‘The Amazing Spider-Man 2′ Or Why I Wished It Failed

You might have heard that, as a result of the box office performance of “The Amazing Spider-Man”–which earned just over $750 million worldwide, on a budget of $230 million–has warranted a sequel.

And in other news, the sky is blue, and dinosaurs have been gone (except Nessie) for a long, long time.

This is good news if you’re Marc Webb, Sony Pictures, or anyone involved in the production, or even a fan of Spidey.

The news is not so good if you’re expecting to see Spider-Man joining the Avengers in their latest battle, or maybe irritating the Thing from the Fantastic Four because, as long as Spider-Man brings in beaucoup bucks, the odds of Sony releasing the character back to Marvel has worse odds than Michelle Bachmann telling the truth during a debate.

Continue reading

‘Ant-Man’ Test Footage (Sorta)

A while ago I posted that Marvel is considering putting its test footage for Edgar Wright’s “Ant-Man” on the Interwebs?  Well they haven’t done it yet, but there was an artist in attendance at Comic-Con, and they have drawn up and posted on Youtube a reenactment of the footage.

Thanks to Collider for the info.

Season Seven Of ‘Weeds’ On Netfilx

I am not a big fan of junk food, or junk TV, yet when I heard that the Season 7, the last, of “Weeds is on Netflix, I dived right in (I’m not kidding.  I found out yesterday, and am already at episode seven, just about midway).

There’s something about “Weeds” that just works.  The situations that the Botwin family find themselves in are generally a bit absurd–and that the family isn’t already moldering in a ditch somewhere, mainly as a result of their constant drug-dealing and occasional murder, only reinforces how silly it actually is–but good chemistry, and even better acting goes a long way toward assuaging any doubts about the reality, or lack thereof, of the situations the characters find themselves in.

‘The Hobbit’ Trailer

The trailer for Peter Jackson’s “The Hobbit” has been out for a few days, though I am just getting around to posting it.  Why did I wait so long, you may ask?  If I wanted to answer in the least confrontational manner possible, I would say that  J.R.R Tolkien’s books don’t transition to screen all that well.

And while I honestly don’t think that his novels transition to screen all that well, there’s the fact that I fell asleep during one Jackson’s films–in my defense, I tend to get logy when there are long stretches of very little happening except beautiful scenery, be it on Pandora or Middle Earth–so I am not exactly enthused about doing it again.

Which doesn’t mean that I won’t see it, though it doesn’t ride particularly high on my list.  “The Hobbit” is, in its way, like a Len Wiseman film, in that I may be curious about what he’s doing, though I am very, very reluctant to pay to see it.

Now that I think of it, I owe Peter Jackson an apology because Wiseman is a bit of a hack in that he’s about the set piece, and little else.

And if you haven’t gotten enough of the meanderings of Tolkien’s merry band, here’s the most recent trailer.

Latest Photo From ‘The Wolverine’

Here’s the first photo from James Mangold‘s “The Wolverine.”  It tells you virtually nothing other than that Hugh Jackman is really, really built.  It takes place in Japan, and Silver Samurai is the main bad guy.

Speaking of Mangold, if you haven’t seen his “Identity,” rent it.  It’s an interesting twist on the traditional horror flick.

Brian’s ‘Dredd’ Review

fascism |ˈfaSHˌizəm|(also Fascism ) noun an authoritarian and nationalistic right-wing system of government and social organization.• (in general use) extreme right-wing, authoritarian, or intolerant views or practice.

I really wanted to like “Dredd” a lot more than I actually did.  This is an odd because I am extremely fond of the character, though I think that I understand what my problem was.

It’s that there was virutally no one to root for.  The Judges that exist in the film are, essentially, fascists (though I understand how they got to where they are, and emphasize to a point), while the criminal element generally takes advantage of people and their vulnerabilities, though that’s no different than when people first started to victimize each other.

Though I also emphasize with them, to a point.

“Dredd” is ripe for satire, like “Robocop,” which played in a similar sandbox; instead the film plays it straight, and suffers for it.

Another issue was that the canvas the film played upon was too intimate (the majority of the film takes place in “Peach Trees,” one of many massive buildings that the citizens of Mega City One call home).  If the film had perhaps dealt more with the Cursed Earth storyline I think that it would have not only served as a better introduction to the character of Judge Dredd, and would have made him a bit more sympathetic to viewers.

I also understand that the film didn’t have a huge budget, though it would have benefitted from the significantly broader canvas.

Though an odd benefit of a lack of empathy for Dredd is that, unlike Batman or Iron Man, I wasn’t sure that Dredd would survive.

Though in the end I couldn’t relate closely enough to the character to care.

Visionary Director Alfonso Cuarón Develops Series With J.J. Abrams

For my money, Alfonso Cuarón is one of the most talented film makers working today. His “Henry Potter & The Prisoner of Azkaban” is one of the strongest entries in the franchise, while “Children Of Men” is one of the few movies that is actually better than the book it is based upon (besides having lots more action).

And speaking of Cuarón, what happened to “Gravity?”  I last heard about it a year or so ago, then nothing.

Though what the director appears to be up to lately is a new series with J.J. Abrams (Star Trek), about a girl with special powers, and the man who is tasked to protect her against certain forces intent upon her destruction.  While I have never been a J.J. Abrams fan–one reason being I don’t quite get his fascination with lens flares–Cuarón in another matter entirely.

And here’s the teaser for “Gravity,” which manages to impart a feeling of impending disaster, while revealing virtually nothing about the film itself, in a very efficient fashion.