The Predator – Teaser Trailer

What is it with the Alien and Predator franchises?

It almost feels like they’re being deliberately sabotaged (few other things can explain why Ridley Scott is so intent on undermining a series he himself helped to create) by some really bizarre decisions on the part of the people directing them, and it’s a pity.

In the case of the Predator, the problems started with 1990’s Predator 2 (the great idea of a Predator movie in the vein of Paul Verhoeven’s Robocop undermined by Stephen Hopkins paint-by-numbers direction and a weak script) and have pretty much continued to varying degrees since that time.

Though I had assumed that the Predator franchise had bottomed out with 2007’s Aliens Vs. Predator: Requiem.

And apparently I was wrong because despite being co-written and directed by the undeniably talented Shane Black (Lethal Weapon, Kiss Kiss Bang Bang, Iron Man 3) the upcoming The Predator looks to continue the time-honored idea of mixing lots of bad ideas with one or two half-decent ones.

For instance, the idea that the predators are using the DNA from the creatures on the planets they visit to make themselves even deadlier?  Great idea and probably the best addition to the franchise in many Hunter’s moons.

The idea that a little kid discovers a model (!?) of a Predator craft that somehow manages to (apparently) control an actual Predator spacecraft!?

Dumb beyond belief (on the face of it, at any rate).

Then there’s the idea of the movie taking place in Small Town, U.S.A., an idea that didn’t do AVPR ANY favors, so why not do it again?

As I said earlier, Shane Black is a damn talented writer and director, but I get the feeling he’s screwed the pooch on this one.

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‘RoboCop’ Review

RoboCop

“RoboCop 2.0 is new, and not exactly improved, but it’s still worth the upgrade.”

I have an iPad 2, and I really liked iOS 6, and was perfectly content with it.  Soon enough, Apple came out with iOS 7, and when I upgraded I didn’t like it.  It was all shiny and colorful, but different than I was accustomed to.

That’s exactly the way felt about José Padlha’s “RoboCop” reboot:  Sure, you can do it, but why?  I like my old RoboCop just fine, thank you!

Like Apple, Metro-Goldwyn-Mayer “upgraded” anyway.

Anyone who has read this blog before has probably noticed that I hate changes made just for the sake of change.

With iOS 7, once I got used to the changed appearance, I noticed that it offered certain benefits that iOS 6 didn’t.  The same thing applies to the new RoboCop.  It may not be the one that I remember, but for the most part it doesn’t feel like the changes were done just to change something (or as a cynical money grab, which is also popular with Hollywood).

You see, studio executives realize that if they reboot a popular franchise, name recognition is built-in, as is (they’d like to think) the audience.

But there’s a problem, especially when the film you’re rebooting a masterwork, which I honestly think the original film is.  It was a proudly R-rated stew of jingoism, bad taste and violence so extreme that the the original film was rated X before Paul Verhoeven cut it enough to warrant an R rating.

So when I learned of the reboot, directed by Brazilian director José Padilha (“Elite Squad”) was going to be rated PG-13, something stank.

The odor that aroused my attention must have been the laundry that’s sitting in the hamper next to my desk, because Padilha’s “RoboCop” differs from Verhoeven’s in ways that are mainly good, and the film was actually pretty enjoyable.

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An Asylum Used To House Insane People…

And as far as I am aware, they still do though it’s also the name of a studio that seems to operate on a similar principal.  What they are known for doing is taking a more established property, like “Battleship,” “Robocop” or “Pacific Rim” and regurgitating “American Warship (which was called ‘American Battleship’ before Universal’s lawyers got to them.  They needn’t have bothered)” “Android Cop” and “Atlantic Rim,” which the guys over at Half In The Bag have already taken a look at.

The quality won’t be as good as the films that “inspired” them, nor will the acting.  That being said, I have been watching some of their trailers, and have noticed that the grade of actor that appears in their productions seems to be increasing.

For instance, “Android Cop” stars Charles S. Dutton and Michael Jai White, two actors, particularly Dutton, who have been seen in significantly better work.

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