The Beatles - Strawberry Fields Forever (1967) [Original Post]
Friday, October 12, 2018
Thursday, October 11, 2018
Letterboxd: Commando
Commando represents the moment the Austrian body-builder famous for Conan The Barbarian finally said it's time to start talking!
Schwarzenegger must've been emboldened by the success of The Terminator, where stilted line readings enhanced his android assassin, but somebody was clearly nervous, as Commando frequently plays like a concept album set to an incidental film.
Composer James Horner seemingly scrambles to fill run time, mixing genres in a madcap flurry of Caribbean steel drums, Asian flutes, and classic eighties neo-noir sax. The soundtrack rarely lets up.
Each musical style takes turns stomping on a conventional score, occasionally double-teaming a puny bass line, or snapping the neck of something that may or may not have been orchestral. The unusual soundtrack succeeds in relieving pressure from simple scenes that won't otherwise be rescued by snappy dialogue. Occasionally, it gets a little too nutty for its own good, pulling focus in a flurry of horns and percussion. Think sax man Bill Pullman in Lost Highway.
I've found myself revisiting much of the Schwarzenegger oeuvre over the last couple of years, and I've started to see past the inflections of beloved impersonation, to notice his performance has evolved far less than I'd imagined.
In the case of Commando, it becomes increasingly clear pieces of this script will follow Arnold throughout the rest of his career. The one-liners aren't as sharp or frequent as they'll eventually become, but the catchphrases are all here, from "I'll be back" to liberal utterings of "DO IT". Scenes of mall rage and the recruitment of a hapless female cohort will be reprised to greater effect in movies like The Running Man, True Lies, and Jingle All The Way.
The story of a South American dictator's effort to blackmail uber-soldier John Matrix is almost irrelevant. Familiar face Alyssa Milano (Who's The Boss?) survives a barrage of cackling, creating enough of a father-daughter dynamic in opening scenes to keep things rolling with the sub-plot of her kidnapping. The first act twist is merely a means to beginning Arnold's rampage of crazed revenge, urban destruction, and inflicted Stockholm syndrome.
Rae Dawn Chong is surprisingly convincing as Cindy, a petite off duty stewardess with a junior pilot's license. Her flip from fear to affection for the troubled one-man army (Matrix) is a little abrupt, but her arc to becoming a rocket launching badass in-the-making lends fun to the mayhem. David Patrick Kelly (The Warriors) is a uniquely effective foil as the sleazy merc' who sexually harasses Cindy all the way to the parking garage. His comeuppance initiates the action and brings our heroes together.
Australian Vernon Wells is much less convincing as the ex-army buddy gone mercenary, and John Matrix' ultimate arch-rival. The tough talk falls short of wide-eyed menace, mincing ineffectively in a chainmail tank top he must've borrowed from Mad Max 2. The inadequacies of the character may very well be by design, signalling a countdown to his inevitable death. It all gets a little Home Alone when he's reduced to chasing an escaped Jenny (Milano). His final fight delivers more bite than the silly talk might have led you to expect.
For fans of eighties explosions and Arnold's less sci-fi fare - Commando will hold a special place in the canon. Otherwise, it's a mostly middling effort, playing catch-up with Rambo, and destined to be outmoded by future refinements of the Schwarzenegger formula. Franchise fans may have fun imagining it somehow fits into the backstory of Predator.
Schwarzenegger must've been emboldened by the success of The Terminator, where stilted line readings enhanced his android assassin, but somebody was clearly nervous, as Commando frequently plays like a concept album set to an incidental film.
Composer James Horner seemingly scrambles to fill run time, mixing genres in a madcap flurry of Caribbean steel drums, Asian flutes, and classic eighties neo-noir sax. The soundtrack rarely lets up.
Each musical style takes turns stomping on a conventional score, occasionally double-teaming a puny bass line, or snapping the neck of something that may or may not have been orchestral. The unusual soundtrack succeeds in relieving pressure from simple scenes that won't otherwise be rescued by snappy dialogue. Occasionally, it gets a little too nutty for its own good, pulling focus in a flurry of horns and percussion. Think sax man Bill Pullman in Lost Highway.
I've found myself revisiting much of the Schwarzenegger oeuvre over the last couple of years, and I've started to see past the inflections of beloved impersonation, to notice his performance has evolved far less than I'd imagined.
In the case of Commando, it becomes increasingly clear pieces of this script will follow Arnold throughout the rest of his career. The one-liners aren't as sharp or frequent as they'll eventually become, but the catchphrases are all here, from "I'll be back" to liberal utterings of "DO IT". Scenes of mall rage and the recruitment of a hapless female cohort will be reprised to greater effect in movies like The Running Man, True Lies, and Jingle All The Way.
The story of a South American dictator's effort to blackmail uber-soldier John Matrix is almost irrelevant. Familiar face Alyssa Milano (Who's The Boss?) survives a barrage of cackling, creating enough of a father-daughter dynamic in opening scenes to keep things rolling with the sub-plot of her kidnapping. The first act twist is merely a means to beginning Arnold's rampage of crazed revenge, urban destruction, and inflicted Stockholm syndrome.
Rae Dawn Chong is surprisingly convincing as Cindy, a petite off duty stewardess with a junior pilot's license. Her flip from fear to affection for the troubled one-man army (Matrix) is a little abrupt, but her arc to becoming a rocket launching badass in-the-making lends fun to the mayhem. David Patrick Kelly (The Warriors) is a uniquely effective foil as the sleazy merc' who sexually harasses Cindy all the way to the parking garage. His comeuppance initiates the action and brings our heroes together.
Australian Vernon Wells is much less convincing as the ex-army buddy gone mercenary, and John Matrix' ultimate arch-rival. The tough talk falls short of wide-eyed menace, mincing ineffectively in a chainmail tank top he must've borrowed from Mad Max 2. The inadequacies of the character may very well be by design, signalling a countdown to his inevitable death. It all gets a little Home Alone when he's reduced to chasing an escaped Jenny (Milano). His final fight delivers more bite than the silly talk might have led you to expect.
For fans of eighties explosions and Arnold's less sci-fi fare - Commando will hold a special place in the canon. Otherwise, it's a mostly middling effort, playing catch-up with Rambo, and destined to be outmoded by future refinements of the Schwarzenegger formula. Franchise fans may have fun imagining it somehow fits into the backstory of Predator.
Originally Posted: https://letterboxd.com/dialmformicker/film/commando/
Tuesday, October 09, 2018
Letterboxd: Dracula: Prince of Darkness
I always approach Hammer Horror with the best of intentions, but I'm not sure Hammer Horror does the same for me. Watching Dracula: Prince of Darkness
some fifty years on- it's pleasing to see the classic vampire mythos
played straight, but difficult to bridge the advances of pace and
production in the half-century of filmmaking since.
The late Christopher Lee remains as grand a draw as ever, but his characterization is uneven in this second outing, oscillating between the commanding icon of Dracula you might imagine in your mind, and a devastatingly camp parody.
Though widely disputed; Lee credited a poor script with his decision to play the role completely without speaking. Whether by design of penny pinching producers, or the creative vision of actor or writer, its a decision that elevates a performance at its very best when minimal and still. Of course, don't be fooled by trivia: Dracula is not silent throughout the movie!
The titular Prince of Darkness lowers himself when shooing a rival vampire from fresh meat. He uses the kind of vamping hiss that must've inspired Sho'nuff. When the villain finally meets his demise, he does so with flailing slapstick and over the top yelps. An undignified end to the arch-villain, redeemed only by the strength of its concept.
The Dracula sequel, set ten years after Christopher Lee's first outing, deserves to be seen in its full context, but could best be captured by a montage of its conceptually driven horror. Its greatest point of difference to earlier visions is the vivid colour of its picture and imagination.
The occult constraints of invitation and sunlight are familiar tropes to the vampire genre, but the power of running water is one of the less common tricks that lend some surprise to the tried and true formula found throughout. Indeed, much of Prince of Darkness and its basic structure will be familiar to anyone aware of the classics, or the many dozens of imitators that have paid homage. Personal thresholds will determine whether you buy in to one of the better examples of the power of the holy cross - mythology later films freqeuntly subvert, or discard.
The first forty-or-so minutes of recap and foreboding is the greatest barrier to entry. A tale of hapless travelers is most tedious, but those who endure will be rewarded with Dracula's resurrection scene. When lurching minion Klove clobbers beloved Australian actor Charles "Bud" Tingwell - the movie really begins! Simple transitions, and generous helpings of "kensington gore", work wonders in turning an open coffin filled with ash into a memorable movie moment!
The supporting cast lacks the inherent presence of a Peter Cushing, but Andrew Keir attacks the expository role of Father Sandor with conviction. Barbara Shelley brings an energetic menace to the film's second vampiric threat. Their roles aren't big enough to elevate an otherwise middle of the road picture, but compensate for a dull heroic lead, and give context to the threat of Dracula himself.
Dracula: Prince of Darkness sits early enough in the vampire canon to warrant at least one viewing, but its place in film history is challenged by the breadth of its weakest moments. It's a legend sustained by still shots of Dracula's bloodshot red eyes, and Christopher Lee's looming, rather than the full ninety minutes of human struggle.
The late Christopher Lee remains as grand a draw as ever, but his characterization is uneven in this second outing, oscillating between the commanding icon of Dracula you might imagine in your mind, and a devastatingly camp parody.
Though widely disputed; Lee credited a poor script with his decision to play the role completely without speaking. Whether by design of penny pinching producers, or the creative vision of actor or writer, its a decision that elevates a performance at its very best when minimal and still. Of course, don't be fooled by trivia: Dracula is not silent throughout the movie!
The titular Prince of Darkness lowers himself when shooing a rival vampire from fresh meat. He uses the kind of vamping hiss that must've inspired Sho'nuff. When the villain finally meets his demise, he does so with flailing slapstick and over the top yelps. An undignified end to the arch-villain, redeemed only by the strength of its concept.
The Dracula sequel, set ten years after Christopher Lee's first outing, deserves to be seen in its full context, but could best be captured by a montage of its conceptually driven horror. Its greatest point of difference to earlier visions is the vivid colour of its picture and imagination.
The occult constraints of invitation and sunlight are familiar tropes to the vampire genre, but the power of running water is one of the less common tricks that lend some surprise to the tried and true formula found throughout. Indeed, much of Prince of Darkness and its basic structure will be familiar to anyone aware of the classics, or the many dozens of imitators that have paid homage. Personal thresholds will determine whether you buy in to one of the better examples of the power of the holy cross - mythology later films freqeuntly subvert, or discard.
The first forty-or-so minutes of recap and foreboding is the greatest barrier to entry. A tale of hapless travelers is most tedious, but those who endure will be rewarded with Dracula's resurrection scene. When lurching minion Klove clobbers beloved Australian actor Charles "Bud" Tingwell - the movie really begins! Simple transitions, and generous helpings of "kensington gore", work wonders in turning an open coffin filled with ash into a memorable movie moment!
The supporting cast lacks the inherent presence of a Peter Cushing, but Andrew Keir attacks the expository role of Father Sandor with conviction. Barbara Shelley brings an energetic menace to the film's second vampiric threat. Their roles aren't big enough to elevate an otherwise middle of the road picture, but compensate for a dull heroic lead, and give context to the threat of Dracula himself.
Dracula: Prince of Darkness sits early enough in the vampire canon to warrant at least one viewing, but its place in film history is challenged by the breadth of its weakest moments. It's a legend sustained by still shots of Dracula's bloodshot red eyes, and Christopher Lee's looming, rather than the full ninety minutes of human struggle.
Originally Posted: https://letterboxd.com/dialmformicker/film/dracula-prince-of-darkness/
Sunday, October 07, 2018
Saturday, October 06, 2018
Letterboxd: Batman v Superman: Dawn of Justice
Up to this point I've made very little effort to see Batman v
Superman: Dawn of Justice. I've been a fan of Superman and Batman on the
page (and screen) for most of my conscious life, but it was clear from
previews this wasn't going to be for me. What I failed to grasp was how
totally and utterly terrible the experience would be.
It's difficult to think of any arena where this film doesn't meet with failure. At times it barely functions as a narrative film, shuffling from one sequence to the next, clumsily delivering pieces of information for future reference. I wouldn't like to say too many negative things about wardrobe or extras in the film, but nobody is spared the wrath of an ever-present layer of computer-rendered muting, damning almost all facets to condemnation.
The visual hue is evident to announce this as a Zack Snyder film, but it still stuns me the same director who so lovingly adapted Frank Miller's 300 is responsible for this! Sprinkled references to The Dark Knight Returns recall Snyder's previous passions, but the source material is so completely failed, it raises questions about how much blame the director should be allocated. The sense of a compromised vision is here. It's just a question of whether or not Snyder should've been here at all, bending to interests that weren't his.
As Warner Bros play catch-up with Marvel's superhero universe, someone probably thought it would be clever to organically sew the seeds of a Justice League sequel into the plot of Dawn of Justice. If only that were something they actually did! Commerce enters the room every time Gal Gadot is on screen, serving a sub-plot that has nothing to do with the rest of this film! It culminates in an interlude of Quicktime trailers for future DC players who are so utterly tainted by the bad taste of this film - I don't even want to think about seeing more!
No one is more soiled by the whole experience than Superman and Batman themselves. They plod and grimace their way through a film, barely motivated or engaged, full of sound & fury signifying nothing. They enter the movie idiots, long before the war is settled with a very obtuse reference to the ubiquitous "Martha": mother of macguffins.
The biggest shock of the film comes in the final act, when the obligatory rampaging CG monstrosity manages to focus the film toward something more enjoyable. Which is to say, everything in the preceding acts was so utterly miserable. This vision of Doomsday, like every other DC Comics character featured in the film, is only vaguely reminiscent of the comic book original. They managed to make a fairly shallow character even less remarkable.
Wonder Woman doesn't quite steal the show, but comes damn near close, arriving in full costume to cut a car in half, and smack the beast around without the baggage now dragging the title heroes down. Its enough to qualify as one of the three positive things I counted, but the commercial for his spin-off -- a photo -- wasn't necessary.
What were the other two positives? Laurence Fishburne isn't the Perry White of comics fame, but he's always a pleasant presence, and had a nice enough Wizard of Oz joke about Clark Kent disappearing back to Kansas. The other was the music cue for Lex Luthor. Presumably from JunkieXL's contribution, it's deliciously over the top, and could've been very fun had it been in contrast to a more crisp villain. Instead, it trips and smashes its face, accompanying an excruciatingly lame attempt to update an all-time classic.
The rest of the film is miserable. Utterly miserable. I'm stunned just how bad it is. Top to bottom: no good. During the movie I noticed I had a thorn caught in the back of my trousers and accidentally pushed it into my finger tip. That wasn't the worst thing that happened to me! The only benefit to having seen it is that there is absolutely no reason I ever need to think about it again. Except, perhaps, in my nightmares. Not to be confused with a "Knightmare", which probably should've been excised all together. Yeesh!
It's difficult to think of any arena where this film doesn't meet with failure. At times it barely functions as a narrative film, shuffling from one sequence to the next, clumsily delivering pieces of information for future reference. I wouldn't like to say too many negative things about wardrobe or extras in the film, but nobody is spared the wrath of an ever-present layer of computer-rendered muting, damning almost all facets to condemnation.
The visual hue is evident to announce this as a Zack Snyder film, but it still stuns me the same director who so lovingly adapted Frank Miller's 300 is responsible for this! Sprinkled references to The Dark Knight Returns recall Snyder's previous passions, but the source material is so completely failed, it raises questions about how much blame the director should be allocated. The sense of a compromised vision is here. It's just a question of whether or not Snyder should've been here at all, bending to interests that weren't his.
As Warner Bros play catch-up with Marvel's superhero universe, someone probably thought it would be clever to organically sew the seeds of a Justice League sequel into the plot of Dawn of Justice. If only that were something they actually did! Commerce enters the room every time Gal Gadot is on screen, serving a sub-plot that has nothing to do with the rest of this film! It culminates in an interlude of Quicktime trailers for future DC players who are so utterly tainted by the bad taste of this film - I don't even want to think about seeing more!
No one is more soiled by the whole experience than Superman and Batman themselves. They plod and grimace their way through a film, barely motivated or engaged, full of sound & fury signifying nothing. They enter the movie idiots, long before the war is settled with a very obtuse reference to the ubiquitous "Martha": mother of macguffins.
The biggest shock of the film comes in the final act, when the obligatory rampaging CG monstrosity manages to focus the film toward something more enjoyable. Which is to say, everything in the preceding acts was so utterly miserable. This vision of Doomsday, like every other DC Comics character featured in the film, is only vaguely reminiscent of the comic book original. They managed to make a fairly shallow character even less remarkable.
Wonder Woman doesn't quite steal the show, but comes damn near close, arriving in full costume to cut a car in half, and smack the beast around without the baggage now dragging the title heroes down. Its enough to qualify as one of the three positive things I counted, but the commercial for his spin-off -- a photo -- wasn't necessary.
What were the other two positives? Laurence Fishburne isn't the Perry White of comics fame, but he's always a pleasant presence, and had a nice enough Wizard of Oz joke about Clark Kent disappearing back to Kansas. The other was the music cue for Lex Luthor. Presumably from JunkieXL's contribution, it's deliciously over the top, and could've been very fun had it been in contrast to a more crisp villain. Instead, it trips and smashes its face, accompanying an excruciatingly lame attempt to update an all-time classic.
The rest of the film is miserable. Utterly miserable. I'm stunned just how bad it is. Top to bottom: no good. During the movie I noticed I had a thorn caught in the back of my trousers and accidentally pushed it into my finger tip. That wasn't the worst thing that happened to me! The only benefit to having seen it is that there is absolutely no reason I ever need to think about it again. Except, perhaps, in my nightmares. Not to be confused with a "Knightmare", which probably should've been excised all together. Yeesh!
Friday, October 05, 2018
Letterboxd: Hunt for the Wilderpeople
Find the local fat kid and go on an unannounced hike in the nearest
area of nature. Local authorities, to say nothing of casual observers,
probably won't find your adventure in kidnapping terribly exotic, or
charming.
Taika Waititi's episode of life in country New Zealand is ready for export, but may be too mundane for anyone living, or familiar with, similar semi-rural areas.
The regional characters all ring true, risking becoming unremarkable, if not for the charismatic personalities of its performing cast, and the availability of tongues in cheeks. Rachel House goes particularly big as the bombastically concerned child welfare worker, who seems as interested in filling the farthest conceivable corners of her job listing, as she is actually doing good for children.
Waititi, like many of his countrymen, keeps an eye on the unimpressive, dwelling self-deprecatingly on coveted mod-cons usually taken for granted in American cinema. It can be stretched a little thin, as with the director's cameo as a junkfood obsessed priest, but it creates a consistent and authentic vibe to the picture.
Hunt for the Wilderpeople is predominantly a two-man show that could work on stage, with a little more writing, and the right cast.
Sam Neill keeps a stiff upper lip as the lovably cantankerous countryman ill at ease with his feelings, but full with emotion. Julian Dennison stands out as motormouthed Ricky Baker, a foster kid just trying to come to terms with a series of bad situations that are out of his control. It will be fascinating to see if Dennison keeps this screen energy into maturity, and how he will use it in the future. Both elicit genuine affection as they do an odd couple's dance toward friendship.
Survival and genuine action help keep the movie rolling, punctuating the chase with subdued comedy. Like other Waititi films, the laughs aren't as frequent as they could be. It wilfully stops short of being a great film, settling for good.
Taika Waititi's episode of life in country New Zealand is ready for export, but may be too mundane for anyone living, or familiar with, similar semi-rural areas.
The regional characters all ring true, risking becoming unremarkable, if not for the charismatic personalities of its performing cast, and the availability of tongues in cheeks. Rachel House goes particularly big as the bombastically concerned child welfare worker, who seems as interested in filling the farthest conceivable corners of her job listing, as she is actually doing good for children.
Waititi, like many of his countrymen, keeps an eye on the unimpressive, dwelling self-deprecatingly on coveted mod-cons usually taken for granted in American cinema. It can be stretched a little thin, as with the director's cameo as a junkfood obsessed priest, but it creates a consistent and authentic vibe to the picture.
Hunt for the Wilderpeople is predominantly a two-man show that could work on stage, with a little more writing, and the right cast.
Sam Neill keeps a stiff upper lip as the lovably cantankerous countryman ill at ease with his feelings, but full with emotion. Julian Dennison stands out as motormouthed Ricky Baker, a foster kid just trying to come to terms with a series of bad situations that are out of his control. It will be fascinating to see if Dennison keeps this screen energy into maturity, and how he will use it in the future. Both elicit genuine affection as they do an odd couple's dance toward friendship.
Survival and genuine action help keep the movie rolling, punctuating the chase with subdued comedy. Like other Waititi films, the laughs aren't as frequent as they could be. It wilfully stops short of being a great film, settling for good.
Originally Posted: https://letterboxd.com/dialmformicker/film/hunt-for-the-wilderpeople/
Letterboxd: John Wick
The memory of John Wick is simultaneously vague, yet vivid. Static,
in hues of blue, existing successfully as a mascot-driven proof of
concept, but lacking any lasting impression to go beyond the poster, or
stills.
The franchise-starter thrives in a reasonably barren market, but can only masquerade as a cult favourite, underachieving in most of the categories that mint genuine, high-concept action classics.
Keanu Reeves anchors the film as its stoic, uber-capable protagonist, at last returning to the man-in-black action heroes he made famous at the turn of the millennium. The cache of The Matrix is self-evident, but fans will see strands of his Constantine, if so inclined, as he navigates the secret world of this movie's cartoon New York City.
Unlike earlier examples in Reeve's oeuvre, John Wick can only muster an impersonation of style.
A decade of bland, pseudo-realism in corporate blockbusters has clearly bludgeoned the audience if this is celebrated at all. Digital photography is clean and crisp, but there's no real vision behind the design or cinematography, relying on Instagram filters to elevate it above the high-contrast of contemporaries, like The Expendables.
The greatest disappointment of John Wick lies in its failure to utilize a strong supporting cast.
Its one-note attempt at style carries over to the creation of utterly forgettable friends and foes. Indeed, the movie plays almost like a well connected student film, puzzled together over a series of improvised weekends shared with famous friends paid in barbecue. It may not be worth watching if not for its cult of participating personalities.
Ian McShane stands out as a hotel owner savvy to the goings on of his clientele, who just happen to include criminals and assassins. The riff of clear conditions applies Highlander's church neutrality to creating some semblance of a character around McShane's natural charisma. Under different circumstances, he could function as the franchise centre, rendering Wick a recurring presence in his world, rather than vice versa.
Willem Dafoe is under utilized as a seasoned vet of the killing game. It's hard to remember if his allegiances are unclear, or if his character is just poorly realized. His presence invites the mind to wander to a better like-minded movie, where his wader-wearing gang leader was unforgettable in Streets of Fire.
Matrix alum Daniel Bernhardt had more to contribute. Pro-wrestler turned actor Kevin Nash at least brings a natural physicality to his cameo role. All of these characters would've been better had they received any of the creative attention the Continental Hotel received.
Gimmick is not a dirty word, and in the case of John Wick, it's really what's missing. The action is too lowkey, and the story too shallow, to allow a character as minimal as John Wick to carry an entire picture. Everything about the movie suggests this should be a world populated with colourful, memorable characters. The choice to deny that only makes it underwhelming.
The franchise-starter thrives in a reasonably barren market, but can only masquerade as a cult favourite, underachieving in most of the categories that mint genuine, high-concept action classics.
Keanu Reeves anchors the film as its stoic, uber-capable protagonist, at last returning to the man-in-black action heroes he made famous at the turn of the millennium. The cache of The Matrix is self-evident, but fans will see strands of his Constantine, if so inclined, as he navigates the secret world of this movie's cartoon New York City.
Unlike earlier examples in Reeve's oeuvre, John Wick can only muster an impersonation of style.
A decade of bland, pseudo-realism in corporate blockbusters has clearly bludgeoned the audience if this is celebrated at all. Digital photography is clean and crisp, but there's no real vision behind the design or cinematography, relying on Instagram filters to elevate it above the high-contrast of contemporaries, like The Expendables.
The greatest disappointment of John Wick lies in its failure to utilize a strong supporting cast.
Its one-note attempt at style carries over to the creation of utterly forgettable friends and foes. Indeed, the movie plays almost like a well connected student film, puzzled together over a series of improvised weekends shared with famous friends paid in barbecue. It may not be worth watching if not for its cult of participating personalities.
Ian McShane stands out as a hotel owner savvy to the goings on of his clientele, who just happen to include criminals and assassins. The riff of clear conditions applies Highlander's church neutrality to creating some semblance of a character around McShane's natural charisma. Under different circumstances, he could function as the franchise centre, rendering Wick a recurring presence in his world, rather than vice versa.
Willem Dafoe is under utilized as a seasoned vet of the killing game. It's hard to remember if his allegiances are unclear, or if his character is just poorly realized. His presence invites the mind to wander to a better like-minded movie, where his wader-wearing gang leader was unforgettable in Streets of Fire.
Matrix alum Daniel Bernhardt had more to contribute. Pro-wrestler turned actor Kevin Nash at least brings a natural physicality to his cameo role. All of these characters would've been better had they received any of the creative attention the Continental Hotel received.
Gimmick is not a dirty word, and in the case of John Wick, it's really what's missing. The action is too lowkey, and the story too shallow, to allow a character as minimal as John Wick to carry an entire picture. Everything about the movie suggests this should be a world populated with colourful, memorable characters. The choice to deny that only makes it underwhelming.
Originally Posted: https://letterboxd.com/dialmformicker/film/john-wick/
Friday, September 28, 2018
Wednesday, September 26, 2018
Tuesday, September 25, 2018
Monday, September 24, 2018
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Thursday, September 20, 2018
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Thursday, August 30, 2018
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Friday, August 17, 2018
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Thursday, July 05, 2018
Tuesday, July 03, 2018
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Friday, March 30, 2018
Infinite Wars: Superman vs Orion
SUPERMAN versus ORION
Superman vs The New Gods! The Champion! (DC)
Where: Action Comics #586 When: March 1987
Why: John Byrne & Dick Giordano How: John Byrne
The Story So Far...
The will of the evil god Darkseid is far reaching! On Earth, his plans to undermine the public's trust lead to a federal outlawing of unsanctioned heroes and vigilantes. Which means Superman is stuck in the unassuming guise of Clark Kent when Omega Beams suddenly pursue him through the streets of Metropolis!
Despite his best efforts to evade them; the Omega Beams find their target - transporting the Daily Planet Reporter to the throne room of Darkseid! With The Phantom Stranger in witness, Darkseid feigns ignorance to the mortal's true identity - casting him into the wild of his dominion!
Stripped of his memory by the Fire Pits of Apokolips, Superman is manipulated to lead a revolt on behalf of the Lowlies who pulled him from the inferno. As quickly as he championed these Hunger Gods, the confused Man of Steel betrays them -- tricked to believe he is the son of Darkseid!
While Granny Goodness attempts to restore Superman's dulled powers with an intense and cruel training regiment -- the true son of Darkseid rushes to his aid! Orion and Lightray prepare for a fight, but it may be the man they're coming to rescue who works hardest to destroy them
Full Article: https://secretearths.blogspot.com/2018/03/superman-versus-orion.html
Where: Action Comics #586 When: March 1987
Why: John Byrne & Dick Giordano How: John Byrne
The Story So Far...
The will of the evil god Darkseid is far reaching! On Earth, his plans to undermine the public's trust lead to a federal outlawing of unsanctioned heroes and vigilantes. Which means Superman is stuck in the unassuming guise of Clark Kent when Omega Beams suddenly pursue him through the streets of Metropolis!
Despite his best efforts to evade them; the Omega Beams find their target - transporting the Daily Planet Reporter to the throne room of Darkseid! With The Phantom Stranger in witness, Darkseid feigns ignorance to the mortal's true identity - casting him into the wild of his dominion!
Stripped of his memory by the Fire Pits of Apokolips, Superman is manipulated to lead a revolt on behalf of the Lowlies who pulled him from the inferno. As quickly as he championed these Hunger Gods, the confused Man of Steel betrays them -- tricked to believe he is the son of Darkseid!
While Granny Goodness attempts to restore Superman's dulled powers with an intense and cruel training regiment -- the true son of Darkseid rushes to his aid! Orion and Lightray prepare for a fight, but it may be the man they're coming to rescue who works hardest to destroy them
Full Article: https://secretearths.blogspot.com/2018/03/superman-versus-orion.html
Friday, March 23, 2018
Infinite Wars: Captain Marvel vs Superman
CAPTAIN MARVEL versus SUPERMAN
Living Daylights (DC)
Where: Action Comics Annual #4 When: 1992
Why: Dan Vado How: Chris Wozniak
The Story So Far...
The darkness of rage and vengeance is threatening to eclipse a world besieged by Eclipso! The ancient demon of vengeance has been returned upon the mortal world, exploiting the darkness within the mortal soul to possess an ever growing army of eclipsed souls!
With the situation growing more desperate as Earth's greatest defenders fall under Eclipso's control, what's left of the Justice League of America must work with Professor Emil Hamilton and Lex Luthor to devise a means of combatting Eclipso's plague-like influence!
Desperate to buy the heroes the time they need to enact a technological trap - Superman volunteers himself in exchange for the souls Eclipso has hoarded in a small fishing village. As he becomes a vessel for Eclipso himself, even Superman is unaware of the League's ace in the hole: The Power of Shazam!
Full Article: https://secretearths.blogspot.com/2018/03/captain-marvel-versus-superman.html
Where: Action Comics Annual #4 When: 1992
Why: Dan Vado How: Chris Wozniak
The Story So Far...
The darkness of rage and vengeance is threatening to eclipse a world besieged by Eclipso! The ancient demon of vengeance has been returned upon the mortal world, exploiting the darkness within the mortal soul to possess an ever growing army of eclipsed souls!
With the situation growing more desperate as Earth's greatest defenders fall under Eclipso's control, what's left of the Justice League of America must work with Professor Emil Hamilton and Lex Luthor to devise a means of combatting Eclipso's plague-like influence!
Desperate to buy the heroes the time they need to enact a technological trap - Superman volunteers himself in exchange for the souls Eclipso has hoarded in a small fishing village. As he becomes a vessel for Eclipso himself, even Superman is unaware of the League's ace in the hole: The Power of Shazam!
Full Article: https://secretearths.blogspot.com/2018/03/captain-marvel-versus-superman.html
Thursday, March 22, 2018
Friday, March 16, 2018
Infinite Wars: Jessica Jones vs Scorpion
JESSICA JONES versus SCORPION
The Secret Origin of Jessica Jones 2 of 2 (Marvel)
Where: Alias #23 When: August 2003
Why: Brian Michael Bendis How: Michael Gaydos
The Story So Far...
Jessica Campbell was an ordinary kid until her life was turned upside down by a car accident on the way home from a family trip to Disney World.
The collision with a military convoy carrying hazardous chemicals killed her family, and left Jessica in a coma for six months. She awakens to a world in chaos as Galactus and his herald touch down in Manhattan.
If that wasn't bad enough: Jessica is soon adopted, and returned to a life of high school bullying and flashbacks to her family's death. The only upside is that she can now fly and break trees with a firm shove! With great power comes great possibility and fate is about to deliver Jessica to her first heroic moment!
Full Article: https://secretearths.blogspot.com/2018/03/jessica-jones-versus-scorpion.html
Where: Alias #23 When: August 2003
Why: Brian Michael Bendis How: Michael Gaydos
The Story So Far...
Jessica Campbell was an ordinary kid until her life was turned upside down by a car accident on the way home from a family trip to Disney World.
The collision with a military convoy carrying hazardous chemicals killed her family, and left Jessica in a coma for six months. She awakens to a world in chaos as Galactus and his herald touch down in Manhattan.
If that wasn't bad enough: Jessica is soon adopted, and returned to a life of high school bullying and flashbacks to her family's death. The only upside is that she can now fly and break trees with a firm shove! With great power comes great possibility and fate is about to deliver Jessica to her first heroic moment!
Full Article: https://secretearths.blogspot.com/2018/03/jessica-jones-versus-scorpion.html
Friday, March 09, 2018
Infinite Wars: Bronze Tiger & Vixen vs Stalnoivolk
BRONZE TIGER & VIXEN versus STALNOIVOLK
The Phoenix Gambit: Part Four Black Queen's Mate (DC)
Where: Suicide Squad #43 When: July 1990 Why: John Ostrander & Kim Yale How: Geof Isherwood
The Story So Far...
The Suicide Squad have been dissolved, and Amanda Waller imprisoned, but political unrest in the Eastern European nation of Vlatava has forced the powers that be to reactivate their expendable black-ops force!
Now operating as a fully autonomous outfit under Waller's command; a team, partially reassembled by The Batman, infiltrates Vlatava under the guise of going freelance to a global market!
Russian General Kaligari agrees to hire Waller under strict conditions, working to expedite hardline aggressions against the deranged Count Vertigo, and his Vlatavian resistance. In truth, the Squad work against the Russians, aiming to bring in one of their toughest agents -- the man wanted in connection to an assassination in Gotham City: Ivan Illyich Gort - Stalnoivolk!
Full Article: https://secretearths.blogspot.com/2018/03/bronze-tiger-vixen-versus-stalnoivolk.html
Where: Suicide Squad #43 When: July 1990 Why: John Ostrander & Kim Yale How: Geof Isherwood
The Story So Far...
The Suicide Squad have been dissolved, and Amanda Waller imprisoned, but political unrest in the Eastern European nation of Vlatava has forced the powers that be to reactivate their expendable black-ops force!
Now operating as a fully autonomous outfit under Waller's command; a team, partially reassembled by The Batman, infiltrates Vlatava under the guise of going freelance to a global market!
Russian General Kaligari agrees to hire Waller under strict conditions, working to expedite hardline aggressions against the deranged Count Vertigo, and his Vlatavian resistance. In truth, the Squad work against the Russians, aiming to bring in one of their toughest agents -- the man wanted in connection to an assassination in Gotham City: Ivan Illyich Gort - Stalnoivolk!
Full Article: https://secretearths.blogspot.com/2018/03/bronze-tiger-vixen-versus-stalnoivolk.html
Sunday, March 04, 2018
Monday, February 26, 2018
Friday, February 23, 2018
Infinite Wars: Wolverine vs Black Panther
WOLVERINE versus BLACK PANTHER
Chapter 4: Third Contest: Siege in the City of the Dead! (Marvel)
Where: Marvel Super Hero Contest of Champions #3 When: August 1982 Why: Mark Gruenwald, Steven Grant & Bill Mantlo How: John Romita Jr
The Story So Far...
Across the universe there exists immortal entities whose existence determines cosmic reality. The Grandmaster is one such being: an Elder of the Universe whose taste for games inspires a Contest of Champions!
Snatching the world's heroes from a temporarily frozen Earth; The Grandmaster drafts a team of twelve to represent him in a contest of life and death! His team will race to find segments of a golden artifact scattered to the four corners of the Earth!
The Grandmaster's ultimate prize is the restoration of his immortal brother: The Collector! Killed by the man-god Korvac; The Collector's demise is beyond even the vast cosmic might of a fellow Elder. Thus, The Grandmaster's contest pits him against the ultimate opponent - Death herself!
Full Article: https://secretearths.blogspot.com/2018/02/wolverine-versus-black-panther.html
Where: Marvel Super Hero Contest of Champions #3 When: August 1982 Why: Mark Gruenwald, Steven Grant & Bill Mantlo How: John Romita Jr
The Story So Far...
Across the universe there exists immortal entities whose existence determines cosmic reality. The Grandmaster is one such being: an Elder of the Universe whose taste for games inspires a Contest of Champions!
Snatching the world's heroes from a temporarily frozen Earth; The Grandmaster drafts a team of twelve to represent him in a contest of life and death! His team will race to find segments of a golden artifact scattered to the four corners of the Earth!
The Grandmaster's ultimate prize is the restoration of his immortal brother: The Collector! Killed by the man-god Korvac; The Collector's demise is beyond even the vast cosmic might of a fellow Elder. Thus, The Grandmaster's contest pits him against the ultimate opponent - Death herself!
Full Article: https://secretearths.blogspot.com/2018/02/wolverine-versus-black-panther.html
Friday, February 16, 2018
Infinite Wars: Black Panther vs Klaw
BLACK PANTHER versus ULYSSES KLAWThe Way It Began..! (Marvel)
Where: Fantastic Four #53 When: August 1966
Why: Stan Lee How: Jack Kirby
The Story So Far...
Wakanda celebrates the invited arrival of the Fantastic Four, but as they do, a sinister presence from the African nation's past plots against their young ruler!
Massive rampaging jungle beasts attack the unsuspecting kingdom! Animal simulations created from pure sound energy! They are weapons of revenge created by the master of sound: Ulysses Klaw!
Klaw attack Wakanda ten years earlier, killing King T'Chaka in an attempt to claim the country's deposit of rare vibranium metal! Young Prince T'Challa thwarted the attack, and must once again go on the hunt to stop the brutal arch-nemesis whose hand he once destroyed! While the Fantastic Four battle Klaw's sonic monsters -- Black Panther confronts his father's killer!
Sunday, February 11, 2018
Saturday, February 10, 2018
Friday, February 02, 2018
Infinite Wars: Black Panther vs Thing
BLACK PANTHER versus THING
The Black Panther! (Marvel)
Where: Fantastic Four #52 When: July 1966
Why: Stan Lee How: Jack Kirby
The Story So Far...
When the royal leader of an African nation gifts the Fantastic Four a hi-tech flying vehicle, they're invited to participate in a great Wakandan hunt. Little do they realize - it's the Fantastic Four who will be the prey!
Upon arrival they discover a nation built with the wonders of super-science and riches beyond belief! This is the remarkable kingdom of The Black Panther!
Black Panther hopes to test his fighting prowess and advanced technology against the cosmically powered might of the Fantastic Four. A gambit that begins by separating the group, leaving Thing to unwittingly stumbled into a trap that will leave him vulnerable to unarmed combat!
Full Article: https://secretearths.blogspot.com/2018/02/black-panther-versus-thing.html
Where: Fantastic Four #52 When: July 1966
Why: Stan Lee How: Jack Kirby
The Story So Far...
When the royal leader of an African nation gifts the Fantastic Four a hi-tech flying vehicle, they're invited to participate in a great Wakandan hunt. Little do they realize - it's the Fantastic Four who will be the prey!
Upon arrival they discover a nation built with the wonders of super-science and riches beyond belief! This is the remarkable kingdom of The Black Panther!
Black Panther hopes to test his fighting prowess and advanced technology against the cosmically powered might of the Fantastic Four. A gambit that begins by separating the group, leaving Thing to unwittingly stumbled into a trap that will leave him vulnerable to unarmed combat!
Full Article: https://secretearths.blogspot.com/2018/02/black-panther-versus-thing.html
Friday, January 26, 2018
Infinite Wars: Hawkman & Captain Comet vs Sinestro
HAWKMAN & CAPTAIN COMET versus SINESTRO
Endgame... Plus Two (DC)
Where: Secret Society of Super-Villains #5 When: January-February 1977 Why: Bob Rozakis How: Rich Buckler & Vince Colletta
The Story So Far...
A battle between The Secret Society of Super-Villains and their evil New God masters has left the city battleground coated with rubble. Buried beneath the mess is Captain Comet -- returned hero of the 1950s whose confusion brought him in league with The Society!
Emerging from the urban wreckage, Captain Comet discovers another space hero trapped underneath -- The Green Lantern! No longer mistaking him for a foe, Captain Comet accompanies Hal Jordan to the Justice League Satellite HQ.
There, Superman and the JLA verify the incredible story of Captain Comet's uncanny return! The old hero isn't the only one to have left the ranks of Manhunter's Secret Society of Super-Villains, though!
A satellite alarm signals the disgruntled attack of Sinestro on The Society's Sinister Citadel in San Francisco! With GL on monitor duty; Hawkman recruits Captain Comet to stop Sinestro's earthquake revenge!
Full Article: https://secretearths.blogspot.com/2018/01/hawkman-captain-comet-versus-sinestro.html
Where: Secret Society of Super-Villains #5 When: January-February 1977 Why: Bob Rozakis How: Rich Buckler & Vince Colletta
The Story So Far...
A battle between The Secret Society of Super-Villains and their evil New God masters has left the city battleground coated with rubble. Buried beneath the mess is Captain Comet -- returned hero of the 1950s whose confusion brought him in league with The Society!
Emerging from the urban wreckage, Captain Comet discovers another space hero trapped underneath -- The Green Lantern! No longer mistaking him for a foe, Captain Comet accompanies Hal Jordan to the Justice League Satellite HQ.
There, Superman and the JLA verify the incredible story of Captain Comet's uncanny return! The old hero isn't the only one to have left the ranks of Manhunter's Secret Society of Super-Villains, though!
A satellite alarm signals the disgruntled attack of Sinestro on The Society's Sinister Citadel in San Francisco! With GL on monitor duty; Hawkman recruits Captain Comet to stop Sinestro's earthquake revenge!
Full Article: https://secretearths.blogspot.com/2018/01/hawkman-captain-comet-versus-sinestro.html
Tuesday, January 16, 2018
Monday, January 15, 2018
Friday, January 12, 2018
Infinite Wars: Deadshot vs Enchantress
DEADSHOT versus ENCHANTRESS
Hitting The Fan (DC)
Where: Suicide Squad #6 When: October 1987
Why: John Ostrander How: Luke McDonnell
The Story So Far...
When the Soviet Union proposes a trade with the United States for a controversial novelist's freedom; The Suicide Squad are called upon in secret to extract the prisoner right from under their noses!
It was a politically charged mission to Moscow none of them wanted to take, but the ingenious plan of new recruit Oswald Cobblepot, (aka; The Penguin), makes the trip behind enemy lines seem possible! There's just one catch: Nobody thought to ask Zoya Trigorin if she wanted to be rescued!
A hostile prisoner throws the mission into disarray -- much to the delight of Enchantress! With the Soviet Army closing in fast, Colonel Rick Flag has no choice but to order Deadshot to bring the wild witch down when she goes rogue!
Full Article: https://secretearths.blogspot.com/2018/01/deadshot-versus-enchantress.html
Where: Suicide Squad #6 When: October 1987
Why: John Ostrander How: Luke McDonnell
The Story So Far...
When the Soviet Union proposes a trade with the United States for a controversial novelist's freedom; The Suicide Squad are called upon in secret to extract the prisoner right from under their noses!
It was a politically charged mission to Moscow none of them wanted to take, but the ingenious plan of new recruit Oswald Cobblepot, (aka; The Penguin), makes the trip behind enemy lines seem possible! There's just one catch: Nobody thought to ask Zoya Trigorin if she wanted to be rescued!
A hostile prisoner throws the mission into disarray -- much to the delight of Enchantress! With the Soviet Army closing in fast, Colonel Rick Flag has no choice but to order Deadshot to bring the wild witch down when she goes rogue!
Full Article: https://secretearths.blogspot.com/2018/01/deadshot-versus-enchantress.html
Thursday, January 11, 2018
Monday, January 08, 2018
Sunday, January 07, 2018
Saturday, January 06, 2018
Friday, January 05, 2018
Infinite Wars: Captain Marvel vs Thing
CAPTAIN MARVEL versus THING
Betrayal! (Marvel)
Where: Captain Marvel #26 When: May 1973
Why: Mike Friedrich & Jim Starlin How: Jim Starlin
The Story So Far...
Rick Jones' girlfriend betrayed his love when she fingered him for a murder rap he didn't commit! When Captain Marvel goes looking for answers, he discovers poor Lou-Ann Savannah is a reluctant pawn in a cosmic conspiracy!
The Mad Titan Thanos plans intergalactic conquest starting with the planet Earth, and his scheme is being carried out by Skrull minions: Skragg and Kl'rt!
With the truth exposed: Captain Marvel is on the warpath -- but he's still reeling from the mind-games inflicted in a previous fight with the Skrulls! Super-Skrull has lured The Thing into a trap that paralyzes his vocal chords -- meaning the hero cannot object when Captain Marvel mistakes him for his shape-changing enemies!
Full Article: http://secretearths.blogspot.com/2018/01/captain-marvel-versus-thing.html
Where: Captain Marvel #26 When: May 1973
Why: Mike Friedrich & Jim Starlin How: Jim Starlin
The Story So Far...
Rick Jones' girlfriend betrayed his love when she fingered him for a murder rap he didn't commit! When Captain Marvel goes looking for answers, he discovers poor Lou-Ann Savannah is a reluctant pawn in a cosmic conspiracy!
The Mad Titan Thanos plans intergalactic conquest starting with the planet Earth, and his scheme is being carried out by Skrull minions: Skragg and Kl'rt!
With the truth exposed: Captain Marvel is on the warpath -- but he's still reeling from the mind-games inflicted in a previous fight with the Skrulls! Super-Skrull has lured The Thing into a trap that paralyzes his vocal chords -- meaning the hero cannot object when Captain Marvel mistakes him for his shape-changing enemies!
Full Article: http://secretearths.blogspot.com/2018/01/captain-marvel-versus-thing.html
Saturday, December 30, 2017
Saturday, December 23, 2017
Monday, December 18, 2017
Monday, December 11, 2017
Thursday, November 30, 2017
Monday, November 27, 2017
Saturday, November 25, 2017
Friday, November 24, 2017
Thursday, November 23, 2017
Wednesday, November 15, 2017
Sunday, November 05, 2017
Tuesday, October 24, 2017
Sunday, October 22, 2017
Friday, October 13, 2017
Thursday, October 12, 2017
Tuesday, September 26, 2017
Tuesday, September 19, 2017
Thursday, September 07, 2017
Wednesday, September 06, 2017
Tuesday, August 29, 2017
Sunday, August 27, 2017
Saturday, August 12, 2017
Friday, July 21, 2017
Wednesday, July 12, 2017
Friday, July 07, 2017
Tuesday, June 27, 2017
Wednesday, June 21, 2017
Monday, June 12, 2017
Friday, June 09, 2017
Thursday, June 08, 2017
Friday, June 02, 2017
Thursday, May 18, 2017
Wednesday, May 17, 2017
Monday, May 15, 2017
Wednesday, May 10, 2017
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