which remain untranslated by the author, as the expectation was that the readership knew these languages, though I believe that contemporary publishings of this book do give translations of these passages in the notes.
Hope you enjoy it. Mahalo.
Joshua Trachtenberg's "Jewish Magic and Superstition" (1935) is a great overall introduction to all the facets of Jewish magic in the medieval era until now. It covers amulets to incantations, spirits to divination, names to exorcisms. Albeit, the chapter on names is a little dry, and some of the chapters can be too wordy, but generally this is a very accessible, academic book on the topic of early Jewish, Western European and some Christian magics and superstitions and the real reasons behind them, and the reasons why they are or aren't in practice now.
It's sixteen chapters are an everything you want to know guide to these topics. That being said, it is true that, as a result of it being written so early in the 20th Century it is, perhaps, of the academic language persuasion, but it is still a very accessible book. Though, fair warning, there are some paragraphs and quotes entirely in other languages (German, Italian, Latin, etc.) which remain untranslated by the author, as the expectation was that the readership knew these languages, though I believe that contemporary publishings of this book do give translations of these passages in the notes.
Hope you enjoy it. Mahalo.
Wuthering Huh?
I learned about this a few weeks ago and have been following it, but I feel something needs to be said. Now, when I say what I'm about to say, some of you will surely say, "But Jordan, you're over-exaggerating, it can't possibly be the Biblical End of Times, the Apocalypse, the End of all Humanity and Civilization!" And you would be wrong. It is. The end is very nigh. What I am about to tell you is completely true, so please, I advise you brace yourselves.
Sigh. Okay. Here goes.
I have recently learned that the classic piece of literature by Emily Bronte, "Wuthering Heights", is to be repackaged with a new cover. This is not a problem, this happens every few years, right? Wrong. Not like this. There was a recent press release/statement made by the author of the "Twilight" novels that stated that Edward (Cullen) and Bella (Whatsherface)'s favourite book, was "Wuthering Heights" - for what I can only assume was literary comparison between the main character from it's moodiness and Edward's. Here inlies the problem - the geniuses at the publishing companies - who clearly hate literature - are REPACKAGING "Wuthering Heights", and English Literature CLASSIC, with a new cover designed by the same man who did the "Twilight" covers, in the same style, with a flower on a staircase surrounded by black and "Emily Bronte" written in that faux-semi-Gothic font. The kicker? There is a little yellow star bubble on the cover below the image which says, "Edward and Bella's favourite book!" . The second kicker? They're flying off the shelves.
On the article which contained this information (here, here, here, here and here - yeah, I'm thorough) there were comments - one which was, "Is this book in old timey English or normal, readable English? Because I can't help but feel this is a repackaging of the original." -- THIS BOOK WAS WRITTEN IN THE MID 1800s! It's as readable as it gets! The other comment read, "Advisory: this isn't even a good romance novel! There's like, 5 pages of romance! The rest is all anger and bitterness!" - No kidding. Do these people even KNOW the story behind "Wuthering Heights"?!
I can't help but feel now, that this will lead to a new market where all classic books are repackaged with a new cover, claiming that "BLANK FICTIONAL CHARACTER's favourite book!" and then plastered with a poorly thought out cover to sell copy. This are classics which already sell well, they don't need to be revamped. I can't help but feel "The Illiad" will soon be republished with, "MAIN CHARACTER from 'Never Back Down's favourite book!" .
This is it, the world is over. Mahalo.
Sigh. Okay. Here goes.
I have recently learned that the classic piece of literature by Emily Bronte, "Wuthering Heights", is to be repackaged with a new cover. This is not a problem, this happens every few years, right? Wrong. Not like this. There was a recent press release/statement made by the author of the "Twilight" novels that stated that Edward (Cullen) and Bella (Whatsherface)'s favourite book, was "Wuthering Heights" - for what I can only assume was literary comparison between the main character from it's moodiness and Edward's. Here inlies the problem - the geniuses at the publishing companies - who clearly hate literature - are REPACKAGING "Wuthering Heights", and English Literature CLASSIC, with a new cover designed by the same man who did the "Twilight" covers, in the same style, with a flower on a staircase surrounded by black and "Emily Bronte" written in that faux-semi-Gothic font. The kicker? There is a little yellow star bubble on the cover below the image which says, "Edward and Bella's favourite book!" . The second kicker? They're flying off the shelves.
On the article which contained this information (here, here, here, here and here - yeah, I'm thorough) there were comments - one which was, "Is this book in old timey English or normal, readable English? Because I can't help but feel this is a repackaging of the original." -- THIS BOOK WAS WRITTEN IN THE MID 1800s! It's as readable as it gets! The other comment read, "Advisory: this isn't even a good romance novel! There's like, 5 pages of romance! The rest is all anger and bitterness!" - No kidding. Do these people even KNOW the story behind "Wuthering Heights"?!
I can't help but feel now, that this will lead to a new market where all classic books are repackaged with a new cover, claiming that "BLANK FICTIONAL CHARACTER's favourite book!" and then plastered with a poorly thought out cover to sell copy. This are classics which already sell well, they don't need to be revamped. I can't help but feel "The Illiad" will soon be republished with, "MAIN CHARACTER from 'Never Back Down's favourite book!" .
This is it, the world is over. Mahalo.
Lost: A Review
Recently, I ingested the entire five seasons J.J. Abrams' hit TV show "Lost" from beginning to end in barely a month. At first, I was a "Lost" hater - I hated it, and I enjoyed hating it and I wasn't in the mood to be budged on the matter. What was the worst about this was, I had never even watched it. I hated it purely based on the concept and false assumptions. But, I had to go and tell this to a rather pushy "Lost" fan, "Go on, watch the pilot episode if," he said, "if after that you don't want to watch any more of it, I won't push it." So I said fine. At the end of the movie-length premier, I was hooked and needed more "Lost". The complaints I had heard that it "all of a sudden" became a sci-fi show were, now, unfounded as "Lost" is in its essence, a sci-fi show. What's more, it's a good sci-fi show - which are rare to find. What's better is it was in the vein of the first season of "Heroes" and set in a very relatable real-world setting, but a lot less cheesy.
All the misconceptions I had had about the series turned out to be unfounded upon a proper viewing of the show. The show did not, as I thought, take place over a year each season but was actually a month, the first season being the first 44 days on the island - this created an interesting time paradox involving the actors and the events on the island - and it was not the only time paradox, as time is a predominant theme in the show.
What I found most intriguing about "Lost" is the surprising depth of it. To paraphrase a review given to the novel "World War Z: An Oral History of the Zombie War", "Lost" is smarter than any sci-fi should has a right to be. Every character is based in some way around an historical figure or philosopher, the most obvious of which is the character of John Locke named after...well...John Locke. The 'main' character - a term I use loosely as a result of the inordinate number of main characters, the season six containing all previously seen twenty-six characters - Jack Sheppard seems to me to be based upon the famed Irish convict of the same name who is famous for escaping from prison something to the effect of fourteen times.
I have heard almost every possible interpretation of what "Lost" means, and what the Island is - that it's purgatory, that it's a prison, it's hell, it's not real, etc. etc. etc. ad infinatum. No one interpretation is right or wrong, and they are all well documented and correlated at LostPedia, an encyclopedia of everything that is "Lost".
For those of you who haven't seen "Lost" I won't be providing spoilers, so don't worry. The basic idea is that a plane crashes on a mysterious island, and somehow forty-seven or so people survive the crash - most of which are what we call "red shirts", named so after the character in "Star Trek" who would go down to the planet with the main characters and would...well...die, as they weren't leads, and they always wore red shirts. Of these, there are approximately 11-15 main characters at a time - it fluctuates as the seasons go on and characters die or are introduced. After some time on the island, they realize something is awry with the Island as they hear what they will frustratingly refer to as The Monster for five seasons, and soon realize they are not alone on the island. Major conspiracies, sci-fi concepts, philosophy and intriguing characters all make this show a worthwhile watch!
All the misconceptions I had had about the series turned out to be unfounded upon a proper viewing of the show. The show did not, as I thought, take place over a year each season but was actually a month, the first season being the first 44 days on the island - this created an interesting time paradox involving the actors and the events on the island - and it was not the only time paradox, as time is a predominant theme in the show.
What I found most intriguing about "Lost" is the surprising depth of it. To paraphrase a review given to the novel "World War Z: An Oral History of the Zombie War", "Lost" is smarter than any sci-fi should has a right to be. Every character is based in some way around an historical figure or philosopher, the most obvious of which is the character of John Locke named after...well...John Locke. The 'main' character - a term I use loosely as a result of the inordinate number of main characters, the season six containing all previously seen twenty-six characters - Jack Sheppard seems to me to be based upon the famed Irish convict of the same name who is famous for escaping from prison something to the effect of fourteen times.
I have heard almost every possible interpretation of what "Lost" means, and what the Island is - that it's purgatory, that it's a prison, it's hell, it's not real, etc. etc. etc. ad infinatum. No one interpretation is right or wrong, and they are all well documented and correlated at LostPedia, an encyclopedia of everything that is "Lost".
For those of you who haven't seen "Lost" I won't be providing spoilers, so don't worry. The basic idea is that a plane crashes on a mysterious island, and somehow forty-seven or so people survive the crash - most of which are what we call "red shirts", named so after the character in "Star Trek" who would go down to the planet with the main characters and would...well...die, as they weren't leads, and they always wore red shirts. Of these, there are approximately 11-15 main characters at a time - it fluctuates as the seasons go on and characters die or are introduced. After some time on the island, they realize something is awry with the Island as they hear what they will frustratingly refer to as The Monster for five seasons, and soon realize they are not alone on the island. Major conspiracies, sci-fi concepts, philosophy and intriguing characters all make this show a worthwhile watch!
Thursday, November 12, 2009
Longbox Blues: Deadpool #15-16, #900
I'm gonna come right out and say it: I'm a Deadpool fan.
I know, I know. Deadpool is the new Wolverine. An overused, annoying, whored-out character that isn't funny but brings in mucho $ for the House of Ideas.
It wasn't always this way. I should mention that I'm a fan of oldschool Deadpool, from the Joe Kelly era. That's right, back when the character had character, when there was depth to the Merc with a Mouth. When he was actually funny. Joe Kelly's Deadpool run actually made me laugh out loud at times, something that really doesn't happen when I read comics. Heck, I'm such a fan of that period of Deadpool history that I even dressed up as him for Halloween. (And yes, that post was written in character.)
I decided to check out Deadpool's new story: him joining the X-Men. Wait, didn't that already happen before, and didn't he get a way better costume than this new ugly yellow one?
The issues began with a "Previously in Deadpool" page, which reminded me of the recap pages from Kelly-era Deadpool. That felt nice. Then I read the recap page and literally wondered "WTF."
Apparently, Wade got himself a crapload of money, bought a nuclear sub, sank it, used a tugboat to pull it, turned the tugboat into a pirate ship, tried to free the people of some island, and the sub exploded.
Since when did Deadpool become a rejected Family Guy sketch?
#15 started off strong. Stranded at sea, Wade starts to lose it. Or rather, continues to lose it. I couldn't help but think of Tales of the Black Freighter and the oldschool SNL "Land Shark" sketches (which Joe Kelly made a reference to back in '97), but that's probably just me.
He eventually gets back to shore, and the book climaxes in a very nonsensical scene that wasn't funny at all. #16 picks up soon afterwards, with Wade on the X-Men's island, applying to the team.
Cyclops later sends Domino to find Deadpool and to speak to him. Those two go way back. If I'm not mistaken, they both first appeared in New Mutants #98. The fight scene was supposed to be entertaining, but ultimately fell very, very flat. Pun NOT intended.
The jokes were lame, the story didn't make sense, and Wade looks like a freakin' burn victim rather than the disfigured monster he's supposed to be. I won't be writing about the rest of the arc because I'm not going to be reading it.
I also decided to pick up Deadpool #900. I figured that if any modern Deadpool book could be good, it would be a super-sized collection of short Deadpool stories by different people. Hell, Joe Kelly was even writing one!
#900 is a series of unrelated, uninteresting, and unoriginal short stories featuring Deadpool. Modern "lol, i has 2 vioces in mah hed" Deadpool. One of the tales was an homage to Deadpool #42, "Silent But Deadly Interlude," which in turn was an homage to G.I. Joe #21, "Silent Interlude." That one was OK. Watching Wade noiselessly fight mimes was strange in a good way, but the plot made little sense. Another featured Deadpool and a shrink. It was very bizarre, and I can honestly say that it was the only story in the book that I actually liked. The Joe Kelly story, unfortunately, was drawn by [shudder] Rob Liefeld. I know that it's only fair, since he DID co-create the character, but seriously, that man should not be allowed near pencils or any other stationary paraphernalia. The story itself wasn't good, nor funny, though it did give readers a glimpse into Wade's childhood, and into Deadpool's mysterious pouches. And the final story is a reprint of Deadpool Team-Up #1, which was awful and really felt like something out of a Wolverine story.
It's hard to be a Deadpool fan. I was disappointed by all of those books and I really don't like what they've done with/to the character. I'll go hug my Classic Deadpool trades and cry myself to sleep, I guess.
I know, I know. Deadpool is the new Wolverine. An overused, annoying, whored-out character that isn't funny but brings in mucho $ for the House of Ideas.
It wasn't always this way. I should mention that I'm a fan of oldschool Deadpool, from the Joe Kelly era. That's right, back when the character had character, when there was depth to the Merc with a Mouth. When he was actually funny. Joe Kelly's Deadpool run actually made me laugh out loud at times, something that really doesn't happen when I read comics. Heck, I'm such a fan of that period of Deadpool history that I even dressed up as him for Halloween. (And yes, that post was written in character.)
I decided to check out Deadpool's new story: him joining the X-Men. Wait, didn't that already happen before, and didn't he get a way better costume than this new ugly yellow one?
The issues began with a "Previously in Deadpool" page, which reminded me of the recap pages from Kelly-era Deadpool. That felt nice. Then I read the recap page and literally wondered "WTF."
Apparently, Wade got himself a crapload of money, bought a nuclear sub, sank it, used a tugboat to pull it, turned the tugboat into a pirate ship, tried to free the people of some island, and the sub exploded.
Since when did Deadpool become a rejected Family Guy sketch?
#15 started off strong. Stranded at sea, Wade starts to lose it. Or rather, continues to lose it. I couldn't help but think of Tales of the Black Freighter and the oldschool SNL "Land Shark" sketches (which Joe Kelly made a reference to back in '97), but that's probably just me.
He eventually gets back to shore, and the book climaxes in a very nonsensical scene that wasn't funny at all. #16 picks up soon afterwards, with Wade on the X-Men's island, applying to the team.
Cyclops later sends Domino to find Deadpool and to speak to him. Those two go way back. If I'm not mistaken, they both first appeared in New Mutants #98. The fight scene was supposed to be entertaining, but ultimately fell very, very flat. Pun NOT intended.
The jokes were lame, the story didn't make sense, and Wade looks like a freakin' burn victim rather than the disfigured monster he's supposed to be. I won't be writing about the rest of the arc because I'm not going to be reading it.
I also decided to pick up Deadpool #900. I figured that if any modern Deadpool book could be good, it would be a super-sized collection of short Deadpool stories by different people. Hell, Joe Kelly was even writing one!
#900 is a series of unrelated, uninteresting, and unoriginal short stories featuring Deadpool. Modern "lol, i has 2 vioces in mah hed" Deadpool. One of the tales was an homage to Deadpool #42, "Silent But Deadly Interlude," which in turn was an homage to G.I. Joe #21, "Silent Interlude." That one was OK. Watching Wade noiselessly fight mimes was strange in a good way, but the plot made little sense. Another featured Deadpool and a shrink. It was very bizarre, and I can honestly say that it was the only story in the book that I actually liked. The Joe Kelly story, unfortunately, was drawn by [shudder] Rob Liefeld. I know that it's only fair, since he DID co-create the character, but seriously, that man should not be allowed near pencils or any other stationary paraphernalia. The story itself wasn't good, nor funny, though it did give readers a glimpse into Wade's childhood, and into Deadpool's mysterious pouches. And the final story is a reprint of Deadpool Team-Up #1, which was awful and really felt like something out of a Wolverine story.
It's hard to be a Deadpool fan. I was disappointed by all of those books and I really don't like what they've done with/to the character. I'll go hug my Classic Deadpool trades and cry myself to sleep, I guess.
Tuesday, November 10, 2009
An Accurate Look At: "This Is It"
This review will be shorter than most due to the nature of the film.
This Is It is not about Michael Jackson. It is not about his life, it is not about his death, though it does provide details about him as a person. At very least, one aspect of him - his level of commitment to his art.
This Is It follows the making-of process of what was to be Michael Jackson's ultimate concert. That's pretty much all you need to know. As you'd expect from a Michael Jackson performance, it is a treat to watch and listen to.
Plenty of behind-the-scenes footage is shown: choreography, makeup/costumes, special effects, lighting, etc. You really get a sense of how much of a perfectionist Michael Jackson was in terms of his music. The film features some of his all-time classics (I won't name any songs to prevent spoilers) and to see them come to life in such wonderful, strange, and unexpected ways was nothing short of amazing.
If you are a fan of Michael Jackson, you really need to see This Is It. And stay for the credits. The extra little bonuses at the end of the credits are worth it. One of them in particular made me day.
This Is It is not about Michael Jackson. It is not about his life, it is not about his death, though it does provide details about him as a person. At very least, one aspect of him - his level of commitment to his art.
This Is It follows the making-of process of what was to be Michael Jackson's ultimate concert. That's pretty much all you need to know. As you'd expect from a Michael Jackson performance, it is a treat to watch and listen to.
Plenty of behind-the-scenes footage is shown: choreography, makeup/costumes, special effects, lighting, etc. You really get a sense of how much of a perfectionist Michael Jackson was in terms of his music. The film features some of his all-time classics (I won't name any songs to prevent spoilers) and to see them come to life in such wonderful, strange, and unexpected ways was nothing short of amazing.
If you are a fan of Michael Jackson, you really need to see This Is It. And stay for the credits. The extra little bonuses at the end of the credits are worth it. One of them in particular made me day.
Friday, October 16, 2009
An Accurate Look At: "Zombieland"
A few months back, my buddy bought a $20 game for his Wii - House of the Dead: Overkill. Basically, it's like a video game version of Grindhouse, only you hold onto controllers instead of bags of popcorn.
Zombieland is, to put it simply, like a movie version of House of the Dead: Overkill. Plenty of action, lots of violence and gore, and great humour.
The TV spots really make it look stupid, but when I saw the trailer attached to District 9, my opinion changed. The trailer made Zombieland look like a laugh-filled action-packed romp through the zombie apocalypse, with sexual tension thrown in for good measure. Seemed sorta like Superbad with zombies (and not just because Jules is in it). Count me in!
The movie begins with a lame explanation of how the zombie infection began and spread, and though it is not plausible scientifically, it works in the humourous over-the-top-world of Zombieland. The main character/narrator, played by the guy from Adventureland (hmm, typecasted as -land movie protagonists?). It's not that I don't like him, it's just that I get the feeling that he's a Michael Cera replacement. "We can't get Mr. Cera, sir." "Then get me another funny, awkward, curly-haired Jew instead!"
The characters in the film don't have names. In order to prevent needless emotional attachment, the characters know each other by place names: where they're from, or where they're going. There are a few characters who do have names, but names are more like titles - in order to have a name, you have to earn/deserve it.
Columbus is the narrator, our guide through the United States of Zombieland. Throughout his travels, he will meet up with the badass Tallahassee (who "sets the standard of 'not to be fucked with'") and the sisters Wichita and Little Rock while trying to get back to his hometown of Columbus, Ohio, to find his family which may or may not still be alive.
Which brings me to an interesting idea. The survivors of Zombieland managed to live for one reason - they are smart. Columbus has a series of rules which he lives by, rules which keep him alive. Tallahassee knows how to fight, and then some. The sisters are con artists, and while they lack the survival skills of Tallahassee, or the structured logic of Columbus, they have remained alive due to their uncanny abilities of heartbreaking and swindling. But you can't swindle a zombie, so when they run out of humans they can exploit, they'll find themselves in a whole world of hurt.
Two things really surprised me about Zombieland. 1) The humour is fantastic. It is genuinely funny. I mean, really laugh-out-loud whole-theatre-roaring funny. I laughed harder than I thought and I would and loved it. 2) The writing was great. Zombieland is better written than it has any right to be. The dialogue was terrific and there was actual characterization. The characters are not just faceless zombie-killers. They each have backstories developed through flashbacks and dialogue. The characters are darker and deeper than you'd expect. I was caught by surprise. I should also point out that the acting was very good, better than the TV spots would lead you to believe. The good casting perfectly complements the writing and the characters really come to life. Excuse the unintended pun.
If you forgive the pun, it's a hilarious zombie film with brains. Put it on your shelf between Shawn of the Dead and the Evil Dead trilogy.
Zombieland is, to put it simply, like a movie version of House of the Dead: Overkill. Plenty of action, lots of violence and gore, and great humour.
The TV spots really make it look stupid, but when I saw the trailer attached to District 9, my opinion changed. The trailer made Zombieland look like a laugh-filled action-packed romp through the zombie apocalypse, with sexual tension thrown in for good measure. Seemed sorta like Superbad with zombies (and not just because Jules is in it). Count me in!
The movie begins with a lame explanation of how the zombie infection began and spread, and though it is not plausible scientifically, it works in the humourous over-the-top-world of Zombieland. The main character/narrator, played by the guy from Adventureland (hmm, typecasted as -land movie protagonists?). It's not that I don't like him, it's just that I get the feeling that he's a Michael Cera replacement. "We can't get Mr. Cera, sir." "Then get me another funny, awkward, curly-haired Jew instead!"
The characters in the film don't have names. In order to prevent needless emotional attachment, the characters know each other by place names: where they're from, or where they're going. There are a few characters who do have names, but names are more like titles - in order to have a name, you have to earn/deserve it.
Columbus is the narrator, our guide through the United States of Zombieland. Throughout his travels, he will meet up with the badass Tallahassee (who "sets the standard of 'not to be fucked with'") and the sisters Wichita and Little Rock while trying to get back to his hometown of Columbus, Ohio, to find his family which may or may not still be alive.
Which brings me to an interesting idea. The survivors of Zombieland managed to live for one reason - they are smart. Columbus has a series of rules which he lives by, rules which keep him alive. Tallahassee knows how to fight, and then some. The sisters are con artists, and while they lack the survival skills of Tallahassee, or the structured logic of Columbus, they have remained alive due to their uncanny abilities of heartbreaking and swindling. But you can't swindle a zombie, so when they run out of humans they can exploit, they'll find themselves in a whole world of hurt.
Two things really surprised me about Zombieland. 1) The humour is fantastic. It is genuinely funny. I mean, really laugh-out-loud whole-theatre-roaring funny. I laughed harder than I thought and I would and loved it. 2) The writing was great. Zombieland is better written than it has any right to be. The dialogue was terrific and there was actual characterization. The characters are not just faceless zombie-killers. They each have backstories developed through flashbacks and dialogue. The characters are darker and deeper than you'd expect. I was caught by surprise. I should also point out that the acting was very good, better than the TV spots would lead you to believe. The good casting perfectly complements the writing and the characters really come to life. Excuse the unintended pun.
If you forgive the pun, it's a hilarious zombie film with brains. Put it on your shelf between Shawn of the Dead and the Evil Dead trilogy.
Friday, September 11, 2009
An Accurate Look At: "District 9"
When I first heard of District 9, I thought it was a spin-off of and/or sequel to Banlieue 13. I couldn't have been more wrong. District 9 is a science-fiction film set in South Africa, and deals with themes of segregation, dehumanization, and oppression. I would make an "I see what you did there" comment, but I'm too awestruck to try to be witty.
District 9 is probably the best film I've seen all year. Yes, it's even better than my other favourite film of the year, Inglourious Basterds, though not funny nor hilariously entertaining. District 9 is very dark, very violent, and most importantly, very, very good.
20 years prior to the beginning of the film, an alien ship arrived on Earth. The extraterrestrial behemoth occupied the skies over Johannesburg. The world waited...
But nothing happened. The ship just floated there in the air. A piece fell off, but that was it. So, the humans decided to fly up to the ship in helicopters and open it up themselves. Inside were the aliens: insect-like and vaguely humanoid, they were suffering aboard their ship.
So, the humans housed the aliens in a place called "District 9," which soon became a shanty town. The aliens were not hostile, but were treated as second-class citizens and weren't welcome in the city. Tensions between humans and aliens rose, riots broke out, etc. The humans basically just oppressed the aliens, limited their breeding, and stole their technology. Alien weaponry requires alien DNA to use them, so the humans couldn't get their hands on advanced energy weapons and the like.
One day, the humans decide to relocate the aliens from their ghetto in District 9 to a new 'housing' area called District 10, which is really just a concentration camp. Multinational Union [MNU] officers go door to door tricking the aliens into signing their eviction notices.
But a recently-promoted MNU official gets in way over his head, and soon finds himself stripped of his position, hunted by the people he worked for, and at odds against Nigerian criminals.
Poignant social commentary, District 9 brings up issues like corruption, hate, and propaganda. The aliens are bizarre shelled bipedal insect-like crustaceans, dubbed "prawns." The art design in terms of the creatures and the alien technology is fantastic. The aliens look monstrous, but have gentle eyes. Their weapons and vehicles are very futuristic and cool. And one particular piece of hardware [which I hope they make a toy of!] is just incredibly badass. The visual effects are good too, and the audio aspect of the film is terrific. The aliens' sounds and language is great - sounds effects like tubes detaching, liquids spewing, and weapons firing were excellent. The music is terrific.
District 9 is not for every one. Some might be turned away due to the subject matter, and those are probably the people who should see this movie. There is also a lot of violence and gore, plenty of cursing, some frightening images, and a handful of particularly gruesome scenes. It starts out slow as a mockumentary, moves into more disturbing territory, and features an action-packed climax.
District 9 is dark, violent, and disturbing. It will thrill you, shock you, and make you feel like shit. Thought-provoking and touching, I thoroughly enjoyed this film and strongly recommend it.
District 9 is probably the best film I've seen all year. Yes, it's even better than my other favourite film of the year, Inglourious Basterds, though not funny nor hilariously entertaining. District 9 is very dark, very violent, and most importantly, very, very good.
20 years prior to the beginning of the film, an alien ship arrived on Earth. The extraterrestrial behemoth occupied the skies over Johannesburg. The world waited...
But nothing happened. The ship just floated there in the air. A piece fell off, but that was it. So, the humans decided to fly up to the ship in helicopters and open it up themselves. Inside were the aliens: insect-like and vaguely humanoid, they were suffering aboard their ship.
So, the humans housed the aliens in a place called "District 9," which soon became a shanty town. The aliens were not hostile, but were treated as second-class citizens and weren't welcome in the city. Tensions between humans and aliens rose, riots broke out, etc. The humans basically just oppressed the aliens, limited their breeding, and stole their technology. Alien weaponry requires alien DNA to use them, so the humans couldn't get their hands on advanced energy weapons and the like.
One day, the humans decide to relocate the aliens from their ghetto in District 9 to a new 'housing' area called District 10, which is really just a concentration camp. Multinational Union [MNU] officers go door to door tricking the aliens into signing their eviction notices.
But a recently-promoted MNU official gets in way over his head, and soon finds himself stripped of his position, hunted by the people he worked for, and at odds against Nigerian criminals.
Poignant social commentary, District 9 brings up issues like corruption, hate, and propaganda. The aliens are bizarre shelled bipedal insect-like crustaceans, dubbed "prawns." The art design in terms of the creatures and the alien technology is fantastic. The aliens look monstrous, but have gentle eyes. Their weapons and vehicles are very futuristic and cool. And one particular piece of hardware [which I hope they make a toy of!] is just incredibly badass. The visual effects are good too, and the audio aspect of the film is terrific. The aliens' sounds and language is great - sounds effects like tubes detaching, liquids spewing, and weapons firing were excellent. The music is terrific.
District 9 is not for every one. Some might be turned away due to the subject matter, and those are probably the people who should see this movie. There is also a lot of violence and gore, plenty of cursing, some frightening images, and a handful of particularly gruesome scenes. It starts out slow as a mockumentary, moves into more disturbing territory, and features an action-packed climax.
District 9 is dark, violent, and disturbing. It will thrill you, shock you, and make you feel like shit. Thought-provoking and touching, I thoroughly enjoyed this film and strongly recommend it.
Saturday, August 22, 2009
An Early Look At: James Cameron's "Avatar"
So I managed to get passes to that free Avatar screening. I really didn't get it. It was 15 minutes long, started with the dude from Daily Planet telling me to put my glasses on, and the cloaked bald kid with wind powers never showed up at all!
Alright, I'm just joking.
James Cameron's Avatar is an upcoming fantasy film which takes place on a bizarre alien world, and is not to be confused with M. Night's The Last Airbender.
Knowing next to nothing about the film save for the general premise and what a few of the toys looked like, I didn't know what to expect from the free 15-minute show in Imax 3D.
After a brief introduction from the director [he basically says, "Here, have this instead of a trailer"], the audience was treated to a series of clips from the first half of the movie - "no major spoilers," as Cameron's 3D image put it.
Avatar takes place in the 22nd Century. There's some kind of hostile and very dangerous alien world called Pandora which a military unit will be visiting, but the audience doesn't know why. The world is inhabited by creatures who fight with neurotoxin-poisoned arrows and they really don't sound friendly! One of the humans is a marine in a wheelchair by the name of Jake. From what I understand, he's the main character.
I had a very hard time watching that first segment due to the 3D. This ain't no blue-and-red-plastic crap - this Imax 3D actually works! It just takes a while to get used to, and until I did, the image seemed blurry and I felt rather dizzy. But once I got used to it [which didn't even take five minutes], I had no problem at all enjoying the scenes in stunning 3D. Small details like floating leaves and 3D subtitles were particularly nice touches.
Anyway, Jake travels to some kind of lab on Pandora, where he has his mind technologically transferred to the body of one of the strange blue Pandorian creatures. The creatures are taller than humans, have large yellow eyes, a tail, stripes, and look rather feline. [Other humans undergo the same procedure; perhaps this is how they survive on the dangerous world.] The characters referred to Jake's new body as his "avatar," the new being that he controls. In his strange new body, Jake is able to do things he couldn't in his human form - such as use his legs. He is free from his wheelchair, and proceeds to ignore orders and leave the lab.
Outside, the 3D really shines. The dense jungle is brought to life and the creatures look even more terrifying. A note to parents - the giant creatures of Pandora really do look creepy, and I imagine that a scene in which Jake is chased by a huge predator would terrify children, even if it wasn't in 3D.
In his new body, Jake makes contact with the blue creatures, one of which he's currently using, and the following scenes suggest that he becomes part of their tribe, or learns their way of life. Jake is how the audience learns about the world of Pandora - they must watch him struggle with creatures and customs of the world.
In one scene, Jake tries to catch himself a winged flying dragon-like creature, with help from the blue Pandorans. In order to control the creature, they have to link minds. This is done by him first physically subduing the beast and forcibly inserting the tentacles from his long hair into an opening on the dragon's antenna.
Yes, I watched a blue furry rape a dragon -- in glorious 3D.
The last 30 seconds of the screening was a fast-paced montage of other shots from the movie - the humans arrive, and they bring their tech. Trucks that look like the Warthog from Halo, mechs and aerospace fighters that look like they were lifted from the G.I. Joe: Sigma 6 line.
What I saw was impressive because the 3D was so good, but also because the world of Pandora was so beautiful. The huge jungles, the strange life forms, the unusual rock formations, the glowing green flowers in the night - it's an alien world, all right, and it sure looks like one.
I couldn't help but get a video game feeling from what I saw - hero takes on this "avatar," explores a strange world, learns new skills, and probably will have to save it from the bad guys. Sounds like pretty much any game I've ever played.
The free screening was great, but I'm more indifferent than curious, or excited. I know slightly more about the movie than I did going in, but still not enough to care. Let me guess, this alien world is threatened by the humans instead of the other way 'round - oh no, the tables have turned! Admittedly, 15 minutes of footage taken from other several scenes can't do the movie justice. It looks like an epic fantasy adventure with sci-fi elements, and the 3D is great. But I really don't like nor care about the blue furries, nor the actor who plays Jake. But hey, that's just me.
James Cameron's Avatar opens on December 18th.
Alright, I'm just joking.
James Cameron's Avatar is an upcoming fantasy film which takes place on a bizarre alien world, and is not to be confused with M. Night's The Last Airbender.
Knowing next to nothing about the film save for the general premise and what a few of the toys looked like, I didn't know what to expect from the free 15-minute show in Imax 3D.
After a brief introduction from the director [he basically says, "Here, have this instead of a trailer"], the audience was treated to a series of clips from the first half of the movie - "no major spoilers," as Cameron's 3D image put it.
Avatar takes place in the 22nd Century. There's some kind of hostile and very dangerous alien world called Pandora which a military unit will be visiting, but the audience doesn't know why. The world is inhabited by creatures who fight with neurotoxin-poisoned arrows and they really don't sound friendly! One of the humans is a marine in a wheelchair by the name of Jake. From what I understand, he's the main character.
I had a very hard time watching that first segment due to the 3D. This ain't no blue-and-red-plastic crap - this Imax 3D actually works! It just takes a while to get used to, and until I did, the image seemed blurry and I felt rather dizzy. But once I got used to it [which didn't even take five minutes], I had no problem at all enjoying the scenes in stunning 3D. Small details like floating leaves and 3D subtitles were particularly nice touches.
Anyway, Jake travels to some kind of lab on Pandora, where he has his mind technologically transferred to the body of one of the strange blue Pandorian creatures. The creatures are taller than humans, have large yellow eyes, a tail, stripes, and look rather feline. [Other humans undergo the same procedure; perhaps this is how they survive on the dangerous world.] The characters referred to Jake's new body as his "avatar," the new being that he controls. In his strange new body, Jake is able to do things he couldn't in his human form - such as use his legs. He is free from his wheelchair, and proceeds to ignore orders and leave the lab.
Outside, the 3D really shines. The dense jungle is brought to life and the creatures look even more terrifying. A note to parents - the giant creatures of Pandora really do look creepy, and I imagine that a scene in which Jake is chased by a huge predator would terrify children, even if it wasn't in 3D.
In his new body, Jake makes contact with the blue creatures, one of which he's currently using, and the following scenes suggest that he becomes part of their tribe, or learns their way of life. Jake is how the audience learns about the world of Pandora - they must watch him struggle with creatures and customs of the world.
In one scene, Jake tries to catch himself a winged flying dragon-like creature, with help from the blue Pandorans. In order to control the creature, they have to link minds. This is done by him first physically subduing the beast and forcibly inserting the tentacles from his long hair into an opening on the dragon's antenna.
Yes, I watched a blue furry rape a dragon -- in glorious 3D.
The last 30 seconds of the screening was a fast-paced montage of other shots from the movie - the humans arrive, and they bring their tech. Trucks that look like the Warthog from Halo, mechs and aerospace fighters that look like they were lifted from the G.I. Joe: Sigma 6 line.
What I saw was impressive because the 3D was so good, but also because the world of Pandora was so beautiful. The huge jungles, the strange life forms, the unusual rock formations, the glowing green flowers in the night - it's an alien world, all right, and it sure looks like one.
I couldn't help but get a video game feeling from what I saw - hero takes on this "avatar," explores a strange world, learns new skills, and probably will have to save it from the bad guys. Sounds like pretty much any game I've ever played.
The free screening was great, but I'm more indifferent than curious, or excited. I know slightly more about the movie than I did going in, but still not enough to care. Let me guess, this alien world is threatened by the humans instead of the other way 'round - oh no, the tables have turned! Admittedly, 15 minutes of footage taken from other several scenes can't do the movie justice. It looks like an epic fantasy adventure with sci-fi elements, and the 3D is great. But I really don't like nor care about the blue furries, nor the actor who plays Jake. But hey, that's just me.
James Cameron's Avatar opens on December 18th.
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