Superhero/Comic Based Films & Tv - Vol.2

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Re: Superhero/Comic Based Films & Tv - Vol.2

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Postby Chuckman » Thu Dec 06, 2018 5:52 pm

Money.

If it ain't broke, don't fix it.

At some point in their history, all the conservative, globe trotting juggernauts were risk-takers, and then they became mainstream and didn't fix what wasn't broken.

Even if it was cat shit, Beauty and the Beast brought in a massive ROI. So there will be more.
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Postby Gendo'sPapa » Thu Dec 06, 2018 6:49 pm

The last Marvel movie to have taken any general risks was Iron Man Three. It also is one of the few Marvel movies to have a bit of a real personality. It's of course hated by a majority of the fanbase because it doesn't pander to the fans.

Infinity War is 150 minutes of pure pandering. They took 10 different franchises, mixed them all together in the third entry of their biggest franchise, gave each character their own highlight reel and then ended the movie with a "tune in next year" ending. Then the end credits teaser basically states "if you don't see Captain Marvel you're gonna be so lost come part 2". Infinity War is a movie devoid of an ending - and a soul, the argument that Thanos is the main character is an empty defense because despite Josh Brolin doing what we can we know nothing of who he is an individual - because it doesn't have one. It's the first act of a larger story and the movie ends telling the audience you have to buy a ticket to two more movies. Not risky storytelling. But very smart commerce. Marvel has perfected the art of never ending hype and fans eat it up because it's their thing. And that's okay. But it's hypocrisy to pontificate Disney is all about money - they are - and then call what Marvel is doing "risky storytelling". It's not. It's pure commerce. And that's okay.
Now, I thought A Wrinkle in Time was garbage but I do give that movie the credit for casting an African American girl as the lead. It means little to me but means a lot to young girls who never see themselves in the lead role. Still a terrible movie. Can't dispute that.

P.S. Age of Ultron was a mess because the movie went into production with an approved ending where Tony Stark died to make up for the hubris of creating Ultron. It's a movie where Stark's arrogance that he knows best for every one leads to the creation of a world destroying AI and he makes penance by ... creating a sentient AI in Vision... but don't worry y'all cause this time it's good. Disney saw the Captain America movies were underperforming - they did fine but not $1 billion fine - so they forced drastic third act changes onto the movie so Robert Downey Jr could be used as a draw for Civil War. That's why Whedon had a major falling out with the studio. They hampered his movie late in the game so the next movie could make more money. It worked too. Fans say they hate Ultron but still turned out Civil War which did about $400 million more at the worldwide box office than Winter Solider.
Hell, some of the "deaths" that were originally set to be permanent in Infinity War have already been written out now that Disney+ is a thing. Example: Tom Hiddleston's death in IW was supposed to be official, he wanted out of Marvel since his star power has grown a great deal since 2011 and he's lost a few good gigs with top directors due to the scheduling necessities of having to be Thor's frenemy. Now he's renegotiated and has that high budget Disney+ series all about him. Only characters I see staying dead for good are Idris Elba - he took the first one strictly to work with Kenneth Branagh and haaaated being pulled back in every few years for a few months at a time to play a bit part and has wanted to be written out since - and maybe Dave Bautisita - and that's only because he's vocally been asking to be written out of Guardians 3 for the studios appeasing to the Alt-Right.

P.S.S. If anyone thinks I'm a comic book movie hater I'm not. I just like good movies and Black Panther aside I've found the recent Marvel movies, especially Infinity War, blow because in place of character & human stories they've been fully focused on bullshit McGuffins & expanding the universe solely as a neverending money generator in lieu of character story. The past few Marvel movies have been ALL PLOT. ZERO TO NO STORY. But, I did get to see a screening of Spider-Man: Into the Spider-Verse and while I'm not crazy with the millions of franchise possibilities it opens - Sony has surprisingly thought this through and could do very well for a long time as home to the Spider-People and this is the launch of ANOTHER Cinematic Universe - as a movie it is stellar and could likely go down on my favorite films of the year. Don't miss it. Frankly, I think the MCU movies would all be ten times better as animated movies and this one delivers as a fun time!

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Postby Chuckman » Thu Dec 06, 2018 8:04 pm

You're looking at it from the wrong direction. There is no comparison between Iron Man 3 and Infinity War.

Iron Man 3 is a character study, it's essentially a redo of Iron Man 2 with an actual character arc.

Infinity War is mythology. It's not a story of quite moments and reflective characters. It's bombast, it's more ragnarok than Ragnarok. Moments like a dying Heimdall sending the Hulk to earth to warn of the coming of Thanos and King Thor forging a kingly weapon and the last stand of Wakanda. The two movies together will form an epic (in the classical sense of the word) story of passing the torch from hero to hero. It represents a form of filmmaking that has largely been abandoned in modern times despite the digital toy box filmmakers have available to them now. A huge spectacle for the sake of spectacle. Pure melodrama that exists for its own sake.

If you take a concept like Infinity War and try to put ~meaning~ into it you get Batman bin Suparman, Dawn of Punching.

Age of Ultron was a mess because the movie went into production with an approved ending where Tony Stark died to make up for the hubris of creating Ultron. It's a movie where Stark's arrogance that he knows best for every one leads to the creation of a world destroying AI and he makes penance by ... creating a sentient AI in Vision... but don't worry y'all cause this time it's good. Disney saw the Captain America movies were underperforming - they did fine but not $1 billion fine - so they forced drastic third act changes onto the movie so Robert Downey Jr could be used as a draw for Civil War. That's why Whedon had a major falling out with the studio.


I'm glad they changed it. Civil War was a fantastic movie and no amount of Tony Stark dying could make up for Whedon's waif fu "I'm a monster because my uterus doesn't work" horseshit and TV style directing. Joss Whendon is obsolete.
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Postby Chuckman » Fri Dec 07, 2018 9:08 am

https://youtu.be/hA6hldpSTF8

༼ つ ◕_◕ ༽つ WE ARE IN THE ENDGAME NOW ༼ つ ◕_◕ ༽つ
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Postby DarkBluePhoenix » Fri Dec 07, 2018 10:53 am

^ They're releasing two movies 48 days apart? Seriously? Also, that's one hell of a trailer, and title. Though I guess given the plot, they'd need to make chess reference.

And it's ironic (to me) that ST:VOY's finale was called Endgame and involved time travel to correct the past for a better future.

El Squibbonator wrote:The sad thing is, Disney as a company was founded on risk-taking endeavors. Snow White? Pinocchio? Fantasia? Those were all risky movies by the standards of their time. Disney used to be all about taking risks and doing things no other movie studio had done before. What happened to them? How did they lose their mojo?

They remember that they released Song of the South and are afraid to make the same mistake :rolleyes:

But in all seriousness, they focus on the younger demographic where the good guys always win and complex themes are toned down for accessibility. In addition to that Disney wants to make fuckloads of money. To do that they stick with a formula that works, that makes money, a cookie cutter format as many people call it. They are fun to watch, but are all basically the same, with exceptions of course.

Chuckman wrote:I'm glad they changed it. Civil War was a fantastic movie and no amount of Tony Stark dying could make up for Whedon's waif fu "I'm a monster because my uterus doesn't work" horseshit and TV style directing. Joss Whendon is obsolete.

Yeah, that would have been really stupid if them to do... but Chuckman, what's the "waf fu" uterus thing you're talking about, I'm a bit lost :???:
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Postby El Squibbonator » Fri Dec 07, 2018 11:33 am

It's a truism about female movie character-- that they can be a mother OR a competent heroine, but never both at the same time. Joss Whedon is especially guilty of this.
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Postby Chuckman » Fri Dec 07, 2018 1:01 pm

View Original PostDarkBluePhoenix wrote:
But in all seriousness, they focus on the younger demographic where the good guys always win and complex themes are toned down for accessibility. In addition to that Disney wants to make fuckloads of money. To do that they stick with a formula that works, that makes money, a cookie cutter format as many people call it. They are fun to watch, but are all basically the same, with exceptions of course.


Iron Man 3, Civil War, and Black Panther definitely have heavier themes and I'd argue Infinity War does, too. It simply can't be judged for its merits as a character study because it's meaningless to criticize something for not being something else.


Yeah, that would have been really stupid if them to do... but Chuckman, what's the "waf fu" uterus thing you're talking about, I'm a bit lost :???:


In AoU, part of the Hulk/Widow bonding was a touching scene where she mentions that she can't have children. Because being taken in and trained from youth to be a killer and having murders on her conscience isn't adequate, in order to be truly monstrous a woman has to be unable to bear children.

Whedon advanced feminism in media something like 20 years ago but the world has moved far past him and he hasn't evolved. His rough tough girl Buffy/River Tam feminism is outmoded.

A truly feminist Black Widow in that scene would see herself as a monster because she has done monstrous things, not because she has some defect that is intrinsically tied to her womanhood (and, additionally, that aspect of womanhood that men are most interested in dominating, controlling, and defining women by).

It's even more jarring when watching AoU beside the Captain America films where her gender is essentially incidental to the character and they don't have any scenes fetishizing her as a bondgirlesque slutmaster spy (ala Avengers) or centralizing her character around her womanhood (AoU) and she's just competent at her job and a platonic friend to the protagonist. Whedon's approach to the character is male gaze masquerading as feminism. At least the scenes in Iron Man 2 that were all about ScarJo's ass are honest about what they are.

I find it irritating that all of her other movie appearances are more rounded (or, at least, don't pretend to be rounded) and in Whedon's movies she's there to look hot, wear lingerie, display her feet, demand sympathy in accordance with his fetishes, get kidnapped by the bad guy like an 80's cartoon girl sidekick, and I guess run around shooting at aliens with a pair of freaking glocks. Whedon's movies aggressively minimize her to the point where it's astoundingly blatant that she's there to be objectified. The movies almost seem annoyed that they have to find something for her to do during the fight scenes.

Plus the whole Hulk/Natasha thing is just oozing rape fantasy vibes, especially in the first Avengers movie, even without thatgif.gif.
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Postby movieartman » Fri Dec 07, 2018 2:11 pm

Not much to say about the Avengers trailer, looks great.

On Captain Marvel.
Shocked how good the mask & mohawk look in live action as I was never a fan of how it looked in the comics.
Very pleased with the display of her powers & combat style, reminded me of this Alex Ross Space Ghost cover.
SPOILER: Show
Image

Glad we are finally getting what appears to be a mostly serious toned cosmic film. (besides Infinity war)
Music is great.

View Original PostChuckman wrote:I don't care if the characters are all going to come back later, watching the movie made me emotional when I was watching it, in the moment. If it does that, it's a success. It's all fake, so all the yammering about how they'll come back is essentially complaining that it's just a story.

Seconded.

View Original PostChuckman wrote:I'm glad they changed it. Civil War was a fantastic movie and no amount of Tony Stark dying could make up for Whedon's waif fu "I'm a monster because my uterus doesn't work" horseshit and TV style directing. Joss Whendon is obsolete.

View Original PostChuckman wrote:In AoU, part of the Hulk/Widow bonding was a touching scene where she mentions that she can't have children. Because being taken in and trained from youth to be a killer and having murders on her conscience isn't adequate, in order to be truly monstrous a woman has to be unable to bear children.

A truly feminist Black Widow in that scene would see herself as a monster because she has done monstrous things, not because she has some defect that is intrinsically tied to her womanhood (and, additionally, that aspect of womanhood that men are most interested in dominating, controlling, and defining women by).

(I agree civil war was great & tony didn't need to die in aou)
Being molded into a assassin WAS the reason she was calling herself a monster. Infertility was just a shared loss her & Banner both suffered as a result of their transformations. She only mentioned it because Banner stated his inability to have kids FIRST! and the only reason she was notably emotional about it in that moment was because Wanda dredged up the memories to the forefront of her mind.

View Original PostChuckman wrote:1 - bondgirlesque slutmaster spy
2 - Whedon's approach to the character is male gaze masquerading as feminism. At least the scenes in Iron Man 2 that were all about ScarJo's ass are honest about what they are.
3 - get kidnapped by the bad guy like an 80's cartoon girl sidekick
4 - The movies almost seem annoyed that they have to find something for her to do during the fight scenes.

1 - That is what the character has always been and what most people want her to be and there is nothing wrong with that archetype.
2 - They are not mutually exclusive. A woman can be blatantly sexually attractive & competent & inspiring at the exact same time. Also Widow's fight scene was one of the absolutely greatest scenes in that entire film so don't try and sell this sexy & competence can not coexist crap.
3 - That part was a result of Scar being pregnant during filming.
4 - Bullshit, her hijacking a Chitauri ship to get to the top of Stark Tower in the 1st Avengers was freaking badass, I agree her only using Glock initially looked weak but she quickly switched to using a Chitauri rifle. Also her interrogation of Loki was universally praised.

Also the same platonic style relationship she had with Steve in Winter Solider she also had with Clint in both Avengers films.
Last edited by movieartman on Fri Dec 07, 2018 2:40 pm, edited 5 times in total.

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Postby FreakyFilmFan4ever » Fri Dec 07, 2018 2:21 pm

Whedon will always be the King of Mediocrity. You will never find a nerd franchise more middle-of-the-road and mediocre than anything that he's had any part in. The only of his TV series that I really liked was Dollhouse, and that's probably because it was the first of his that I'd seen. The other TV series of his that I saw after that was just the same sack of tropes repeated.

Dr. Horrible was also pretty good, but my favorite Nathan Fillion role will always be in James Gunn's Slither.

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Postby Chuckman » Fri Dec 07, 2018 2:50 pm

View Original Postmovieartman wrote:Being molded into a assassin WAS the reason she was calling herself a monster. Infertility was just a shared loss her & Banner both suffered as a result of their transformations. She only mentioned it because Banner stated his inability to have kids FIRST! and the only reason she was notably emotional about it in that moment was because Wanda dredged up the memories to the forefront of her mind.


She mentioned it because it was written that way. It's so jarring and out of place that it felt forced by the writer to cater to his own preferences. He started fetishizing her from the get-go. Her first appearance in the movie is in torn clothes, barefoot, and tied to a chair.

1 - That is what the character has always been and what most people want her to be and there is nothing wrong with that archetype.


Yeah, actually, there is. This is the new millennium and we can have female spy characters who are still sexy without being reduced to their tits. There are plenty of other movies like that and it's been done and done and done and done it's boring. There's more for a female character in a superhero movie to do than be written into situations that revolve around her boobs.

She doesn't have to be asexual. Wonder Woman is a movie about a female superhero in a skimpy outfit who is portrayed by a statuesque model with a romance subplot that touches heavily on the sexual awakening of a virgin that could be horribly pandering in the wrong hands, yet it succeeds in depicting the character with minimal male gaze.

Frankly, this sounds like the kind of complaints people have about Iron Man 3, that the villain is relevant to modern times isn't a horrifying racist stereotype. Catsuit McTits superspies don't belong in modern media anymore than Faux Manchu does, unless it's ironic. Whedon's Black Widow feels like she got lost on her way to the bizzaro universe Austin Powers version of Avengers.
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Postby FreakyFilmFan4ever » Fri Dec 07, 2018 3:40 pm

As far as the Male Gaze goes, the superhero film that best handles the lady hero in mostly skimpy outfits is Hideaki Anno's Cutie Honey. (Also, no one can't convince me that Cutie Honey isn't a landmark in cinematic achievements. Because it totally is!) But yes, I 100% agree with Chuckman on this. A lot of the older tropes are so steeped in their original contexts (and at times even their toxic personalities) that to rehash them in modern contexts comes off as sexist and just plain creepy or emotionally unbalanced in the part of the writer. Just compare how Patty Jenkins handled Wonder Woman compared to Zack Whedon. Joss Snyder just seems to fumble the ball and completely lose focus of the character compared to Patty Jenkins.

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Postby movieartman » Fri Dec 07, 2018 4:57 pm

View Original PostChuckman wrote:He started fetishizing her from the get-go. Her first appearance in the movie is in torn clothes, barefoot, and tied to a chair.

That was her start in the 1st film, her opening in Aou was kicking Hydra ass with the rest of the team.
And that 1st opening touched on both her Russian & dancing history.

This is the new millennium and we can have female spy characters who are still sexy without being reduced to their tits.

They never reduced her to her tits, MAYBE the changing in the car sequence but that was literally a matter of seconds. Your basically saying male viewers don't have a right to be pandered to for 5 seconds out of a 2 hour film?
Giving her body VERY brief moments of focus is not reducing her to just her body, it's merely displaying that single aspect of her because we don't get to see it the rest of the film. It's just the cherry on top of the character while your claiming it's replacing her entirely which is absurd.

Frankly, this sounds like the kind of complaints people have about Iron Man 3, that the villain is relevant to modern times isn't a horrifying racist stereotype.

For the record I really like Iron Man 3 & found the twist a missed opportunity but acceptable. However...

1 - There have been plenty of versions of the Mandarin that are non racist & who could have been adapted onto film, read Iron Man Haunted in particular (they successfully gave The Mandarin a "altruistic" goal akin to Thanos in Infinity War).

2 - Except for the derogatory way they are drawn & written to sound at times (and having white actors play them even into the late 60s), Fu Manchu was actually a villainous stereotype based on fearful respect. It was born of Western shock at Japan kicking utter ass in the Russo Japanese War, it was a acknowledgement that Japan was becoming a worthy global power to be feared.
And Manchu had a tragic sympathetic origin where he was a brilliant doctor whose family was killed in bombings.
A truly racist hateful stereotype would be lying and claiming Asians were sub human incompetents who have 100% unsympathetic motives, something more akin to WW2 propaganda art.

These = Bad...
SPOILER: Show
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These = Badass...
SPOILER: Show
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No one living today is going to believe real Asians are evil sorcerers, so the negative insinuations of the stereotype have zero power today. The modern versions of the characters are nothing more conceptually offensive then a version of Doctor Doom who is Asian.

Let me ask you this, was Jet Li's evil Emperor in The Mummy 3 racist?

View Original PostFreakyFilmFan4ever wrote:Just compare how Patty Jenkins handled Wonder Woman compared to Zack Whedon. Joss Snyder just seems to fumble the ball and completely lose focus of the character compared to Patty Jenkins.

Their only notably fumble with Diana is having the Flash fall on her boobs. It worked acceptably with Banner/Widow, it did not work in Justice League, the bizarre way it was filmed full body from the side was unbearably awkward looking, like something out of SNL.

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Postby El Squibbonator » Fri Dec 07, 2018 9:15 pm

View Original Postmovieartman wrote:Let me ask you this, was Jet Li's evil Emperor in The Mummy 3 racist?


No. Because in that movie, Chinese people are present among both the heroes and the villains. Nowhere is it stated or even suggested that the villain is evil because of his ethnicity.
The Mandarin is different. Him being an evil Chinese person is the entire point of his character.
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Postby Chuckman » Fri Dec 07, 2018 10:16 pm

There is pretty much no way to make the Mandarin not racist in a movie if he is brought forth from the comics as a Chinese mystic who fights Iron Man with kung fu and rings from magic dragon aliens that wear diapers. Even if you take a modern businessman approach, he's still a yellow peril villain, just update to reflect modern tensions between America and the East. If you dress him up in armor that covers his face or whatever like in that image movieartman posted, then he just becomes a generic armor dude. Why bother calling him the Mandarin then?

Taking this uninspired racist character (let's face it: the Mandarin would just be Fu Manchu if he was public domain, just like Dracula is part of the Marvel Universe, as well as a version of Conan's lost hyborian age, Kulan Gath, and Red Sonja) and turning him into a mishmash of racist stereotypes created as a boogeyman by an American business man to sell weapons and cover up industrial accidents caused by reckless medical research is a stroke of genius- and casting Ben Kingsley to play the actor who plays the Mandarin as a foppish British buffoon named Trevor is one of the most inspired things in the Marvel Cinematic Universe. "The Mandarin" illustrates what the Vulture from Homecoming could have been if they hadn't wussed out on the disaffected working man themes for fear of offending the audience.

Trevor the Mandarin captures the true trangressive spirit of Marvel Comics, where people get addicted to drugs, a hero becomes an alcoholic, and the kidnapping of the girlfriend by the archvillain actually ends in her death, better than simply translating an old and thoroughly problematic character to the screen ever could.
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Postby movieartman » Wed Dec 12, 2018 9:34 pm

Matt Reeves's revised The Batman script is set to be turned in before the end of the year.
“I’ve talked about making it a very point of view noir-driven definitive Batman story in which he is investigating a particular case and that takes us out into the world of Gotham,” Reeves added. “I went on a deep dive again revisiting all my favorite comics. Those all inform by osmosis. There’s no continuation of the Nolan films. It’s very much trying to find a way to do this as something that for me is going to be definitively Batman and new and cool.”

James Gunn produced Superman origin horror movie Brightburn - https://www.youtube.com/watch?v=g6eB0JT1DI4

Aquaman current sets at 75% on RT.
Some of the reviews were utterly infuriating. I recall one reviewer saying "wan has no taste" and "wan having no sense of nuance", the vast amount of praise his Conjuring films have gotten is entirely because of how nuanced they are for god's sake.
Same reviewer talking vicious trash about Black Manta "one can just imagine Wan laughing with glee, exclaiming, “It’s just as f*cking dumb as the comics! Look how comics-accurate it is!”

View Original PostEl Squibbonator wrote:No. Because in that movie, Chinese people are present among both the heroes and the villains. Nowhere is it stated or even suggested that the villain is evil because of his ethnicity.
The Mandarin is different. Him being an evil Chinese person is the entire point of his character.

I think the message was communist = evil more then it was Asian genetics = evil with the old school versions of the Mandarin.
Even with Fu Manchu, his sympathetic back story kinda dispels that message to a extent as it's made clear he was not born evil.

Is it a demonization of Asian mysticism, sure but it's a demonization of something that isn't real, so I don't see the problem, like I said no one is going to believe random Asians have evil magic powers.

The 2007 Invincible Iron Man animated movie (fairy meh overall) had a really cool version of the Mandarin similar to Jet Li's Mummy 3 villain where he is a full on extremely powerful ghost of a past Chinese Emperor. (also Tony had a asian ally & love interest in that film)
SPOILER: Show
Image


If you dress him up in armor that covers his face or whatever like in that image movieartman posted, then he just becomes a generic armor dude. Why bother calling him the Mandarin then?

Putting him in armor like that would not be my first choice, however the benefit of it is that it retains his cool powers & mythology while minimizing risk of the derogatory way the Mandarin's physical appearance has been drawn in the past.

Taking this uninspired racist character (let's face it: the Mandarin would just be Fu Manchu if he was public domain, just like Dracula is part of the Marvel Universe, as well as a version of Conan's lost hyborian age, Kulan Gath, and Red Sonja) and turning him into a mishmash of racist stereotypes created as a boogeyman by an American business man to sell weapons and cover up industrial accidents caused by reckless medical research is a stroke of genius- and casting Ben Kingsley to play the actor who plays the Mandarin as a foppish British buffoon named Trevor is one of the most inspired things in the Marvel Cinematic Universe. "The Mandarin" illustrates what the Vulture from Homecoming could have been if they hadn't wussed out on the disaffected working man themes for fear of offending the audience.

There are 2 problems with this course of action that result in it feeling very anti climatic. (and again I say this as someone who really likes Iron Man 3, I re watched it for the 1st time early this year and was shocked how much I still liked it)
1.) Before the reveal Trevor's Mandarin speeches are genuinely menacing & unnerving & we are left craving more of such.
2.) We already had evil white businessman villains in the previous 2 films and would have them again in Ant Man.

The solution I would have gone with is have Trevor be less of a buffoon & be obsessed with the character he was playing and near the end expose himself with Extremis to bring his villain truly to life & he channels the extremis powers through the rings by sheer force of will.

Also, Rebecca Hall's Maya Hansen was meant to the be the true villain behind the scenes but they switched it to Killain to sell more toys.

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Re: Superhero/Comic Based Films & Tv - Vol.2

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Postby Chuckman » Wed Dec 12, 2018 10:19 pm

The anticlimax is the point, it's supposed to feel anticlimactic. It's a twist. The actual climax comes afterwards.

I know they switched things around and made Killian the villain and not the scientist lady because somebody in the marketing department thought that girl toys don't sell, but regardless of the reason it was ultimately the right creative decision. The Trevor thing would lose all of its punch if it turns out that a jealous woman is behind it all. That would just trash the entire movie. Iron Man 3 works because they took the alleged plot of Iron Man 2 and made an actual story out of it, as opposed to a 90 minute teaser for the Avengers.

Killian mirrors Tony. The plant lady couldn't mirror Tony. The Mandarin couldn't mirror Tony. The movie would just turn into action schlock without a point if you made those changes.

Whether it's slavishly adhering to the comics or changing things for the sake of changing them, any decision in these adaptations must serve an artistic purpose or it starts sucking the energy out of the project.
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Re: Superhero/Comic Based Films & Tv - Vol.2

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Postby EvangelionFan » Tue Dec 25, 2018 10:05 pm

So has anyone seen Aquaman?

I saw it this morning on boxing day, as that's when big holiday movies tend to start showing in Australia. And it's a good-to-average movie, though admittedly a bit of a by-the-numbers hero's quest movie. I mostly saw this one for the actors/actresses who are in it as well as to see how the visual effects for Atlantis worked out, and I believe the acting held up most of the way through, and Atlantis looked and sounded pretty darn good. I guess though it gets a little dry in some parts, particularly in the second half, where Aquaman's arc seemed to become a bit muted against the plotline. And perhaps I ought to say the same about Mera, who is a welcome presence in this movie and plays along/against Aquaman particularly well through most of the movie, though twenty minutes towards the end they both seemed to become a bit bland. But maybe that's the length of the movie more than anything else.

I thought the strongest parts of the movie included the opening sequence at the lighthouse (which I particularly appreciated, as Temura Morrison and Nicole Kidman do a good part together, and as someone who grew up with Star Wars: Bounty Hunter on the PS2 I am happy to see him in another big movie like this after all these years), the short flashback sequences in the first hour of the film (there are several of them, though they're appropriate and enjoyable), the arrival sequence in Atlantis, and the Sicily sequence (I should say a few things about this in light of the ups/downs nature of that action sequence, though as I'd be going into spoilers, I'm going to leave it untouched for now).

And so I had a good experience with this movie. I might even want to watch it again several years down the line. I am particularly happy it didn't have anything to do with the other DC movies that they've put out of late, as apart from a mention to the villain in Justice League the other heroes neither appear nor are mentioned, and that means Aquaman is better able to stand on its own, quite well some moments, but blandly in some others. Obviously the quality of most of the previous DC movies means that there is still a lot going against Aquaman, but it definitely got through the Hollywood machine better than Solo: A Star Wars Story did. I don't know if Aquaman is better than Justice League - as I've not seen that one - though I think it's a safe bet that it is.

I think this one is worth seeing - and I hope some of you do see it while it's in theaters, as home TVs probably aren't going to provide the screen space needed to appreciate the visual detail of Atlantis and the other underwater set pieces.

SPOILER: Show
That, and Amber Heard is very pretty in this. :love:
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Re: Superhero/Comic Based Films & Tv - Vol.2

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Postby Chuckman » Sun Dec 30, 2018 11:38 pm

I saw Aquaman tonight.

It’s a very confusing film. I don’t mean confusing in the plot, the movie literally tells you that it’s going to be a King Arthur pastiche in the first ten minutes.

It’s like the director had to go do something else and they let someone else finish up five minute intervals of the movie at different points through the run time. Some of it is just weirdly flat next to parts that are weirdly great.

This is the first movie from the DC side to really embrace the kinetic energy and vibrant colors of comic books and really do something with it. It resists the temptation to out everyone in black rubber and puts Amber Heard in a dress made out of sea creatures. It makes the Aquaman costume actually look good on screen. Black Manta is fantastic.

It falls a little short of true greatness because Arthur’s character is inconsistent. They were going for “dumb jock hides hidden depths” but stumble a little and his sudden smartness feels forced. Also there’s just some weird choices like a brief blast of a weird cover of Africa by Toto, and a romance arc that’s essentially squeezed into one scene with a love song. It looks like a montage but it isn’t, it takes place in like ten minutes.

Also, Heard is wildly inconsistent. She goes from on point to wooden and back again, but her character is the highlight of this movie. The film contrives to put her in real clothes as much as possible and not her absurd kidney smashing titty wetsuit (which would look 1,000 times better if it went up to her neck like .*every other Atlantan garment in the movie.* There’s even another female character in a similar suit and hers doesn’t have a cutout) and I really like that they never once damaseled her, and the initiative in the romance arc is almost entirely her. It’s a breath of fresh air that they didn’t go for the obvious “king claims his bride” kiss and developed them by the end of the movie to come off as people who might actually form a lasting partnership instead of people who are going to fuck because the almost got killed together.

Also, kudos to the end credits scene for keeping itself internally focused instead of setting up yet another pivot in the “DCCU storyline” or whatever. No “oops it’s Darkseid oh wait we know his movie will bomb here’s a geek bait villain meeting with the worst lex luthor ever)

Bottom line: Worth watching once, very pretty, but I won’t be seeing this one five times in the theater.

Edit:


As a postscript, if that’s all Nicole Kidman in that wetsuit and not padding keyboard me just say damn gurl, tell me your secret.
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Re: Superhero/Comic Based Films & Tv - Vol.2

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Postby movieartman » Tue Jan 08, 2019 5:09 am

Captain Marvel special look - https://www.youtube.com/watch?v=GX33bIOA5aA
Like how the Skrull transformation looks, kinda body horror-ish. Like the music.

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Re: Superhero/Comic Based Films & Tv - Vol.2

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Postby Chuckman » Fri Jan 18, 2019 4:08 pm

I just got back from Glass.

I don't expect this movie to have widespread appeal, but it's a fitting conclusion to the Unbreakable/Split/Glass trilogy. It ends on a masterfully executed twist, and it *concludes*. Does it suggest there could be more stories in the same world? Yes, but it's thematically obligated to. It takes a story that begins with Elijah and the train wreck in Unbreakable and finishes it. Collectively I name these three films Shyamalan's best work.

I read some early reviews that criticized various aspects of it but those critiques all appeared unfounded to me, another example of critics lining up to unleash all the snark they wrote before they even saw the film. Yes, yes, film critics are tired of superheroes. In some sense this film is a rebuke of self important critics trying to rescue their precious medium from the vulgar masses, which is probably why so many of the critics eloquently missed the point.

MacAvoy is phenomenal and steals the show, and as with Unbreakable, Jackson's portrayal brings gravitas to a frankly pretty ridiculous character.

Unbreakable/Split/Glass are the only movies that have made a legitimate attempt to fulfill the premise, "what if superheroes were real people?" illustrating how self-serving and absurd the black rubber and rain 'realistic' superhero flicks are.

There's probably going to be a lot of disappointed filmgoers who bank on it moving in another direction or simply go in expecting an action film from the trailers, but it remains true to itself rather than pander.

Edit: this movie also tops several of his other efforts because he manages to land the message without it being obscure and muddled (Signs) or nonsensical (Lady in the Water) or self serving or delivered directly to the audience.
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