“BREAKING UP IS HARD TO DO: Buffy and Riley”

Below is an article I have written about the breakup of Buffy Summers and Riley Finn in the Season Five episode of “BUFFY THE VAMPIRE SLAYER” called, (5.10) “Into the Woods”

“BREAKING UP IS HARD TO DO: BUFFY AND RILEY”

I have read many opinions regarding the breakup of vampire slayer Buffy Summers and her Season Four/Season Five boyfriend, Riley Finn on many discussion forums, blogs and message boards about ”BUFFY THE VAMPIRE SLAYER”. The prevailing viewpoint seemed to be that Riley had ruined the relationship with his behavior and attitude in Season Five. I might be one of the few fans of the show who might harbor another opinion. Then again, I might not. Let me explain.

At the end of Season Three, Buffy’s vampire paramour – Angel – had decided it would be safer for her if he left Sunnydale and her for good. Following Buffy’s graduation from high school, she enrolled in the University of California at Sunnydale. And not long after starting school, she met Riley Finn inside a student bookstore for the first time. As it turned out, Riley was not only a Teacher’s Assistant for one of the university’s instructors (Maggie Walsh), he was also an Army officer and demon hunter for a government-sponsored organization called ’The Initiative’. And unbeknownst to both Buffy and Riley, his mentor Dr. Walsh had been feeding him drugs to enhance his physical prowess. Not only did the couple spend most of Season Four coming to terms with Riley’s participation in the Initiative, but also dealing with Maggie Walsh’s other experiment – namely a human/demon cyborg hybrid named Adam. But after their adventures with the Initiative, Adam and other demons; Riley resigned from the Army and became part of the Scoobies.

But all was not as well as it seemed by the beginning of Season Five for Buffy and Riley. Buffy began sneaking away from Riley at nights to engage in her usual Slayer activities. She suddenly found herself the older sister of a fourteen year-old adolescent girl named Dawn, who was in reality a mystical object known as the Key transformed into human for by a group of monks and sent to Buffy from protection from a hell god named Glory. The drugs that Maggie Walsh had fed into Riley began having a deteriorating effect upon his health. Riley had the drugs removed from him via an operation by a former Initiative doctor and became slightly weaker. Buffy discovered that her mother, Joyce Summers, was diagnosed with a brain tumor. Worst of all, Riley began harboring suspicions that the blond vampire slayer did not really love him. It finally ended for Buffy and Riley in (5.10) “Into the Woods”when two things happened: 1) Riley was approached by his old friend, Graham Miller, to consider rejoining the Army and a new version of the Initiative; and 2) Buffy learned via chipped vampire Spike that Riley was seeing vampire whores who suck his blood for money. After a bitter fight between the two, Riley left Buffy and Sunnydale for good.

Ever since ”Into the Woods”, many ”BUFFY” fans have placed either most or all of the blame of the couple’s breakup upon Riley’s shoulders. First of all, many have accused his character of over-the-top machismo. They claimed that Riley could not handle being physically weaker than Buffy after his operation in (5.04) ”Out of My Mind”. They used his actions with the vampire whores as example that Riley tried to be “monstrous” enough to be a worthy mate for Buffy . . . and fell short.

I must admit that I found the above claims about Riley very hard to accept. Granted, he possessed a black-and-white view of the world before meeting Buffy. And this conservative viewpoint led him to join the Army, allow Maggie Walsh to recruit him into the Initiative and help the latter capture Oz in (4.19) “New Moon Rising”, despite Buffy’s protests. But Riley made bigger mistakes. After resigning his Army commission, Riley should have taken the time to make a life for himself outside of Buffy. He could have continued his studies at UC Sunnydale or try to become a teacher. Perhaps one of the reasons he failed to pursue another profession was that the only life he really wanted was in the military. I see nothing wrong with that. As long as Riley went through life with his eyes opened and without the naivety that Maggie Walsh had exploited in the past . . . he could be on the right track.

But Riley tried to make his life all about Buffy (just as Spike would attempt to do so between late Season Five and Season Seven) and it was another mistake on his part. Even worse, he failed to inform Buffy of his true feelings about everything – his lack of a direction in his life, the vampire whores and Buffy’s growing emotional distance – until it was too late. Quite simply, Riley made three major mistakes. He failed to make a new life for himself outside of Buffy, he cavorted with vampire whores in order to explore his inner darkness and most importantly, he failed to communicate with Buffy.

On the other hand, Buffy also contributed to her breakup with Riley. I suspect that she had been using Riley as rebound from Day One of their relationship. She was not only rebounding from Angel’s departure, but also from the idea of a relationship with a supernatural being. To her, Riley was her ”Joe Normal”. And this was a mistake. There is a chance that some part of Buffy had deep feelings for him, but I doubt that it was enough for a long term relationship.

But the one thing that really annoyed me was Buffy’s habit of treating Riley like fine china, following the operation to remove his physical enhancements in “Out of My Mind”. So what if he had lost some of his strength? He was still a competent demon hunter. He certainly proved that in (5.07) “Fool For Love”. Instead, Buffy treated him like a damsel-in-distress by insisting that the Scoobies help him hunt down the vampire that attacked her. In other words, she became ridiculously macho when it came to Riley. She failed to remember that Riley was an experienced demon hunter, who could help her deal with vampires, demons, etc. a little more effectively than the other Scoobies. It almost seemed as if Buffy was treating Riley with a patriarchal air. And that was a major mistake for her to make with a strong-willed personality like Riley. Another major mistake that Buffy made was like Riley, she failed to communicate with her. Many fans pointed out that Buffy was too busy dealing with Joyce’s illness and the appearance of a new sister to deal with Riley’s demons. But if Buffy could confide with Spike about Joyce’s illness in (5.08) “Shadow”, why did she wait so long to do the same with Riley? Why did she confide in Spike first?

I suspect that in the end, the real problem with Buffy and Riley was that emotionally, they were too similar to each other. Each, in their own way, possessed a . . . reserved, yet occasionally aggressive personality that made them too similar. And instead of creating a balance between two people, it created conflict in the end. Neither of them were really honest with each other. Both had a problem with communicating with each other. Is it any wonder that the relationship failed in the end?

“X-MEN: APOCALYPSE” (2016) Review

“X-MEN: APOCALYPSE” (2016) Review

Two years following the success of 2014’s “X-MEN: DAYS OF FUTURE PAST”, Marvel Entertainment released a new “X-MEN” film set ten years after the previous one. The movie proved to be the fourth one directed by Bryan Singer.

“X-MEN: APOCALYPSE” began in ancient Egypt, where the world’s first mutant, a powerful individual named En Sabah Nur, ruled by by transferring his mind into new bodies. Unfortunately, a group of former worshipprs betrayed En Sabah Nur aka “Apocalypse” by entombing him alive. They also killed his four lieutenants, the “Four Horsemen of the Apocalypse”, who tried to protect him. The movie jumped to 1983 Egypt where C.I.A. Agent Moira MacTaggert (last seen in 2011’s “X-MEN: FIRST CLASS”) has been investigating a cult in Egypt that worships En Sabah Nur. Her accidental exposure his tomb to sunlight awakened the ancient mutant and produced a shock wave around the globe. Following his awakening, En Sabah Nur set out to recruit four mutants as his new “Four Horsemen”:

*Ororo Munroe aka “Storm” – an orphan and pickpocket from the streets of Cairo, who is able to control the weather

*Warren Worthington III aka “Angel” – a mutant with feathered wings on his back, who has resorted to participating in underground fight clubs in Berlin

*Psylocke – an enforcer for the black marketeer mutant Caliban, who is not only telepathic and telekinetic, but can also produce a purple-colored psychic energy

*Erik Lehnsherr aka “Magneto” – a Holocaust survivor and former friend of Charles Xavier, who has the ability to manipulate metal and control magnetic fields, and who is recently grieving over the accidental deaths of his wife and daughter by the Polish police

Apocalypse’s shock wave also caused Jean Grey, an adolescent student and mutant at Xavier’s School for Gifted Youngsters to have a nightmare and momentarily lose control of her powers. When Charles Xavier attempted to investigate the power source he discovered that Moira was involved. Although her previous memories of them together were erased, Xavier meets with her to discuss the legend of En Sabah Nur. But when they become aware of the ancient mutant’s plans to bring about the apocalypse; Xavier and Moira recruit fellow mutants like Raven aka “Mystique”, Hank McCoy aka “Beast”, Alex Summers aka “Havok”, and Peter Maximoff aka “Quicksilver” to stop Apocalypse’s plans. Xavier students like Jean Grey, Scott Summers aka “Cyclops” (Alex’s nephew) and Kurt Wagner aka “Nightcrawler” also join the campaign to stop En Sabah Nur.

Let me be frank. “X-MEN: APOCALYPSE” was not well received by the critics and many filmgoers. I am not going to explain why they felt this way about the movie. Needless to say, I do not agree with this pervading view. I am not saying that “X-MEN: APOCALYPSE” was a great film. It was not. I believe the movie had some problems.

One of those problems is that some of the cast members were obviously too young for their roles. This certainly seemed to be the case for James McAvoy Michael Fassbender and Rose Byrne, who portrayed Charles Xavier, Magneto and Moira McTaggart. All three are in their mid-to-late 30s and portrayed characters who were in their early 50s (late 40s for Moira, I suspect) . . . with no make-up to convey their characters’ aging. Both Jennifer Lawrence and Nicholas Hoult portrayed Mystique and Hank McCoy, who were slightly younger than Xavier and Magneto. But “X-MEN: FIRST CLASS” gave a good excuse for their slow aging . . . Mystique’s blood. Another cast member who portrayed a character much older than himself (without makeup) is Lucas Till, who is at least 25 or 26 years old, reprising his role as the late 30s to early 40s Alex Summers. And finally, we have Josh Helman, who is barely 30 years old, who reprised his role as William Stryker, who must have been around the same age as Xavier and Magneto. Does Singer have something against aging in his “X-MEN” films? And if he wanted to maintain the same cast, could he have at least consider using aging makeup for at least five members of the cast?

Two, what was the point in including both Stryker and Wolverine in this movie? Why? They were not essential to the plot. Was it really necessary for Singer to convey that Stryker had ended up giving Wolverine adamantium after all? Despite the time change in “DAYS OF FUTURE PAST”? What was the point? Could we at least have one “X-MEN” film in which Hugh Jackman does not appear? I also see that Singer, along with screenwriter Simon Kinberg, decided to include Stryker in this tale as a plot device to delay Hank, Raven, Peter, and Moira from reaching Cairo. Pointless. It was the most pointless moment in this movie. Finally, I had a problem with the “Four Horsemen”. Aside from Magneto, the other three were barely used. What was the point in showing how they were recruited by En Sabah Nur, when Oscar Isaac and Michael Fassbender seemed to be the only ones in scenes featuring the ancient mutant and his “Horsemen”, who had the most lines. It is bad enough that once again, Singer indulged in his penchant for ignoring minority characters like Storm and Psylocke. Then he includes Angel into this movie – who was shown to be younger than Storm, Scott and Jean in 2006’s “X-MEN: THE LAST STAND” – and barely give the latter any lines.

And yet . . . I still liked “X-MEN: APOCALYPSE”. In fact, I liked it more than I did “X-MEN: DAYS OF FUTURE PAST”. The 2016 movie had its problems, but it never seemed racked with so many plot holes like the 2014 movie did. Without the cloud of time travel hovering over the movie, the writing for “APOCALPYSE” struck me as a little clearer and a lot more straightforward. I can applause Singer for attempting to tackle something complicated as time travel. I simply believe that he, Kinberg and the other screenwriters did not handle it very well. On the other hand, the more straightforward narrative for “X-MEN: APOCALYPSE” seemed to suit both Singer and Kinberg.

I did not care for the minor arc regarding William Stryker and Wolverine. And yes, En Sabah Nur’s plot to retake the world seemed a bit unoriginal. But Singer and Kinberg handled this story a lot better than they did the time travel plot for the 2014 movie. And to be honest, I rather liked it. I did not love it, but I liked it. I also liked the fact that En Sabah Nur’s plot had a surprising twist (well, one that I did not see coming) that did not involved his “Four Horsemen”.

I may not have a high opinion of “DAYS OF FUTURE PAST”. But the movie did provide some interesting consequences that played out in “APOCALYPSE”. One, both movies allowed Xavier and Mystique to become close again, following their estrangement in “X-MEN: FIRST-CLASS”. In one of the movie’s more interesting scenes, Mystique discovers that she has become something of a legend to some of the younger mutants, including Xavier’s students. The movie also allowed Jean Grey the opportunity to learn to utilize her “Dark Phoenix” powers with more control . . . and without Xavier trying to suppress her. Do not get me wrong. I am one of those fans who actually enjoyed “X-MEN: THE LAST STAND”. But it was nice to see Xavier dealing with Jean’s powers with a healthier attitude. And although I was not impressed by how Singer and Kinberg pushed Storm into the background – especially during the film’s second half, it was nice to get a peek into her life as a young Cairo pickpocket before she ended up as one of Apocalypse’s minions and later, a student at Xavier’s school.

I certainly had no problem with the movie’s productions. I thought Grant Major did an exceptional job in not only re-creating ancient Egypt for the movie’s prologue and for the rest of it, the early 1980s. This is not surprising, considering Major’s work with director Peter Jackson on movies such as “THE LORD OF THE RINGS” trilogy. Newton Thomas Sigel’s cinematography contributed to the movie’s epic and sweeping look. Louise Mingenbach’s costumes, along with Geoffroy Gosselin and Anne Kuljian’s set decorations struck me as a solid reflection of the movie’s early 1980s setting. But the two aspects of the movie’s visual style that really impressed me were Michael Louis Hill and John Ottman’s editing, especially in scenes that involved En Sabah Nur’s entombing in the movie’s beginning and the X-Men’s showdown with the ancient mutant. I was especially impressed with the movie’s special effects, especially in the very two scenes that I had just pointed out.

The acting featured in “X-MEN: APOCALYPSE” also struck me as impressive. Well, to be honest, there were only a few performances that really caught my notice. However, I certainly had no problem with the other performances. Of the four actors who portrayed En Sabah Nur’s “Four Horsemen of the Apocalypse”, only one left no impression upon me – namely Ben Hardy, who portrayed Angel. The character barely had any lines and if I am mistaken, I could have sworn that Angel’s character was from a younger generation (that of Rogue and Iceman’s) – at least in the current movie franchise. I can also say the same about actress Lana Candor, who portrayed Jubilee. Not only did the actress barely had any lines, she was also portrayed as an Xavier student from Rogue and Iceman’s generation in a previous movie.

Although Alexandra Shipp, who portrayed Storm, and Olivia Munn, who portrayed Psylocke; were shifted to the background after their characters were introduced; both managed to impress me in the end. Shipp’s portrayal of the adolescent Storm struck me as rather lively and energetic. And Munn was effectively intimidating as the mutant enforcer, who becomes one of En Sabah Nur’s minions. The movie also featured solid performances from Rose Byrne, who returned as C.I.A. Agent Moira McTaggert; Sophie Turner and Tye Sheridan as the adolescent Jean Grey and Scott Summers aka “Cyclops”; Kodi Smit-McPhee as the younger Kurt Wagner aka “Nightcrawler”; Lucas Till as Alex Summers aka Havok; Nicholas Hoult as Dr. Hank McCoy aka “Beast”; Josh Helman as William Stryker; and Evan Peters as the always amusing Peter Maximoff aka “Quicksilver”. If you are careful, you might also spot Hugh Jackman, Zeljko Ivanek, Ally Sheedy and of course, Stan Lee.

Only four performances in this movie really impressed me. One of them turned out to be James McAvoy’s portrayal of Charles Xavier aka “Professor X”. At first, McAvoy’s performance seemed solid . . . almost perfunctory. But once it became apparent that Professor Xavier’s fate was connected with with En Sabah Nur’s scheme, McAvoy skillfully portrayed the telepathic mutant with a great deal of emotion and pathos. Michael Fassbender proved to be equally fascinating as the emotionally battered Erik Lensherr. He did a great job in conveying Magneto’s reactions to the deaths of a family and peaceful life, and to being emotionally manipulated by En Sabah Nur. Jennifer Lawrence continued to impress me with her excellent portrayal of the complex Raven aka “Mystique”. I found it fascinating to watch the 20-something actress portray a character who had become battle hardened and mature after spending two decades fighting on behalf of fellow mutants. Many critics have complained about Oscar Isaac’s portrayal of the movie’s main villain, En Sabah Nur aka “Apocalypse”. Apparently, they could not get past the actor’s make-up or mask. Well, I could. And I thought Isaac did a pretty damn good job in portraying a villain who was not only something of an egomaniac, but also a world-class manipulator. And he did so with great skill and subtlety.

I am not saying that “X-MEN: APOCALYPSE” was one of the best movies from the summer of 2016. Nor am I saying that it was one of the best in the “X-MEN” movie franchise. But I certainly do not believe that it was one of the worst. As far as I am concerned, the worst in the movie franchise was released four-and-a-half months earlier. But I thought it was something of an improvement over the convoluted plot that seemed to mar “X-MEN: DAYS OF FUTURE PAST”, thanks to Bryan Singer’s direction, Simon Kinberg’s screenplay and an excellent cast led by James McAvoy and Michael Fassbender.

“THE NICE GUYS” (2016) Review

“THE NICE GUYS” (2016) Review

The 2016 summer movie season has proven to be somewhat dismal. I cannot recall a remake of television or previous movie with an original twist. Worst, most of the movies seemed to be nothing more than sequels. And if I must be brutally frank, not very good ones. But I have only come across two movies that struck me as completely original. One of them is the period action comedy, “THE NICE GUYS”.

Co-written and directed by Shane Black, “THE NICE GUYS” told the story of a down-on-his-luck private investigator and an enforcer investigating two cases that might have a connection with each other – the death of a fading porn star and a missing young woman, who happens to be the daughter of a U.S. Justice Department official. Set in Los Angeles circa 1977, “THE NICE GUYS” began with a young boy witnessing the death of fading porn star Misty Mountains in a car crash in the Hollywood Hills. Later, Misty’s aunt, Mrs. Glen, hires private eye Holland March to find her, claiming that she is still alive. Despite feeling skeptical of Mrs. Glen’s claim, Holland takes the case and discovers that a young woman named Amelia Kutner is connected to Misty. Unbeknownst to him, an enforcer named Jackson Healy has been hired by Amanda, who does not want to be found, to intimidate March into staying away from her. But when two thugs try to coerce Jackson into revealing Amelia’s whereabouts, he teams up with Holland and the latter’s young daughter Holly to find Amelia before the thugs do. The duo’s investigation lead them into the world of Los Angeles’ pornography industry and a scandal surrounding the automobile industry.

“THE NICE GUYS” was not a major box office hit. It barely made a profit, if I must be brutally honest. This is a pity, because I believe Shane Black not only directed, but co-wrote – with Anthony Bagarozzi – a first-rate action comedy. There were a few aspects of “THE NICE GUYS” that I found unappealing. One, I was a little taken aback that the main villains behind the murders committed in the movie and involved in the automobile scandal did not face any justice. Perhaps I should not have been surprised, considering that the main villains were a cabal of businessmen in the Detroit automobile industry. I mean, honestly, Black and Bagarozzi could have provided the movie with a more distinct main villain and saved an ending like this for a drama like 1974’s “CHINATOWN”, instead of an action comedy. And two, for a movie set in the late 1970s, one aspect struck me as anachronistic – namely the Judith Kutner character portrayed by Kim Basinger. What else can I say? Basinger looked like an early 21st century woman who had time traveled back to 1977, thanks to her anachronistic hairstyle. Visually, the actress stuck out like a sore thumb.

Thankfully, there was a lot more to admire about “THE NICE GUYS”. Shane Black and Anthony Bagorozzi really did themselves proud. Who else could write a comedic story about a group of people in the porn industry, using the power of film – a “porn” flick called “How Do You Like My Car, Big Boy?” to expose the shady dealings of a cabal of Detroit automobile makers; toss in an alcoholic private investigator, a burly and somewhat violent enforcer, the former’s 12 year-old daughter; and set all of this in 1977 Los Angeles? By all of the laws of nature (and writing), this should not have worked. But it did . . . beautifully. This movie featured some interesting and off-the-wall scenes that included Jackson and Holland’s first violent meeting, their search for the missing Amelia at a wild party held by a pornography producer in the Hollywood Hills, and that crazy finale at the L.A. Auto Show.

“THE NICE GUYS” also featured some first-rate action sequences. Among my favorites are the screen fights that featured Russell Crowe, Keith David and in the first one, Beau Knapp. I would include Ryan Gosling, but his character did not strike me as an effective brawler, just a person who falls from high places, while in a state of intoxication. The movie also featured a first-rate scene in which the Jackson Healey and Holland March characters have a deadly shoot-out in front of the March home with a psychotic hit man named John Boy (a name that requires a photograph of actor Matt Bomer and an article on its own). But once again, the auto show sequence tops it all with some first-rate action that include a major brawl and an intense shoot out.

Being a period piece, “THE NICE GUYS” is a colorful movie to look at, thanks to contributions from the crew. I love sharp color in my films, especially if they are period pieces. And I am happy to say that Philippe Rousselot’s photography not only satisfied me color wise, but also gave the movie a late 1970s sheen that I have not seen in a long time. I noticed that some of his exterior shots were filmed in close-ups. And I cannot help but wonder if he had done this, because the movie was partially shot in Atlanta, Georgia. Also contributing to the movie’s late 1970s look was Richard Bridgland’s production designs. Speaking as a person who remembered that era (and location) very well, I have to give Bridgland kudos for doing an excellent job in re-creating that era. I also have to say the same about David Utley’s art direction. I was also impressed by Kym Barrett’s costume designs. As shown in the images below, I found them very colorful and spot-on:

I cannot help but wonder if Russell Crowe’s character had become attached to that faux leather jacket. The actor wore it throughout the film. Although David Buckley and John Ottman provided a solid score for the movie, I really enjoyed the variety of songs from the mid-to-late 1970s that were included. This especially seemed to be the case during the porn producer’s party that featured a band playing Earth, Wind and Fire tunes. Be still my heart!

“THE NICE GUYS” also featured some solid and outstanding performances. Murielle Telio, Beau Knapp, Ty Simpkins (who had worked with Black in “IRON MAN 3”), Lois Smith, Margaret Qualley, Jack Kilmer, and Gil Gerard (“BUCK ROGERS IN THE 25TH CENTURY” anyone?) all gave some pretty solid performances. I can also say the same about Kim Basinger, who portrayed a very pragmatic, yet emotionally intense Federal prosecutor named Judith Kuttner.

But I was really impressed by the likes of Matt Bomer, who gave a really intense performance as the rather scary hit man, John Boy. It was nice to see Bomer portray a character so completely different from what he usually does. Yaya DaCosta was equally intense, yet very seductive as Tally, secretary to Kim Basinger’s Judith Kuttner. I thought she did a great job in conveying all of the interesting traits of Tally – friendly, sexy, intense and dangerous. Keith David had the unenviable task of being one of the few sane characters in this crazy film, while portraying a Detroit-born hit man nicknamed “Older Guy”. However, I nearly fell off my seat, while laughing at one scene in which he expressed dismay to Holland for allowing young Holly’s presence in the case. Speaking of Holly, the filmmakers cast young Australian actress Angourie Rice to portray Holland’s pragmatic and brainy daughter, who also served as the leads’ conscience. Not only did she give a first-rate performance, Rice managed to keep up with the likes of Russell Crowe and Ryan Gosling with ease.

Russell Crowe’s Jackson Healey more or less played straight man to Ryan Gosling’s zany Holland March; and I have to give him kudos for being up to the task. It is not an easy job playing straight man to the clown, considering that people are more inclined to pay attention to the latter. But Crowe not only did his job, he also beautifully brought alive a very interesting character in his own right, enforcer Jackson Healey, a dependable guy who has this little penchant for unnecessarily using excessive violence to solve certain situations. And he really clicked with Ryan Gosling, who had the good luck to portray the hapless and alcoholic private investigator Holland March. The interesting thing about Holland is that he is not dumb at all. In fact, he is actually a perceptive investigator who is good at his job, when he is not inebriated, not trying to cheat his clients, wallowing in his infatuation of the mysterious Tally or too intent on saving his own skin. I have to say that Holland March has become one of my favorite Ryan Gosling roles of all time. And one of the funniest I have ever viewed on the silver screen. What else is there to say?

What a shame that the public did not embrace “THE NICE GUYS”. But it does not matter in the end. At least for me. I can think of numerous films that I loved, but were not exactly box office hits. Right now, “THE NICE GUYS” has become one of those films. It is sooooo fun to watch, thanks to a great, but not perfect script; sharp direction by Shane Black; and a marvelous cast led by a very talented duo, Russell Crowe and Ryan Gosling. This movie will go down as one of my favorites from 2016.

 

“CAPTAIN AMERICA: CIVIL WAR” (2016) Review

 

“CAPTAIN AMERICA: CIVIL WAR” (2016) Review

One of the more popular story lines to emerge from Marvel Comics was the 2006 story called “Civil War” in which many comic book characters from the company’s franchise battled over a new law designed to have superpowered individuals act under Federal regulation. Kevin Fiege and Marvel Films decided to adapt this story line for the final film in their Captain America trilogy.

“CAPTAIN AMERICA: CIVIL WAR” features some differences from the Marvel Comics comic series. The latter featured the Superhuman Registration Act, which would force those with superhuman abilities to register with the U.S. government . . . even at the expense of their secret identies. All those with special abilities – via magic, science, extra-terrestrials and even gods – would be forced to register. The 2016 movie featured the Sokovia Accords, a set of internationally ratified legal documents that provide regulation and frame-working for the military/law enforcement deployment of enhanced individuals, particularly the Avengers. To be honest, the difference between the Superhuman Registration Act and the Sokovia Accords strikes me as rather minimal.

However, the plot for “CAPTAIN AMERICA: CIVIL WAR” began with a flashback to 1991 when a mysterious assassin intercepts an automobile on an isolated road, carrying a case of super-soldier serum. The plot jumped some twenty-five years later to Lagos, Nigeria; where a team of Avengers under the command of Steve Rogers aka Captain America stop a HYDRA team led by Brock Rumlow aka Crossbones from stealing a biological weapon from a lab in Lagos. When Rumlow blows himself up, hoping to kill Steve; Wanda Maximoff aka tries to displace the blast into the sky with telekinesis. Unfortunately, the blast destroys a nearby building, killing several Wakandan humanitarian workers. Because of the Lagos incident, U.S. Secretary of State Thaddeus Ross informs the Avengers that the United Nations is preparing to pass the Sokovia Accords, which will establish a U.N. panel to oversee and control the team.

Some members of the Avengers support the Accords and decide to follow Tony Stark aka Iron Man, who continues to feel guilt over his creation of the A.I. Ultron and the latter’s destruction of Sokovia. Others decide to follow Steve, who remains suspicious of the governments’ use of enhanced individuals. But when a bombing disrupts a conference in Vienna where the Accords were to be ratified and kills King T’Chaka of Wakanda, security footage indicates that the bomber is James “Bucky” Barnes aka the Winter Soldier, whom T’Chaka’s son, T’Challa aka Black Panther, vows to kill. Steve, who has been searching for Bucky since the fall of S.H.I.E.L.D., becomes determined to find Bucky first before anyone else can harm him and find out what really happened in Vienna. The search for Bucky manifests into another story line when the latter and Steve begin to suspect that someone from HYDRA might behind

I must admit that when I first learned that the third Captain America movie would be an adaptation of Marvel’s “Civil War”, I was not happy. I felt certain that the movie would be more of an Avengers tale than another Captain America movie that would round off the character’s trilogy. But I had decided to put aside such fears and see the movie. “CAPTAIN AMERICA: CIVIL WAR” had a great deal to offer. Exciting action sequences, plenty of travel, drama, thought provoking issues and especially some first-rate acting.

One aspect of “CAPTAIN AMERICA: CIVIL WAR” that really caught my attention were the issues presented in this story. And the issues in this story seemed to focus on guilt and responsibilities. This especially seemed to be the case for the Avengers in the wake of what happened in Sokovia and Lagos. Although Steve, Sam Wilson aka the Falcon, and especially Wanda feel guilty for what happened in Lagos; they would prefer to deal with the consequences on their own rather than allow the government to take control of their lives as Avengers. Tony, James “Rhodey” Rhodes aka War Machine, Vision and Natasha Romanoff aka Black Widow seemed to feel that the best course to deal with the consequences of the group’s actions is to allow the government to control their actions. What is interesting is that while various governments and especially Thaddeus Ross want the Avengers to pay a high price for what happened in Sokovia and Lagos, Ross refuses to acknowledge guilt or pay the consequences for the battle in Harlem between Bruce Banner aka the Hulk and Emil Blonsky aka Abomination in “THE INCREDIBLE HULK”. Someone had pointed out how friends found themselves on opposite sides of this conflict. I saw this theme played out with Natasha, who found herself opposing Clint Barton aka Hawkeye, Sam and Steve – three men with whom she had formed close friendships. This theme also played out with Wanda’s growing friendship with Vision, when the pair of them took opposing sides on the Accords issue.

The past seemed to weigh heavily in this movie, as well. The ghost of Steve’s past – in the form of one “Bucky” Barnes manifests on the heels of the Vienna bombing. Another ghost from Steve’s past manifested in the form of Sharon Carter, a former S.H.I.E.L.D. agent, whom he had first met in “THE WINTER SOLDIER”. Both Steve and Sam were surprised to discover that Sharon was the great-niece of his former love, Peggy Carter. One could say the same for Bucky, whose past as the brainwashed Winter Soldier is not only used to frame him for the Vienna bombing, but also manifests in the discovery of Howard and Maria Stark’s fates. And while I found this revelation rather interesting, I did not find it particularly surprising, after the events of “THE WINTER SOLDIER”. In fact, many fans of the franchise did not seem surprised. Tony’s ghosts from the past also formed a cloud above this story. His and Bruce’s creation of Ultron not only led to Sokovia’s destruction, but also to his support of the Sokovia Accords. More importantly, Sokovia’s destruction led a colonel from an elite Sokovian commando unit named Helmut Zemo to seek revenge for the deaths of his family during the battle against Ultron. And the newly ascended King T’Challa struggled to deal with his father’s death, as he sought to kill Bucky for the death of his father King T’Chaka during the Vienna bombing.

But “CAPTAIN AMERICA: CIVIL WAR” is foremost an action film. And the movie featured some first-rate action sequences. Many film critics and moviegoers have been talking about the battle between the two Avengers factions at a Berlin airport. And yes, I found it impressive . . . somewhat. My favorite moment occurred when Scott Lang aka Ant-Man transformed himself into a giant, taking everyone by surprise. But if I must be honest, the airport sequence is not my favorite action scene in the movie. One of my favorites proved to be the chase sequence in Berlin in which the police, Steve, Sam and T’Challa pursued a fleeing Bucky. Another favorite turned out to be the movie’s first action sequence in which Steve’s Avenger team battled against Rumlow and his HYDRA team in Lagos.

The movie also featured some excellent acting. To be honest, I cannot think of a bad performance in this film. Once again, Chris Evans stepped up to the plate and provided another first-rate performance as Steve Rogers aka Captain America. For once, his Steve proved to be a more reflective man, who had learned to control his quick temper (until near the end of the film). I can also say the same for Robert Downey Jr., who gave another excellent performance as Tony Stark aka Iron Man.

Scarlett Johansson was excellent as former S.H.I.E.L.D. agent Natasha Romanoff aka Black Widow, who desperately tried to get Steve and Sam to cooperate with the government and sign the Accords. Anthony Mackie’s portrayal of Sam Wilson aka the Falcon proved to be a little more emotional and satisfying, as his character openly expressed contempt toward the Sokovia Accords and minor distrust toward Bucky Barnes’ re-appearance in Steve’s life. Sebastian Stan continued his excellent performance as Bucky Barnes, now a desperate man trying to keep both his memories and his life intact. Don Cheadle’s performance throughout most of the movie struck me as solid. But I must admit that he really stepped up his game and gave a very poignant performance in his last scene in which he and Tony discuss the near tragic circumstances of the Berlin airport fight. Both Elizabeth Olsen and Paul Bettany clicked on screen as Wanda Maximoff aka Scarlet Witch and Vision. This was especially apparent in one scene in which Wanda becomes aware that Vision has been trying to prevent her from leaving the Avengers’ headquarters.

Chadwick Boseman made a very impressive debut as T’Challa aka Black Panther. Boseman did an excellent job in portraying T’Challa’s barely controlled anger over his father’s death and his obsession in exacting revenge. Eight years after “THE INCREDIBLE HULK”, William Hurt repeated his role as Bruce Banner’s main adversary, Thaddeus Ross, who has become the U.S. Secretary of Defense and main supporter of the Sokovia Accords. And he was a lot more subtle and scary in this film than he was in the 2008 movie. Daniel Brühl gave a very subtle, yet intense performance as Helmut Zemo, the former Sokovian commando who wanted revenge against the Avengers for the deaths of his family. Alfre Woodard gave a very sublte, yet emotional performance as a woman who had confronted Tony about the death of her son in Sokovia. The movie also featured some solid performances from Jeremy Renner, Paul Rudd, Emily VanCamp, Tom Holland, John Slattery, Hope Davis and Frank Grillo.

Despite my admiration for the movie’s cast, the action sequences and some of the issues raised in “CAPTAIN AMERICA: CIVIL WAR”, I had a major problem with it. In fact, I had several problems with it. First of all, the whole idea behind the Sokovia Accords really made no sense to me. I could say that this whole matter began because several Wakandan civilians were killed, when Steve and Wanda were trying to stop Rumlow from harming others through self-detonation. But it really began with the Chitauri invasion of New York in “THE AVENGERS”. Then came the fallout from the destruction of the HYDRA sponsored helicarriers in “THE WINTER SOLDIER”, along with Iron Man and the Hulk’s battle in South Africa and the destruction of Sokovia in “AGE OF ULTRON” and finally, the Lagos incident in this film. For some reason, people like Thaddeus Ross want to solely blame the Avengers for the civilian fallout and not the villains. In the case of the events of “AGE OF ULTRON”, Tony, Bruce and Wanda were to blame. And Wanda . . . was not an Avenger at the time. What I could not understand is that neither Steve, Sam or anyone else who supported them had bothered to point this out. In fact, no one had bothered to point out Ross’ own involvement in the Hulk v. Abomination battle that nearly destroyed Harlem in “THE INCREDIBLE HULK”. You know . . . like Tony and Natasha?

Even if the Avengers had found themselves under government control, the possibility that innocent civilians might get hurt would always be possible. Not even the Avengers or any other costumed hero/heroine can save everyone. Yet, no bothered to point this out. I also noticed that Thaddeus Ross failed to mention the Hulk v. Abomination battle in Harlem. This is understandable, considering he was partially to blame for what happened. But why did no one pointed this out? And could someone please explain why the Accords were named after the Sokovia incident, instead of the incident in Lagos, which had kick-started the international community’s decision to create them in the first place? Martin Freeman portrayed a character from the Joint Counter Terrorist Centre, who helped Ross regulate the Avengers. The problem is that . . . he really did nothing in this movie, except show up and then sneer, first at Bucky and later, at the movie’s villain. Frankly, I found his appearance in this movie a complete waste of time. Speaking of waste . . . Frank Grillo, who had skillfully portrayed Brock Rumlow aka Crossbones in “THE WINTER SOLDIER”, reprised his character for this movie. And guess what happened to him? The poor schmuck was bumped off via a suicide bombing some twenty to thirty minutes into the film. Am I to believe that Rumlow, a major character in “THE WINTER SOLDIER”, had been reduced to a cameo, a plot device for the Lagos sequence . . . and nothing else? I guess so. In the end, Marvel ended up wasted Grillo’s time, just as they had wasted Thomas Kretschmann’s time in “AGE OF ULTRON”. And what were the German special forces, the GSG 9 doing in Bucharest, Romania? Bucharest was Bucky Barnes’ home at the time. And it was at his apartment where the GSG 9 tried to arrest him. What were they doing in a foreign country, trying to arrest an American citizen for a terrorist attack (the Accords conference) that happened in another foreign country – namely Austria. What on earth was the GSG 9 doing there?

I also had a problem with Tony Stark’s discovery that Bucky Barnes was the HYDRA assassin who had killed his parents. This discovery led Tony to try to kill Bucky, and Steve to come to his best friend’s defense. Two years earlier, Natasha Romanoff and Nick Fury had released top secret S.H.I.E.L.D. and HYDRA files on the Internet, during the battle at the Triskelion in “THE WINTER SOLDIER”. Through these files, Helmut Zemo discovered that Bucky was a brainwashed assassin used by HYDRA to kill Howard and Maria Stark back in 1991. If Zemo had been able to gain access to those files, why did Tony or any Stark Enterprises employee failed to do so? Why did he not make any attempt to access the files? A man, whose own father had been one of the co-founders of S.H.I.E.L.D. and a former enemy of HYDRA’s? Considering Tony’s nature, I find it difficult to believe that he never bothered to make the attempt. I have a deep suspicion that screenwriters Christopher Markus and Stephen McFeely may have deliberately ignored this issue so they would have an excuse for Tony to suddenly react to Zemo’s revelation. How sloppy . . . and manipulative.

And then there is the problem of Robert Downey Jr. The actor was first cast in “CIVIL WAR” in a supporting role. However, the actor refused to do the movie, unless he was made a co-star. And Marvel gave in to his demands, because they so desperately wanted him in another Marvel film. Why did they allow Downey Jr., who portrayed Iron Man, to become a co-star in a Captain America movie? The name in the movie’s title is Captain America. I do not recall the name of Iron Man being in the title. So, why did Kevin Fiege and Marvel allow Downey Jr. to hijack half of Chris Evans’ third solo film? Especially since Evans was the lead in one of Marvel’s biggest hits – both financially and critically. Why did a Captain America movie end up giving as much attention to Tony’s character arc as it did to Steve’s? Tony’s character arc had more screen time than Bucky Barnes or Sam Wilson, who had stronger emotional connections to Steve than Tony. Why did the movie’s screenplay featured a five-to-ten minute scene in which Tony Stark recruited Peter Parker aka Spider-Man for his team and did not bother to show how Steve recruited Clint Barton and Scott Lang? In a Captain America movie?

You know, Marvel could have saved the Civil War story line for an Avengers film and wrapped up Steve’s connection to HYDRA in this film. This movie could have focused upon Steve’s efforts to help Bucky and put HYDRA behind him for good. The movie “ANT-MAN” featured former S.H.I.E.L.D. official/HYDRA mole Mitchell Carson alive and well at the end, with a sample of Darren Cross’ Yellow Jacket serum in his possession. They could have tied this up with the Winter Soldier program . . . or create another plot featuring HYDRA. The narrative for “CIVIL WAR” could have focused on the Winter Soldier program, allowed Helmut Zemo to remain a HYDRA agent, allowed Steve’s friendships with both Sam and Bucky to become more complex and allowed his relationship with Sharon Carter to develop at a decent pace. Instead, Fiege and Marvel decided to (temporarily?) end the HYDRA story arc with former S.H.I.E.L.D. director Phil Coulson and ATCU director Glenn Talbot blowing up HYDRA bases . . . off screen in an “AGENTS OF S.H.I.E.L.D.” episode called (3.18) “Singularity”. I found this so unsatisfying. And since Marvel and Fiege decided that this third Captain America movie should be more about the Sokovia Accords, this left Sam and Bucky engaged in a long and rather stupid running joke regarding their mutual competition for Steve’s friendship. The latter’s romance with Sharon proved to be very rushed. And instead of admitting this, some fans are blaming actress Emily VanCamp and the Sharon Carter character, instead of the movie’s screenwriters and producers. They have also began promoting the idea of Steve becoming bisexual and beginning a romance with Bucky (and not Sam, whom I suspect was not white enough for them). And I am not the only one who has noticed that Zemo’s motivation for revenge against the Avengers bore a strong resemblance to the Maximoff twins’ hostility toward Tony Stark in “AGE OF ULTRON”?

“CAPTAIN AMERICA: CIVIL WAR” featured some excellent acting by a cast led by Chris Evans, some interesting issues on whether government intervention is a good thing or not, and some great action sequences, thanks to directors Anthony and Joe Russo. But for me, “CIVIL WAR” turned out to be nothing more than an Avengers movie shoved into a Captain America flick. And in the end, I found this rather unsatisfying and schizophrenic.

“REMINGTON STEELE”: Top Five Favorite Season Two (1983-1984) Episodes

Below is a list of my top five favorite episodes from Season Two (1983-1984) of NBC’s “REMINGTON STEELE”. Created by Robert Butler and Michael Gleason, the series starred Stephanie Zimbalist, Pierce Brosnan and Doris Roberts:

“REMINGTON STEELE”: TOP FIVE FAVORITE SEASON TWO (1983-1984) EPISODES

1 - 2.15 Steele Sweet on You

1. (2.15) “Steele Sweet on You” – Laura Holt and Remington Steele get involved with the marital problems of the former’s sister and brother-in-law at a dental convention. where a murderer seeks to eliminate the only evidence left against him. Maryedith Burrell, Michael Durrell and Patrick Collins guest starred.

2 - 2.21 Hounded Steele

2. (2.21) “Hounded Steele” – When the agency’s assistant Mildred Krebs becomes detective for a former thief, whose dog is missing, both become targeted by a murderous former Interpol agent who seeks revenge against the thief for ruining his career. J.D. Cannon and Tom Baker guest starred.

3 - 2.04 Altared Steele

3. (2.04) “Altared Steele” – An amnesiac hires Laura and Steele to learn his identity and why someone is trying to kill him. They eventually learn that one of his wives might be a serial killer. Guest stars included Delta Burke.

4- 2.15 Blood Thicker Than Steele

4. (2.14) “Blood Is Thicker Than Steele” – Laura and Steele must protect the two obnoxious children of a Federal witness during a road trip. Eric Brown and Carolyn Seymour guest starred.

5 - 2.21 Dreams of Steele

5. (2.19) “Dreams of Steele” – The agency’s reputation is at stake when the gems Laura and Steele were guarding, disappears during the transport. Judith Light guest starred.

HM - 2.09 Steel Knuckles and Glass Jaws

Honorable Mention: (2.09) “Steel Knuckles and Glass Jaws” – A boxer hires Laura and Steele to find the missing mother of a baby that proves to be the grandson of a notorious gangster.

Top Ten Favorite TRAVEL DOCUMENTARIES

Below is a list of my favorite television travel documentaries in the past twenty to thirty years:

TOP TEN FAVORITE TRAVEL DOCUMENTARIES

1. “Long Way Down” (2007) – Ewan McGregor and Charley Boorman embarked on their second motorcycle journey, traveling from John o’Groats, Scotland to Cape Town, South Africa; via Europe and Africa. This was a follow-up to their 2004 trip across Eurasia and North America.

2. “Michael Palin: Around the World in 80 Days” (1989) – Inspired by Jules Verne’s 1873 novel, comedian-actor Michael Palin embarked upon a journey around the world within 80 days, without the use of air travel during the fall of 1988.

3. “Long Way Round” (2004) Ewan McGregor and Charley Boorman embarked upon their first motorcycle journey in which they traveled from London to New York City, via Eurasia and North America.

4. “David Suchet on the Orient Express” (2010) – As he prepares for an adaptation of Agatha Christie’s famous 1934 novel, actor David Suchet embarks on a journey across Europe on the famed Orient Express train.

5. “Five Takes: Pacific Rim” (2006) – In Season Two of the Travel Channel series, “FIVE TAKES”, five young American “travel journalists” traveled to different countries around the Pacific Rim.

6. “Himalaya with Michael Palin” (2004) – Actor-comedian Michael Palin embarked upon a six-month, 3,000 miles trip throughout the Himalaya mountain range.

7. “Moms on the Road: Africa” (2006) – The BBC America produced this special about eight American mothers who traveled to and explored various countries in Southern Africa.

8. “Sahara with Michael Palin” (2002) – Michael Palin hit the road when he traveled through various countries around the Sahara Desert in Northern and Western Africa.

9. “Jeremy Piven’s Journey of a Lifetime” (2006) – Actor Jeremy Piven embarked upon a journey from Northern to Southern India.

10. “Pacific Journey: Adventures of a Musical Mariner” (1989) – This two-part documentary featured the late composer David Fanshawe’s ten year journey around the southern Pacific Rim, when he documented the music and oral traditions of Polynesia, Micronesia and Melanesia for his incomplete choral work, “Pacific Odyssey”.

“STEVE JOBS” (2015) Review

“STEVE JOBS” (2015) Review

I might as well say it up front. “STEVE JOBS” is a strange film. At least to me. It is probably the oddest film I have ever seen in 2015. There are a good number of aspects about this film that makes it so odd to me.

Judging from the title of this film, it is not hard to surmise that “STEVE JOBS” is a biography about the late co-founder of Apple, Inc. Directed by Danny Boyle and written by Aaron Sorkin, the movie was inspired by Walter Isaacson’s 2011 biography. Sorkin’s screnplay was also inspired by a series of interviews he had conducted with people who had known Steve Jobs. So far . . . there seemed to be nothing odd about this film. And it is not the first biopic about Jobs. But what made this movie so odd? Well, I will tell you.

The movie is divided into three acts. Each act is set during an event in which Jobs launches one of his computer products. Act One is set in 1984 in which Jobs and marketing executive Joanna Hoffman deal with problems before the Apple Macintosh launch. Act Two features Jobs preparing for the NeXT Computer launch at San Francisco’s Davies Symphony Hall in 1988. The final act is set in 1998, in which Jobs, who has been named CEO of Apple, Inc., prepares to launch the iMac, the computer that restored the company’s fortunes. All three acts also feature Jobs interacting with the following people:

*Joanna Hoffman – Jobs’ marketing executive and confidant
*Steve Wozniak – Apple, Inc. co-founder and creator of the Apple II
*John Sculley – CEO of Apple from 1983 to 1993
*Chrisann Brennan – Jobs’ former girlfriend
*Andy Hertzfeld – Member of the original AppleMacintosh team
*Joel Pforzheimer – GQ Magazine journalist, who interviews Jobs throughout the film
*Lisa Brennan-Jobs – the daughter of Steve Jobs and Chrisann Brennan

By now, many would realize that the movie really is not about those new products being launched by Jobs throughout the film. It seemed to be about his relationships with the other major characters featured in this movie. However, by the time I watched the movie’s final frame, it occurred to me that “STEVE JOBS” was really about his relationship with his oldest offspring, Lisa Brennan-Jobs, who aged from six to twenty years old in this film. What was so special about this particular relationship? Well, according to Sorkin’s screenplay, Jobs and Brennan had a brief fling toward the end of the 1970s, which resulted in Lisa’s conception. However, Jobs had refused to acknowledge Lisa as his daughter for several years. Once he did, their relationship continued to be fraught with tensions, due to Jobs’ suspicions that Lisa’s mother was an erratic parent who was using the girl to acquire a lot more money from him. By the time Lisa is a twenty year-old college student, father and daughter have a spat over her apparent failure to prevent her mother from selling the house he had given them and his threat to withhold her college tuition.

And this is the problem I had with “STEVE JOBS”. Do not get me wrong. Most of the performances in this movie were excellent – including those by Seth Rogen, Jeff Daniels, Katherine Waterston, Michael Stuhlbarg and Perla Haney-Jardine, who portrayed the 19-20 year-old Lisa. Michael Fassbender, in my opinion, gave a performance worthy of an Oscar nomination. In fact, I feel he really deserves one. So does Kate Winslet, whom I thought was brilliant as the pragmatic and loyal Joanna Hoffman. Fortunately, the Motion Picture Academy and the Hollywood community did remember Fassbender and Winslet’s performances and rewarded them with Best Actor and Best Supporting Actress nominations for both of them.

I also felt that the subject of this movie was interesting. I also found the various products launched by Jobs, along with his impact or lack thereof on Apple, Inc. throughout this period rather interesting, as well. And Jobs’ relationships with Hoffman, Wozniak, Sculley and Hertzfeld were also interesting. But I eventually realized these topics were minor in compare to Jobs’ relationship with Lisa. Even during his conversations with the other characters, the topics of Lisa, Chrisann and his own complicated childhood were brought up by the other characters. This movie was really about Jobs’ role as a father. And that is why it ended in such an abrupt manner, when he and Lisa finally managed to reconcile right before the iMac launch. And honestly, I feel this was a mistake.

Despite the fine performances and the interesting topics featured in this film, I left the theaters feeling somewhat gypped. I thought I was going to see a biographical movie about Steve Jobs and his impact upon the high tech community and the people he knew. To a certain extent, that is what Boyle and Sorkin gave the audiences. But this movie was really about Jobs’ relationship with his daughter Lisa. And instead of admitting it outright, I feel that Boyle and Sorkin manipulated the audiences into realizing this. No wonder everyone else kept bringing up the topic of Lisa. No wonder the movie was only set between 1984 and 1998. No wonder it ended so abruptly, following his reconciliation with Lisa. And no wonder this movie failed to make a profit at the box office. For a movie with such potential, I found it rather disappointing in the end.

“CHARMED” RETROSPECT: (6.17) “Hyde School Reunion”

 

“CHARMED” RETROSPECT: (6.17) “Hyde School Reunion”

”Hyde School Reunion” is an episode from Season Six of the TV series, ”CHARMED” (1998-2006). It is viewed as controversial by many fans of the show. I wish I could say that its controversy revolved around any innovative storytelling. I wish I could say this . . . but I cannot. Because ”Hyde School Reunion” is without a doubt one of the worst ”CHARMED”episodes to air on television.

In this episode, Phoebe (Alyssa Milano) inadvertently cast a spell – written in her high school yearbook – that allowed her wild personality from her “troubled” adolescent to take over her. And this all happened at her tenth high school reunion. At the same time, Piper (Holly Maries Combs) is trying to figure out why Chris (Drew Fuller), who had recently been revealed as her son from the future, has been avoiding her. She recruits the help of her dad Victor Bennett (James Read) to delve into the big mystery. In the end, Piper and Victor learned that Chris is wary of Piper’s presence, because she is destined to die fourteen years in the future. Ugh. Also, Chris is being hunted by Scabber demons. As for Phoebe . . . oh God, it resulted in one big mess.

In a nutshell, younger Phoebe or ”Freebie” – as one of her old schoolmates had nicknamed her – wrecked havoc with magic by plotting the escape of an old classmate named Rick Gittridge (Rodney Rowland) from jail. When Rick realized that his former classmate can use magic, he wants her – namely Phoebe – to help him rob an armored car. I would loveNOT to go into details of how this all unfolds. Must I? Must I do this? Sigh! I suppose I must. Anyway, the other two Halliwells whisked Phoebe back to the Manor before she could do anything about Rick. When she returned to Rick, Phoebe learned that one of her old school mates, Ramona, is missing. Rick had kidnapped her to secure Phoebe’s help. They robbed an armored car, but Phoebe cast a spell upon Rick, making him believe that the cops are almost upon them. They fled back to the Manor, where Rick ended up insisting that Phoebe give him a new face before he tells her where Ramona is. Paige appeared and Phoebe suggested that the younger sister give Rick Chris’ face. Chris – who is being hunted by Scabber demons. Rick ended up pleased – until the Scabber demons show up and killed him.

The positive aspects of ”Hyde School Reunion” came in the subplot involving Chris, Piper and Victor. Although I could not understand why Chris could warn his grandfather to stop smoking in order to avoid emphysema and prevent Paige from being killed by Titans (see ”Oh Goddess!” from late Season 5), prevent Wyatt from turning evil, yet could not warn his mother that she will be dead in fourteen years for fear of changing the timeline? What the hell? What saved this subplot were the performances of Chris Fuller, Holly Marie Combs and James Read.

Unfortunately, the major plotline for ”Hyde School Reunion” revolved around Phoebe’s high school reunion and her messy little ”flashback” to her adolescent past. There was so much wrong with this story that I had to make a list:

*Phoebe graduated from high school in 1994? In 1994, she was eighteen, going on nineteen. What happened? She had to repeat a grade?

*Alyssa Milano and Rose McGowan’s outfits at the reunion – questionable. Poor Rose looked as if her jacket was made from the fur of a dead animal that had the bad luck to be dyed in a garish turquoise blue. Alyssa’s boobs looked as if they threatened to pop out any minute. Even worse, her nipples are so obvious that they seemed toshout at the television screen.

*In the previous episode, ”The Courtship of Wyatt’s Father”, Leo finally managed to boink Piper and plant baby Chris in her. Yet, in the following episode – namely this one – Piper is “months” pregnant. How many months had passed between the two episodes? I realize that Holly Marie Combs was pregnant at the time, but talk about ill timing!

*Why do nearly every Halliwell sister either seemed to possess that hideous hairstyle that consisted of long hair and bangs, braces or all? Do you think I am exaggerating? Take a gander at the photos below –

Prue transformed back to her seventeen year-old self in “Be Careful What You Witch For”

Piper’s high school yearbook photo in “Coyote Piper”

Phoebe’s high school yearbook photo in “Hyde School Reunion”

Paige transformed back to her seventeen year-old self in “A Paige From the Past”

*Phoebe wrote a poem in her high school yearbook . . . that turned out to be a spell? My God, how lame!

*How is it that one of Phoebe’s old gym teacher, Miss Hickok, has no idea that Phoebe is now a famous columnist, whose mug is plastered on billboards all over San Francisco?

*I realize that in this episode, Freebie has adult Phoebe’s powers. Could someone please explain how she learned how to use magic? Please? Adult Phoebe knew nothing of magic until she was two months shy of her 23rd birthday? How did adolescent Freebie suddenly learn how to cast a spell and turn her old classmates into teenaged Neanderthals? Hell, the only magic that Phoebe knew around 22 and 23 were the old ”The Power of Three will set us free” chant and her premonitions, over which she had (and possessed) no control.

*Chris, who is the son of a chef, had no idea what mutton was? Being a vegetarian is no excuse. Unless mutton no longer exists in the 2020s.

*Why were Scabber demons after Chris? That story plot had evaded me.

*Could someone PLEASE explain how Freebie managed to shapeshift Rick, who was disguised as a guard, back to his old self with a flick of her wrist? HOW? Even adult Phoebe lacked this ability. She would have had to use a spell or chant to do this. Shapeshifting was not one of her psi abilities.

*Between the time Piper and Paige had teleported Phoebe from the warehouse to the Manor and back took less than a minute. How did Rick managed to tie up Todd – another Freebie classmate – and hide Ramona in that short space of time?

*Why didn’t Phoebe simply use a spell to coerce Rick into revealing where he had hidden Ramona . . . instead of aiding him in his so-called crime spree?

The major faux pas of ”Hyde School Reunion” centered around the death of Rick Gittridge. Many fans have commented on certain acts surrounding the unfolding events. One, why did Paige fail to teleport orb the shotgun from Rick’s hand? Two, why did Phoebe suggest that Paige turn Rick’s face into Chris’ face before Rick could verify where he had hidden Ramona . . . so that the Scabber demons would go after him? Why did she not do the dirty deed, herself?

Some member of a ”CHARMED” message board once commented that this entire scene lacked sense because as ”good witches”, the Charmed Ones would have never set up a human to be killed by demons. I say . . . bullshit to that! The Halliwells have proven in the past how murderous and self-righteous they could be. How many times has Prue – believing to be wronged – allowed her temper to get the best of her? In “P3 H2O”, a very self-righteous Phoebe had accused Sam Wilder – Mommy Dearest’s whitelighter and Paige’s dad – of failing to save Patty before the latter was killed by a water demon. Paige was stupid, murderous and self-righteous enough to attempt to kill Cole when he had finally given up on getting Phoebe back in ”Centennial Charmed”. ”Mortality Bites” is a prime example of how murderous and self-righteous the Halliwells can be. I will tell you exactly what really bothered me about ”Hyde School Reunion”:

Phoebe: How do we know you’re telling the truth?

Rick: You don’t. Now, my face. Make it different. Heartbreaking, charming, young.

(Phoebe gets an idea.)

Phoebe: You know, I’m thinking maybe you should use our nephew for inspiration.

Paige: “Who you were, you’re now another, take the face of Wyatt’s brother.”

(Rick turns into Chris. He looks in the mirror.)

Chris: Yeah, I like it. This’ll work.

Paige: Pheebs, watch out, this could get messy. (Phoebe and Paige hide behind a wall. Three Scabbar demons appear in the room. Rick shoots at them but doesn’t harm them. They spit the green acid goo at Rick which melts him to nothing. The demons disappear. Phoebe and Paige come out from behind the wall.) You okay?

Phoebe: Yeah.

Paige: You know you had to, right?

Phoebe: I know.

She had to? Phoebe had to give Chris’ face to Rick, knowing that her nephew was being hunted by Scabber demons? Why was it necessary for Phoebe to set Rick up to be murdered? Who in the fuck approved this episode? Oh yes, some joker named Brad Kern. If he is still producing television, the son-of-a-bitch should give up and take up a profession that suits his lack of talent. Moron. And I wonder if Alyssa Milano and Rose McGowan had expressed concerns about what Phoebe and Paige did to Rick. If they did not, they should be ashamed of themselves.

This episode truly ranks as among the worst of the series’ eight year history. Honestly. And the fact that it climaxed into the murder of a human, thanks to the scheming of two of the three major characters really sticks in my craw. But what really pisses me off about ”Hyde School Reunion” is that Kern actually believed that the viewers would sit in front of a television set and accept that Phoebe and Paige’s murderous act was ”necessary”, is an insult not only to my intelligence, but to the intelligence of the series’ many other viewers and fans.

“ANT-MAN” (2015) Review

 

“ANT-MAN” (2015) Review

When Marvel Studios first announced that its new movie about the comic book hero, Ant-Man would be the end of the Marvel Cinematic Universe (MCU) second stage, I found myself scratching my head. Why would a solo effort like “ANT-MAN served as the end of Stage Two? Why not the epic “THE AVENGERS: AGE OF ULTRON”, which had been released two-and-a-half weeks earlier?

Needless to say, I had no idea what was going through the mind of MCU show runner, Kevin Fiege. So, I sat back and watched how he and the filmmakers for “ANT-MAN” would handle this. And I must say . . . I found myself more than pleasantly surprised. This surprise, along with the actual movie also taught me another lesson about making assumptions. One day, this lesson will remain with me and I will stop making assumptions for good. Hopefully.

As for “ANT-MAN”, the movie created a small controversy when the Marvel and Disney Studio bosses decided to fire British filmmaker Edgar Wright and replace him with Peyton Reed as director. They also dismissed the screenplay that Wright co-wrote with collaborator Joe Cornish and allowed the film’s star Paul Rudd and Adam McKay to re-write the script. A good number of critics and moviegoers believe this move may have harmed “ANT-MAN”. Others are contemplating on how the movie would have turned out if Wright had remained the film’s director. After seeing “ANT-MAN” and recalling that 2007’s “HOT FUZZ” was the only Wright film I have ever truly liked, I realized in the end that I could not care less about how Wright and Cornish would have done the film. Yes, I enjoyed “ANT-MAN” that much.

The movie begins in 1989 when the recently widowed Dr. Hank Pym resigns from S.H.I.E.L.D., after discovering their attempt to replicate his Ant-Man shrinking technology. Believing the technology is dangerous, Dr. Pym refuses to release the technology to S.H.I.E.L.D. or anyone else. The story jumps twenty-six years later. Pym’s estranged daughter, Hope van Dyne, and former protégé, Darren Cross, have forced him out of his own company. Cross is close to perfecting a shrinking suit of his own, the Yellowjacket, which horrifies Pym. Fortunately, Hope realizes the danger that Cross’ new invention poses and decides to help her father destroy it.

At the same time, convicted burglar Scott Lang is finally released from moves in with his old cellmate, Luis and the latter’s two friends – Dave and Kurt. After making a surprise visit to his daughter Cassie’s birthday party, Scott is dismissed by his ex-wife Maggie and her police-detective fiancé, Paxton, for not providing child support. Unable to hold a job because of his criminal record, Scott agrees to a burglary job that Lang agrees to a burglary job that Luis has discovered – one that involves breaking into an expensive Victorian manor. Only the house belongs to Hank Pym and the only thing Scott was able to find inside Dr. Pym’s safe is the Ant-Man suit. Scott tries on the suit and accidentally shrinks himself. Terrified by his experience, he tries to return it to the Pym manor and is arrested by the police. However, Dr. Pym pays the jailed Scott a visit and helps the latter break out of jail, using the suit. Then he recruits Scott to help him and Hope pull a heist on Darren Cross’ new Yellowjacket suit before his former protégé can sell the technology to dangerous people.

Following the over-the-top action fest of “THE AVENGERS: AGE OF ULTRON”, “ANT-MAN” proved to be something of a respite for me. Not only did the movie proved to be a respite, but also quite enjoyable. But before I go into why I enjoyed the film, I have to point out its shortcomings. The worst thing I can say about “ANT-MAN” is its pacing. There are a few moments in the film in which director Peyton Reed nearly rushed the film. This was especially apparent in the montages that conveyed Scott Lang’s training as Ant-Man at the hands of Hank Pym and Hope van Dyne. And I cannot help but wonder why Hope had snitched on Scott to the police . . . a day after he had broke into Dr. Pym’s home and taken the Ant-Man suit. Unless she was unaware of the actual date that Scott had planned to make the original heist. The movie also suffered from two abrupt endings. One ending featured Luis’ revelation that Sam Wilson aka the Falcon was searching for Scott. The other abrupt ending was scene in the movie’s second post-credit scene in which Sam revealed his discovery of the missing Bucky Barnes aka the Winter Soldier to Steve Rogers aka Captain America.

“ANT-MAN” had its usual set of flaws, but I cannot deny that I found it very entertaining. More importantly, I found it to be one of the more unconventional entries in the MCU. On one level, the movie is an origin tale about the comic book figure, Ant-Man. On another level, the movie began with the Ant-Man character already established. This is due to the fact that the movie’s main character, Scott Lang, is the second person to become Ant Man. The superhero’s first origin happened back in the 1970s or 1980s, when Hank Pym assumed the role and his wife, Janet van Dyne became the Wasp. There has never been a Marvel film before in which a second person assumed the role of a particular superhero or superheroine. If one really looked at the movie from a certain perspective, the role of Ant-Man revolved around three people – Scott Lang, Hank Pym and Hope van Dyne. “ANT-MAN” told how Scott became the superhero. In the case of Hank and Hope; the movie told how the “hero” affected the lives of both father and daughter. Hank’s role as Ant-Man had eventually led to the death of Janet van Dyne, which affected their relationship. And Scott becoming the new Ant-Man eventually not only led to their emotional reconciliation, but also helped him reconciled with his ex-wife and her fiancé, which allowed him to spend more time with his daughter. Even the villain, Darren Cross, seemed to have some kind of emotional tie to Hank. The latter had not only considered the former as a protégé, but also a son. Yet, Cross’ growing obsession with the Pym Particle and Hank’s refusal to tell him about it, led to resentment on Cross’ part and coldness on Hank’s. I have never come across a Marvel film with that scenario. Come to think of it, I have never come across a Marvel film in which family ties had such a strong impact . . . with the exception of 2003’s “THE HULK” and 2010’s “IRON MAN 2”.

As I had earlier pointed out, “ANT-MAN” is not the usual “superhero/heroine” origin tale, due to the lead character being the second person to assume the role of Ant-Man. The movie is also unusual, due to the fact that it is basically a heist film. Remember that following the death of his wife back in 1987, Hank had concluded that the Pym Particles, which powered the Ant-Man and Wasp suits, was too dangerous to be used . . . by anyone. This is why he had resigned from S.H.I.E.L.D. in the first place . . . to ensure that the government agency would not develop something similar. Unfortunately for Hank, Cross finally managed to create his own shrinking technology (called Yellowjacket). And this forced Hank to recruit Scott to become the new Ant-Man and steal Darren’s technology. Scott’s past as a professional thief and Master’s Degree in Engineering proved to be two of the main reasons why Hank recruited him in the first place. One last aspect of “ANT-MAN” that made it so unusual for me was the offbeat humor that surrounded the characters of Scott, Luis, Dave and Kurt; along with the film’s bizarre action sequence in the last twenty minutes.

The technical aspects for “ANT-MAN” seemed pretty solid. But there are two aspects of the film that I found very impressive. One aspect focused on the movie’s visual effects created the team led by Allison Gainza. Not only was I impressed by their work in scenes featuring Scott’s interactions with many insects, but also how they shrink and inflate both the Ant-Man and Yellow Jacket characters at will. This was especially apparent in scenes featuring Scott’s encounter with the Falcon at the Avengers facility and his fight against Cross in the film’s final action sequence. Ironically, the visual effects were enhanced by the editing from Dan Lebental and Colby Parker Jr. that made that fight scene so memorable for me. I had never seen such a bizarre action sequence in a Marvel film, since 2013’s “THOR: THE DARK WORLD”.

When “ANT-MAN” was first in the development stage, the producers had two actors up for the role of Scott Lang aka Ant-Man – Joseph Gordon-Levitt and Paul Rudd. However, Gordon-Levitt dismissed the matter as a rumor and Rudd became the frontrunner. To be perfectly honest, I would have been satisfied with either actor in the role. But I have to give kudos to Rudd to making Scott Lang a plausible professional thief, but also providing the film’s emotional backbone. More importantly, Rudd did a superb job of combining both his sardonic style of humor with the emotional desperation that drove his character’s actions. I used to believe that the character of Tauriel from “THE HOBBIT” films was actress Evangeline Lilly’s best role. Then I saw her portrayal of Hope van Dyne and completely changed my mind. She was exceptional as Hank Pym’s embittered daughter, who finds herself willing to work with her father and prevent Darren Cross’ plans to sell the Yellowjacket technology. I had read somewhere that Edgar Wright had plans to make Hope a femme fatale character. And while that may have been interesting, I found this new version of Hope equally interesting. Lilly did an exceptional job of expressing Hope’s resentment and anger toward her father, while keeping her feelings barely under control. Rounding off this trio is Michael Douglas, who was excellent as the very complicated Dr. Hank Pym. What I enjoyed about Douglas’ performance is that not only did he manage to effectively portray the role of mentor, but also revealed certain negative traits in Pym’s personality that made him so difficult for both Hope and Cross to deal with.

What can I say about Michael Peña’s portrayal of Scott’s closest friend, Luis? Some have complained that his character is basically a comic stereotype of the Latino-American male. I would agree . . . superficially. However, between the screenplay and Peña’s energetic performance, Luis turned out to be quite an exceptional character who not seemed to be very verbose; but also a lover of fine wine, abstract art and video games. He also proved to be very proficient with his fists. And thanks to Peña’s performance, he nearly stole the show. Come to think of it, Corey Stoll was equally effective as the film’s main villain, Darren Cross aka Yellowjacket. Of all of the wealthy industrialist/scientists (good or bad) that permeate the Marvel Universe, Cross was one of the most interesting and scariest I have seen. And I have to give kudos to Stoll for making Cross both scary and a bit vulnerable at the same time.

The movie also featured first-rate performances from T.I. “Tip” Harris and David Dastmalchian as Scott and Luis’ fellow crew members, Dave and Kurt, who somehow managed to form quite the little screen team by the end of the film. Their discussion of the 1997 movie, “TITANIC” had me rolling on the floor with laughter. “ANT-MAN also featured fine performances from Judy Greer, Bobby Cannavale, a very funny Wood Harris, and a very charming Abby Ryder Fortson, who portrayed Scott’s daughter Cassie. Rounding out this cast was Martin Donovan, who portrayed a former S.H.I.E.L.D. top official/HYDRA mole Mitchell Carson. Although his appearance in the movie was not as long as the others, Donovan did a great job in setting up the malevolent Carson as a future threat in the Marvel Cinematic Universe. By the way, Donovan had worked with Paul Rudd in the 2000 movie, “THE GREAT GATSBY”; and with Michael Douglas in the 2006 political thriller, “THE SENTINEL”. To ensure the movie’s tie-in with the MCU, “ANT-MAN” featured cameos from Hayley Atwell (Peggy Carter), John Slattery (older Howard Stark) in the prologue; and Chris Evans (Steve Rogers) and Sebastian Stan (Bucky Barnes). But for me, the real thrill came in the form of Anthony Mackie as Sam Wilson aka the Falcon. His surprise appearance, along with that crazy fight scene between his character and the lead proved to be one of the movie’s highlights for me.

“ANT-MAN” is not the type of Marvel film that would strike anyone as mind blowing or epic. And there are those fans who are still castigating it for not being written and directed by Edgar Wright. I personally do not care. I enjoyed the movie very much. Thanks to Peyton Reed’s direction, a great cast led by Paul Rudd and a very unusual screenplay written by Rudd and Adam McKay that featured a strong, offbeat humor; I enjoyed the movie very much. In fact, I would go far as to say that “ANT-MAN” was one of the most unusual Marvel productions I have seen. Probably the most unusual. And that makes it unique for me.

“MAN OF STEEL” (2013) Review

Superman-Man-of-Steel-2013-Metropolis-Background-Images

 

“MAN OF STEEL” (2013) Review

When I first learned that Warner Brothers Studios and D.C. Comics planned to release another Superman movie, I did not greet the news with any enthusiasm. In fact, my first reaction was sheer frustration. The last D.C. Comics movie I wanted to see was another Superman movie.

There were so many reasons for my negative reaction to the news of a new Superman movie. The last one I saw was 2006’s “SUPERMAN RETURNS”, which had been directed by Bryan Singer. There had also been two television series about the Man of Steel in the past twenty (20) years – “LOIS AND CLARK: THE NEW ADVENTURES OF SUPERMAN” (1993-1997) and “SMALLVILLE” (2001-2011). The film subsidiary for Marvel Comics have shown a willingness to release movies featuring a vast array of their comic book characters. On the other hand, D.C. Comics seems to be stuck on either Superman or Batman for television and movie material. There have been minor exceptions to the rule – including the Oliver Queen/Green Arrow character that became a regular on “SMALLVILLE”; the 2011 film, “THE GREEN LANTERN”; and the recent WB television series, “ARROW” (the Green Arrow again). Wonder Woman has not been a subject of a movie or television series in her own right since the Lynda Carter series from the 1970s. An unsuccessful television series about the Flash failed to last one season. And Aquaman merely served as a guest character on“SMALLVILLE” for a few episodes.

I had one other reservation regarding the announcement of a new Superman movie. The producers had chosen Zack Synder to direct the film. And I have never been a fan of his past films, at least the ones I have seen – namely the very successful “300”, the critically acclaimed “THE WATCHMEN” and “SUCKER PUNCH”. When I learned he had been selected to direct the new Superman film, “MAN OF STEEL”, my enthusiasm sunk even further. However, I saw the movie’s new trailer last spring and my opposition to the movie began to wane. What can I say? It impressed me. So, I decided to open my mind and give “MAN OF STEEL” a chance.

Thanks to David S. Goyer’s screenplay and the story created by him and Christopher Nolan, “MAN OF STEEL” follows the origins of Superman. Well . . . somewhat. The movie begins on the planet of Krypton, where scientist Jor-El assists his wife in the birth of their newborn son, Kal-El. Due to years of exploiting the planet’s natural resources by the planet’s inhabitants, the planet has an unstable core and faces imminent destruction. Jor-El and Lara plans to send their son to Earth to ensure his survival. They also infuse his cells with a genetic codex of the entire Kryptonian race, something that the planet’s military commander, General Zod desires. Zod and his followers commit a military coup. And the general murders Jor-El, after learning what the latter did with the genetic codex. But Zod and his followers are immediately captured and banished to the Phantom Zone. When Krypton finally self-destructs, the explosion frees Zod and his people; setting them on a search for young Kal-El and the genetic codex at other worlds colonized by Kryptonians.

Kal-El eventually lands on Earth and in the middle of the Kansas countryside. A farmer and his wife – Jonathan and Martha Kent – adopts and raises him, renaming him Clark Kent. However, Clark’s Kryptonian physiology gives him super abilities on Earth, which raises a lot of social problems for him. Jonathan eventually reveals to Clark that he came from another planet and advises not to use his abilities in public. Following Jonathan’s death, a bereaved Clark spends several years roaming the country and working at odd jobs, while he deals with his grief and save people in secret. He eventually infiltrates a scientific discovery of a Kryptonian scout spaceship in the Arctic, which had been discovered by the military. Also there is a reporter from the Daily Planet named Lois Lane. Clark, who is unaware of being followed by Lois, enters the alien ship. It allows him to communicate with the preserved consciousness of Jor-El in the form of a hologram. Jor-El reveals Clark’s origins and the extinction of his race, and tells Clark that he was sent to Earth to bring hope to mankind. Meanwhile, General Zod and his crew pick up a Kryptonian distress signal sent from the ship Clark had discovered on Earth. Zod arrives and demands the humans surrender Kal-El, whom he believes has the codex, or else Earth will be destroyed.

So . . . what did I not like about “MAN OF STEEL”? For one, I disliked the shaky cam photography used by Amir Mokri. I disliked its use by Paul Greengrass in some of his movies. I disliked its use in “QUANTUM OF SOLACE”. And I certainly did not like its use in this film. It made the final confrontations between Superman and the Kryptonians more confusing. Then again, David Brenner’s editing certainly did not help – not in this scene or in the burning oil rig sequence in the movie’s first half hour. I have been a fan of Hans Zimmer for years. But I found his score for this movie rather heavy-handed, especially his use of horns. Speaking of Superman and the Kryptonians’ final confrontations – I thought it was a bit over-the-top in regard to the destruction inflicted upon Metropolis. It reminded me of final action sequence in “IRON MAN 3”, which I also did not care for.

Fortunately, there was a great deal more about “MAN OF STEEL” that I liked. And I find this amazing, considering my past opinion of director Zack Synder. David S. Goyer and Christopher Nolan wrote a first-rate origin story for Superman. I noticed that they utilized the same or a similar story structure that they had used in the Dark Knight Trilogy. Instead of allowing Superman to face his most famous adversary in the first film, Goyer and Nolan utilized Superman’s Kryptonian origins to play a major role in the film’s story. Instead of Lex Luthor, Superman’s main nemesis in “MAN OF STEEL” proved to be General Zod. Some fans of the franchise were annoyed by this. I was not. Goyer and Nolan also did a first-rate job in exploring Clark Kent/Superman’s emotional growth, the loneliness he had endured during his childhood in flashbacks and those years he wandered before discovering the Kryptonian ship in the Artic, and his wariness toward the human race. I especially do not recall any previous Superman story or television series exploring the latter. How very original of Goyer and Nolan. Some fans have complained about the different twists that Goyer, Nolan and director Zack Synder made to the Superman mythos – especially in his relationship with reporter Lois Lane. I do not understand the complaints, considering the number of twists and changes that have been made to the Superman mythos in movies and especially television during the past twenty years. And honestly? The twist to Clark/Superman’s relationship with Lois made the story fresher.

Although I did not particularly care for the over-the-top destruction featured in “MAN OF STEEL”, I must admit that the special effects featured in that last scene impressed me very much. I was also impressed by their work in the sequence that featured Superman’s fight against Faora-Ul and the other Kryptonian in Smallville. But the one sequence that featured some great special effects happened to be the one on Krypton. I found the effects very beautiful. In fact, there were other aspects of that sequence that really impressed me – namely Alex McDowell’s production designs, Anne Kuljian’s set decorations, Kim Sinclair and Chris Farmer’s art direction and especially James Acheson and Michael Wilkinson’s costume designs. Some have complained by the lack of red shorts for Superman’s costume. But I did not miss them. More importantly, I liked how Sinclair and Farmer linked Superman’s costume with those worn by many of the Kryptonians.

When I first heard that Henry Cavill had been hired to portray Clark Kent/Superman, I must admit that I was somewhat taken aback. Mind you, the idea of a British actor portraying an American comic book character was nothing new, thanks to Christian Bale’s portrayal of Bruce Wayne/Batman and the Anglo-American Andrew Garfield’s recent portrayal of Spider-Man. I only felt uncertain if Cavill could portray a Midwesterner with the proper accent. Okay, I am not an expert in Midwestern accents. But Cavill handled the American accent rather well. More importantly, he gave a superb performance as the quiet, yet emotional Clark Kent who had spent a good number of years wallowing in loneliness. I was surprised that Amy Adams had signed on to portray Daily Planet reporter Lois Lane. I did not expect her to appear in a comic book hero movie. But I must admit that I really enjoyed her performance, especially since her Lois proved to be a lot less blind about Superman’s secret identity and more willing to track down the truth. Michael Shannon effectively utilized that same intensity that provided for his Nelson Van Alden role in HBO’s “BOARDWALK EMPIRE” in his performance as the single-minded Kryptonian General Zod.

Antje Traue proved to be even more scary than Shannon as Zod’s second-in-command, the less verbal Faora-Ul. Laurence Fishburne gave an intense performance as Perry White, the no-nonsense editor of theDaily Planet. Russell Crowe’s Jor-El not only proved to be charismatic, but something of a bad ass. Ayelet Zurer provided a great deal of pathos and emotion in her performance as Superman’s mother, Lara Lor-Van. Diane Lane proved to be the movie’s emotional rock in her down-to-earth performance as Martha Kent, Superman’s adopted mother. And Kevin Costner’s portrayal of Jonathan Kent proved to be just as charismatic as Crowe’s Jor-El and as emotional as Zurer’s Lara. The movie also featured some solid performances from the likes of Richard Schiff, Michael Kelly and Christopher Meloni. I was really impressed with Harry Lennix’s performance as the commanding, yet paranoid General Swanwick.

“MAN OF STEEL” had a few problems. But I believe that the movie possessed a great deal more virtues, including a first-rate story created by David S. Goyer and Christopher Nolan and a superb cast led by a talented Henry Cavill as Clark Kent/Superman. But I was very surprised by Zack Synder’s direction, especially since he managed to curtail some of his less-than-pleasant excesses in past films and at the same time effectively helm a first-rate movie. For the first time, I found myself being more than pleased by a movie directed by Synder.