Tag Archives: fantasy
19 May

‘Deadpool 2’: Everything is bigger this time, matching his mouth, but not quite as fresh

 

“Deadpool” is back, and with all the irreverence of the last silly slap. But where the original was so uproariously self-deprecating, scintillatingly scatological and fresher than a boatload of day scallops, the part deux follow-up feels more like daily gruel. That’s something of a deeper disappointment because it’s helmed by stunt-dude turned action director David Leitch, who scored big with “John Wick” (2014) and “Atomic Blonde” (2017), but here seems content to simply extenuate what came before. The same happened with fellow Marvel upstart “Guardians of the Galaxy” (it’s from the Marvel Comics Universe under Disney, versus 20th Century Fox and Marvel Entertainment doing “Deadpool” and “X-Men”) and its sequel, a clear issue with the genre – brand something in a new and ingenious way, get the fans fired up and then keep feeding them what they know and desire until they gag on it. Then it’s back to the drawing board for a reboot or the next super franchise idea. Continue reading

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Ready Player One

30 Mar

‘Ready Player One’: A pop culture pastiche lacking the power-ups it needs to be iconic

 

Geek references and 1980s pop culture abound in “Ready Player One,” an energetic yet hollow outing from the architect of the blockbuster himself, Steven Spielberg. It’s not all for naught, as the adaptation of Ernest Cline’s YA novel set in the dystopian future bears most of the director’s family-friendly fingerprints: a sentimental score (by Alan Silvestri), misunderstood youth, enigmatic happenings and the fantastical infusing the realm of the real – think “E.T. the Extra-Terrestrial” or “Close Encounters of the Third Kind.” And then promptly forget them.

In the year 2045, gaming has become the opium of the masses. Everyone suits up, dons virtual-reality goggles and enters a place in the cloud known as the Oasis, a platform breathed to life by a master game creator named James Halliday (Academy Award winner Mark Rylance), who’s recently passed but has left an Easter egg (apt that it’s being released on the eve of the Paas egg-dyeing holiday) tucked away somewhere in his worldwide video game. The lucky one who finds it takes over Halliday’s Amazon-like empire. Continue reading

Logan

8 Mar
Hugh Jackman grunts and grimaces through his (possibly) final outing as the Wolverine

Courtesy of Twentieth Century Fox

Hugh Jackman grunts and grimaces through his (possibly) final outing as the Wolverine

Logan, the third Wolverine spin-off from the X-Men movie empire, which has grown terribly long in the tooth (or is that claw?), does a nice job of righting the ship with this elegiac closing chapter. Part of the reason for the franchise’s demise has been its lack of innovation, but also, and more to the point, the superhero market oversaturation with the Avengers and Justice League entries out there chasing fanboy dollars as well. Besides Professor Charles Xavier (Patrick Stewart) the best thing about the X-Men series has always been the tortured soul of Logan. Brought so palpably to the screen by Hugh Jackman, his badger-like sneer, tang of feral sexuality, and discernible sense of conflicted rage has always raced around inside the character’s metal-reinforced body.

The good news for fans, and even more so those losing faith, is that Xavier and Logan find themselves back together and without a cavalcade of other mutants and two-dimensional bad guys to weigh them down. It essentially allows the two classically trained thespians to dig in deep and get at the core of their characters’ beaten-down and mercurial personas. As far as acting goes, Logan may just be the grand dame of slumming it. It takes place in the not-too-distant future (2029) and finds our two uber-beings on tough times. Mutants and mutations have been culled way down, and we’re fed the factoid that there hasn’t been a mutant born in a decade or so, making Logan and Xavier perhaps the last of their line.  Continue reading

Avengers: Age of Ultron

30 Apr

‘Avengers: Age of Ultron’: Jam-packed amusement park ride moves too fast to feel


Marvel’s “Avengers: Age of Ultron” is a a big noisy actioner that storms into theaters this week to kick off the blockbuster season. It’s perfect summer fare: not too deep, with plenty of action and a dash of sexy; destined to make a killing at the box office and the merchandising table. But as far as owning the opening kick, “Ultron” is a bit late to the party – the equally noisy “Furious Seven” has been cleaning up for the past three weeks, and it’s a far more genuine and heartfelt affair even if stripped of the sentimental nostalgia built around tragically deceased star Paul Walker.

043015i Avengers- Age of Ultron“Ultron” begins with a wham-bam as Captain America (Chris Evans), Iron Man (Robert Downey Jr.) the Hulk (Mark Ruffalo) and the whole Avenger cadre battle camouflage-veiled troops in a forest somewhere near what most recall as Transylvania. There’s a castle to storm and an “infinity stone” (six to rule the universe) to nab, but not without some resistance from an evil syndicate known as Hydra (something far less interesting and formidable than Spectre from the Bond series) in the form of a pair of embittered twins – the Scarlet Witch (Elizabeth Olsen) and Quicksilver (Aaron Taylor-Johnson) – who cause the motley crew of righteousness some lingering headaches.

The siege and bloody ebb and flow is all done with nimble, dizzying CGI effects. It’s like an amusement park ride: You can’t just focus on one thing, and if you do, the whole backdrop will have changed by the time you elect to pull back. Much of the plot is like that too. Just when you think you’re making sense of who or what Ultron is, Hawkeye (Jeremy Renner) lets on he’s got a wife and kids out in the cornfields of the midwest or the Black Widow (Scarlett Johansson) and Bruce Banner/Hulk start having life-partnering talks.

Johansson, already a star attraction with her fetching form firmly packed into snug-fitting black lycra, knocks it out of the park in this go-round with a husky, sultry coo while flirting with Banner. She’s one of the film’s few gems, along with that infinity stone that gets embedded into a synthetic uber-being played by staid and somber Paul Bettany, but that’s a whole ’nother plot thread that crops up and fades in the rear view, only to crop up again like so many things in this fate-of-mankind tempest where skilled thespians are reduced to such cerebral throwaways as “let’s do this” and tired maxims about being united as a team and righteousness. The deepest-reaching dialogue comes from Downey Jr.’s Tony Stark (Iron Man sans the iron), enumerating on a colleague’s comment about a long day, tagging it “Eugene O’Neill long.” It’s one of the few witty ah-has that sticks.   Continue reading

The Hunger Games: Catching Fire

23 Nov

‘The Hunger Games: Catching Fire’: It hooks you, but Lawrence is still MVP

By Tom Meek
November 22, 2013

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The second time may be a charm, but hey, it’s all relative. The first “Hunger Games,” written and directed by Gary Ross (“Seabiscuit” and “Pleasantville”), felt paunchy, disingenuously deep and retro flimsy given the state of computer-enhanced filmmaking these days. That cinematic first chapter of Suzanne Collins’ runaway YA hit was a tad muddled, but then again it had the burden of informing newbies what they needed to know about the austere future world of Panem and its kid-against-kid death matches without boring the stuffing out of its loyal readership’s attention-challenged minds.

112213i The Hunger Games- Catching Fire

What made the first “Hunger Games” adaptation smolder, beyond its kinetic plot and high kitsch, was star Jennifer Lawrence, already revered for her work in “Winter’s Bone” and subsequently rewarded with an Oscar for her performance in “Silver Linings Playbook.” The actress, who possesses a wide, luminous face, aptly brought to the fore the deep disdain and skepticism imbedded in her can-do heroine, Katniss Everdeen. But living under the tyranny of a fattened plutocracy obsessed with power, control and hedonism while the masses slave and starve tends to do that to anyone possessing the faint embers of freedom and righteousness in their bellies.  Continue reading