I think that the next movie that i am going to catch is Maze Runner: The Scorch Trials. What’s most interesting about that is that I really disliked The Maze Runner. The story was needlessly elaborate, and often laugh out loud silly. And that’s not hyperbole. What unfolded on screen was so preposterous at times that I literally couldn’t restrain from voicing my disdain.
And that’s unusual for me because I typically can find something that engages me about most movies, even those that I don’t particularly like, though The Maze Runner, while it didn’t drive me to anger, did frustrate me.
So why do I want to see the sequel? It might have a little to do with me being curious if the sequel somehow redeems what came before.
And speaking of The Maze Runner, was there any point to Kay Scodelario’s character? She may be important to the books (I have no idea since I haven’t read them) though she didn’t serve any real purpose in the movie that I could see. She’s nice to look at, but while the males had something to do, she just ran around a bit and seemed entirely superfluous. I could see why the producers would want to introduce a female character, but it would have been nice if she were a little more than a warm body. Besides, Scodelario was pretty good in Skins, so I get the feeling that the cypher that was her character had less to do with her as an actress than with the writers not knowing how to handle the character.
Or maybe i’ll just catch Ant-Man again.
i understand it when competitive people talk smack about their opponents, which often goes hand-in-hand with healthy competition.
The same thing can extend to the advocates of particular movie studios, just as it more commonly does for sports teams, and few studios are seen as competitors as much as Marvel Studios and DC Entertainment.
Smack starts flying around 21:40, though it’s worth noticing how diplomatic Joe and Anthony Russo are, as compared to Zach Snyder.
I bring it up because recently Zach Snyder (director of Man Of Steel and the upcoming Batman v Superman: Dawn Of Justice) recently commented on Marvel’s Ant-Man movie, calling it the “flavor of the week (which is a pretty silly comment, if only because one of the greatest mistakes Warner Bros. made–and seems to continue to make, though to a lesser degree–was relying exclusively on Batman instead of developing other characters. His comment also conveniently ignores that DC is apparently developing a movie based on Booster Gold and Blue Beetle, both of whom aren’t exactly well-known).”
Let’s be honest…the trailer for The Vatican Tapes doesn’t look that great–and you’ll notice that it’s supposedly coming in July–and while I could have missed it last month, I don’t think so.
I get the feeling one reason it exists is to ride on the coattails of Michael Peña’s success with Ant-Man, though what interests me even more is that the movie is directed by Mark Neveldine, who helped make Ghost Rider: Spirit of Vengeance at the very least interesting (as opposed to the first movie, which somehow managed to make old skull head, dull) and visually distinct from the first movie.
Everything Is Better With Legos, Including Ant-Man!
Marvel Studios’ Ant-Man premiered Friday of last week, and earned domestically just over $58 million by the end of the weekend. Now keep in mind that the movie was budgeted at $130 million, and when you figure in overseas box office (just over $56 million) it has so far pulled in just over $114 million.
That’s not too shabby–especially when you consider that Ant-Man makes the Guardians Of The Galaxy like the Guardians Of The Galaxy pre-movie–yet some are using words like ‘soft‘ to describe its domestic gross.
Now what matters at this point is if the movie has legs, because it can go either way this early in the game.
Though, speaking of ‘soft,’ that’s a word that’s fine for describing pillows; not so much when applied to either box office gross, erections, or movies based on characters as obscure as the Guardians Of The Galaxy (which was a massive hit).
And besides, I get the feeling that such an interpretation can adversely effect how well a movie does because I know that if I get the feeling that a movie is going to tank I am less likely to see it, especially when all you have to do is wait a few months when it will turn up either on Neflix, Hulu, Direct TV or cable (the later two I don’t have, btw).
I have officially reached the point of trailer saturation–when a trailer starts to reveal more information than I am comfortable knowing, as far as Ant-Man is concerned, at any rate. Like when Hulk caught Iron Man during the first Avengers–which was featured prominently in the trailer–I honestly don’t want any more surprises, no matter how small someone thinks they are, spoiled.
Don’t get me wrong, I’ve already got my ticket for Thursday (Yea!) but now they’re just preaching to the converted, and there’s no need. I also get that that I am not the only person they’re promoting the movie for, but was giving away that Ant-Man meets the Falcon really necessary?
So no more Ant-Man trailers (other than to add to the upcoming review).
I am genuinely psyched for movies like Ant-Man, Captain America: Civil War and Batman V. Superman: Dawn of Justice but what I am even more interested in is something that we won’t be seeing on the big screen, and that’s Gerry Anderson’s Firestorm.
Originally sold by creators Anderson and John Needham to a Japanese company, it was developed into anime. The rights have reverted back to Anderson’s estate, and his son, Jamie, is developing it into a series.
To anyone familiar to Anderson’s productions, a strong suit tends to be the technology on display, and Firestorm won’t be any different( if the cartoon inspired by Anderson and Needham’s work is any indication). That being said, I am more interested for what has been absent from Anderson’s productions for a long while, and that’s actual puppets.
Below is a motion test, where they’re putting one through its paces, and it looks glorious. There’s something about an actual object–as opposed to an accumulation of pixels–that’s so cool. And sure, there’re lots of things that you can do with CGI that you can’t with puppets (though they benefit from improvements in technology like anything else), but I am okay with that because hopefully it will never turn to an either or type of situation.
Puppetry reminds me of a something hand-crafted, that refuses to go easily into the mists of time. As a result, it manages to be retro and and modern all at the same time, and I can’t wait to see it.
Some people are critical of Marvel using lesser known directors for the superhero properties–the main one being that they’re cheaper than better known talent. This relates directly to rumors that they’re considering Rick Famuyiwa and Ava DuVernay, for upcoming Marvel projects.
And while their relative inexpensiveness is undeniably a factor, I don’t think it’s nearly as important as some make it out to be.
What’s more interesting is that Marvel has a history of allowing relatively inexperienced (in the terms of handling massive productions that require huge special effects budgets) directors to build multi-million dollar franchises.
Which isn’t to say that it always works out. After all, Edgar Wright left the upcoming Ant-Man because his vision (and screenplay) didn’t quite mesh with what Marvel Studios wanted, and Alan Taylor (Thor: The Dark World) was a bit put out because Marvel demanded certain changes during filming that he was not particularly happy about.