Movie Night: Pacific Rim

Kaiju. Jaegers. Badassery.

AKA "Charlie Hunnam Should Never Open his Mouth Again"

Hollywood doesn't make enough monster movies. This is a fact. (That I substantiate on my own.) So when word broke that Guillermo Del Toro was directing a large-scale blockbuster with giant robots facing off against giant creatures, there was a shriek of glee from nerdom. And there was a shriek of glee from my seat the first time I saw a Jaeger (robot) throw down with a Kaiju (monster). Without being melodramatic, it was EPIC.

It's also pretty. So pretty. It's like watching a live-action Gundam Wing/Godzilla mash-up with the highest quality of special effects. Del Toro's creature design, while maintaining an extremely similar style to past flicks, stands out and delivers extraordinarily well against the city-scape backdrops. (This movie gives me unimaginable hope for what a modern Godzilla flick could accomplish.)

Any action sequence was extraordinarily well crafted and never lacked for interesting twists or turns. Two-on-one's, energy weapons, swords (whether attached to the Jaeger or held in hand as a boat is), flying Kaiju, and so many other little tweaks make each fight exciting and unique. And effing awesome. Let's not forget that.

Pacific Rim succeeds so often in its breath-taking fight scenes that its shortcomings are nearly forgivable Unfortunately, the majority of the acting is so piss-poor that it can't help but detract from your experience. Charlie Hunnam, a cross between Channing Tatum and Liam Hemsworth (both of whom are profoundly better actors, relatively) emotes on the lowest level possible. I've seen characters in Mario Kart that exhibit emotion better than he does. Every time he uttered a word during a fight scene I found my rage bar filling up. JUST STOP GIVING HIM LINES!

"Okay Charlie. In this scene, I'm going to need you to act LIKE A FUCKING HUMAN BEING."

Rinko Kikuchi plays his eventual partner/love interest/friends with benefits, bringing all the skill of an awkward anime girl. Seriously, sometimes I thought her eyes were going to balloon up and fake cartoon tears were going to appear. It's too stereotypical a performance, much like early Godzilla flicks where the ladies were... not taken too seriously. And the cast is rounded out by typical appearances from "the douchebag that doesn't trust our hero," and "Russians who like to hit things" and "Asians whose robot designs should be obviously the best but somehow can't last five minutes."

The acting isn't all terrible, mind you. Idris Elba does his thang and does it well. Charlie Day is welcome as the neurotic Dr. Newton Geiszler. Ron Perlman showed up to play off Day and be Ron Perlman. And there was much rejoicing. It's really too bad Elba had to act in all these scenes opposite dreck.

Still, with all the gripes and numerous poor performances, the buck could be passed upward. The dialogue is mediocre at best. (Can we stop using "We/I/You got this!" six times a movie?) Del Toro was probably too concerned with his precious Kaiju to stop and shoot a scene more than once. (Because there's no way I let some of these line readings go in my finished cut.) So he has to share blame for some of the sharp drop in quality.

The Sentencing:

If you're used to monster movies like I am, you'll understand and forgive the bad dialogue. (Even though it was way worse than any monster movie I've seen. It was THAT F*CKING BAD.) You'll instead focus on the unbridled violence on-screen as someone plays with their toy collection in front of you. At least half of Pacific Rim is the greatest monster movie you've ever seen. And that was good enough for me.

Judge Nerdd has spoken! I AM DA LAW!

Movie Night: The Dark Knight Returns: Part I & II

Does it live up to the legacy of its graphic predecessor?

When I originally saw the preview for The Dark Knight Returns animated movie, I was wrought with nerdish emotion. I've been impressed with the DC animated offerings thus far, but none of them (aside from Batman: Year One) have tackled a storyline so revered. But unlike prior entries in the series, DC didn't force this story-line into one 75 minute movie, instead opting for two parts, amounting to one 150 minute saga.

After releasing Part One in November, DC finally got Part Two out in early February, letting us view the longest animated comic epic ever. (I think. Someone can check me on this one if they want to spend the time on it.) Per usual with these animated flicks, my dad and I sat down to watch Part Two over the weekend and came away overly contented.

I won't go into the whole plotline (because you should just read the damn book like a good nerd), but The Dark Knight Returns follows the story of a retired Bruce Wayne/Batman, who's in his later years. When he is confronted with the rising gang called the Mutants, he decides he can no longer sit idly by and watch as innocents suffer. He once again dons the cape and cowl and begins to clash with foes both new and old. In it's physical form, this story is regarded as one of the greatest graphic novels of all-time and one of the significant factors in Batman's transition from the cartoony nature that inspired the Adam West show to the dark and grim version that accounts for Christoper Nolan's The Dark Knight Trilogy.

I was pleasantly surprised with how much made it into the final cuts of both films. I may not be bombarded with the on-air "news" segments as I am in the comic, but there are still plenty to go around. Bruno still walks around with swastikas painted on her exposed (and probably plastic) chesty bits. The Mutants still talk with weird syntax and sentence structure. We've still got Ronald Reagan as President. So it's nearly identical to the book you've already read.

Try looking at this as a kid. So messed up.

There are a few differences here and there, but nothing of extraordinary note. For example, Joker's return to crime during his talk show appearance comes under differing circumstances. There is no female doctor accompanying him and Dr. Wolper onstage, so he doesn't end up kissing her with his poisoned lipstick and driving her insane as she raves about sex. (Something I assume was edited to maintain a PG-13 rating) Instead, he gashes Dr. Wolper across the throat with a broken mug handle. While the change may not deliver disturbances on as many levels, it's highly effective nonetheless. But as there are so few alterations of this kind I have to tip my hat to DC for staying as true as possible while attempting to reach such a wide audience.

The assemblage of voice talent for The Dark Knight Returns is most impressive. Peter Weller (Robocop) stars as the aged caped crusader, giving him a threatening ambiance that almost no other voice could bring. It's his performance that anchors the movie. Ariel Winter (Modern Family) plays the young and talented Robin/Carrie Kelley. Her exuberance throughout plays as a great contrast to her grizzled super-boss. Mark Valley (Hard Target, Boston Legal) is featured in Part Two as Superman, who is now essentially an agent of the United States government. Michael Emerson (Lost) appears as a Joker that seemed to lose a bit of his creepiness in translation from the page. The bigger moments were there, but I have issues any time the Joker sounds "normal."

Maria Canals-Barrera (you'll know her as Hawkgirl from the Justice League series) steps in as Commissioner Gordon's replacement, Ellen Yindel. She sounds just as bad-ass as she ever did. Michael McKean (the Christopher Guest flicks) plays Dr. Bartholomew Wolper, which makes me tremendously happy. A - He's working. B - He's great. Even Conan O'Brien pops in for Part II as talk show host Dave Endochrine, in about as perfect a casting as you can find. It's this thoughtful attention and creativity to filling these roles from Casting Director Andrea Romano that makes her one of the best in the business.

And as we've come to expect from DC Animation, The Dark Knight Returns features an art style that is very much in line with the original comic series, which in this case means the illustrations of Frank Miller. Batman has a hulkish form to him, lumbering across the screen when he's not flying around it during action sequences. The art direction is dead-on, perfectly adapting this 80's masterpiece for a new medium.

The Verdict:

From start to finish, The Dark Knight Returns Part I and Part II form an animated epic of truly wondrous proportions. Fans of the original series will not be disappointed in the slightest, while newcomers will find themselves entrenched in this gritty feature. I can't wait to watch them again.

Nerdd judgement rendered! I AM DA LAW!

Judge Nerdd: Prometheus

I Still Haven't Found What I'm Looking For.

We finally have another installment in the Alien universe. But was it worth the wait? In my several discussions with friends and contemporaries in my short time since seeing Ridley Scott's Prometheus at midnight, I keep going back to one word to describe the film: muddled. But before I run through all my criticisms, there are some clear positives.

Visually the film is stunning. I could even notice several parts where seeing it in 3-D would have been a desirable experience. Michael Fassbender is fantastic (as always) as the android David, who is the first of his kind. Noomi Rapace has chilling moments as Elizabeth Shaw, fighting her way through sequences that will likely leave you cringing or heartbroken for her. Idris Elba, as always, is too school for school as the ship's captain. Charlize Theron gets in on the fun as the corporate pitbull Vickers. And let's not forget Guy Pearce, who for some reason was cast as the old man Peter Weyland instead of an actual old man.

There are plenty of call-backs to the original flicks, ranging as far as the "We are leaving!" exclamation to the film's sign-off that is unabashedly the same as Alien. Some of them work seamlessly into the film while others feel contrived as a way to give Prometheus a similar aura. Scott caves (likely at the hands of the studio) into giving a sequel-teasing tag-on at the end of the flick. I cannot tell you how forced that scene felt to me. It went on for WAY too long and was utterly unnecessary. And now the evolution of the xenomorph makes no sense to me.

***Now for the questions to which I'd like answers. If you haven't seen it, avoid this next paragraph. I'm gonna spoil the crap out of some parts.***

SPOIL ZONE

How the hell does PILOT Idris Elba know what everything is before all the SCIENTISTS do? After racing back to the ship, Elba's Janek walks right into a room with our main character and spells out everything there is to know about the ruins and its contents with little explanation as to how he possibly came into this knowledge. So it's a biological weapon? And they wanted to send it to Earth? But it turned on them so they buried it here? Uh... okay. 'Cause you shouldn't really know any of that.

That wasn't the only odd character development we saw either. Don't ask me why Noomi was willing to go along with the recently revealed old man (who clearly has an "evil" vibe) just for the sake of seeing this new life form. Whether she was "seeking answers" or not, I feel like she should have sat that out. (Not to mention she probably would have needed to, judging from the fact that she just had major surgery. But it's the future. Whatever.) And speaking of David, why DID he poison Holloway? I can only assume it's because they wanted a quick way to figure out what the black goop was, but that was extraordinarily unexplained.

And why does the Engineer have to get right up out of bed and start killing everything? It seemed like such a convenient horror movie cliche to depend on in order to get the action ramped up. Was that Engineer not in the least curious or willing to speak to his genetic kin once they proved capable of speaking in his language? No? He'd rather just take the black ooze and fly it to Earth? Sure.

It's obvious that that planet was not LV-426 and that was not the ship that the Nostromo discovers on their fateful trip. And the alien showcased at the end of the flick is not the final iteration of the Xenomorph that we saw in the previous installments. So it's very clearly a series of movies being planned. Now instead of one film, I need three to get me to where Alien picks up? Somehow that alien needs to be taken off the planet by another Engineer's ship which then has to crash land on LV-426. Hey 20th Century Fox, I know how your final movie needs to end. Do you wanna pay me to write it?

SPOIL ZONE ENDED

THE VERDICT

Ultimately, Prometheus is probably a solid movie, apart from the (sometimes major) plot gaps. It looks gorgeous, has a eerie feel to it, and has a tremendous cast of actors that fill their roles to the best of their ability. However, the movie gets bogged down and falls short of its own lofty expectations, which are heavily tied to the franchise of which it is now a part. I'm sorry, but I can't treat it as a standalone entry. It takes too many nonsensical jumps in plot and character motivation to be a great movie and is weighed down by its desire to be approachable by the non-Alien crowd while satiating the hardcore fans.

Am I being too hard on Prometheus? Probably. Do I feel bad about it? Not really. It should have been better. For someone who is deeply entrenched in the Alien lore and mythos, I came away from Prometheus sorely disappointed. I find it to be an amazing achievement that Scott gets lost up the ass of his own mythology. If you can get past those connections (or don't care about them), then I would recommend the theater trip. 


Nerdd judgement rendered! I AM THE LAW!

Movie Night: Captain America: The First Avenger

Saving the Best for Last?

After releasing Thor earlier in the summer, Marvel Studios caps off the Superhero Summer of 2011 with Captain America: The First Avenger. Set in the 1940's during the midst of World War II, the tale serves a dual-purpose as not only a superhero flick, but a period film as well. With its setting separating it from the other titles in the Marvel movie series, Captain America brings a completely different world onto the screen. Full of vibrant characters and retro-futuristic technology, The First Avenger is undeniably fun and entertaining. However, what makes it Marvel's best release is the story. The ascension of Steve Rogers into the legendary Super-Solider is expertly propelled by a polished script which definitely was the recipient of a Joss Whedon once-over.

While Steve Rogers isn't as entertaining a character as Tony Stark or as all-powerful as Thor, his story is the most human and therefore, most relate-able. Chris Evans has enough talent for the role, which takes him from a scrawny, determined kid from Brooklyn into a muscle-bound leader of men. Watching him earn his power as well as the respect of his peers and superiors is an altogether inspiring journey. Evans not only acts the part, but he completely looks the part as well. With a training regimen that must have been hell, Evans bulked up considerably from his already muscular physique into the spitting image of Steve Rogers. It's undeniably impressive. And thanks to Hollywood magic, special effects are able to slim down Evans into his skinny pre-Cap self and avoid the dreaded body-double.

Dude's got muscles.

Equally as effective, Hugo Weaving has little trouble giving the Red Skull a realistically maniacal bent. Cap's arch-nemesis has never looked better. With a backstory that is not only original but makes sense for the villain, the leader of HYDRA's utterly evil ambitions and entirely fitting.

Rounding out the cast are several dynamic personalities. Stanley Tucci is delightful as Dr. Abraham Erskine, the scientist who develops the Super Solider formula. Tommy Lee Jones is well, Tommy Lee Jones. He gets great lines as the Colonel in charge of Cap's training and unit. As the only female in the entire cast, Hayley Atwell is uniquely stunning as Peggy Carter. She doesn't have the typical looks or dialogue of a woman in a superhero flick (a good thing), but definitively belongs in this 1940's environment.

The story is clear but manages to cleanly connect with the other Marvel movies in a build-up to The Avengers mega-movie in 2012, thanks to appearances from the Cosmic Cube and a young Howard Stark. The fight scenes (few as they are) are always fun, especially since Cap gets to beat up on Nazi scum. (Who doesn't enjoy seeing that?) His final costume (as he goes through a couple versions, including a stint in the classic) looks the part of a 1940's soldier, with updated material and armor. And the shield is spot-on and realistically worn. (I mean, it's not as is vibranium is red, white and blue.)

While I will not spoil how the film ends, it is befitting of Captain America's memorable and emotional transition into the modern age. (Look to the Ultimate line of comic books for the source material.) And if you haven't heard, DO NOT leave before the credits are over. It's more than worth it and has left me anxious and supremely impatient for 2012.

After seeing four comic books brought to the screen this summer, I can say one thing for certain: Captain America: The First Avenger is the best of the season. (Sorry X-Men. You were awesome.) To me, it's even be the best film under the Marvel Studios banner thus far. However The Avengers is received, one thing is for certain: Marvel has done their job giving these characters their own fully-developed franchises. And finally, The Avengers have their leader.

Movie Night: TrollHunter

The best movie about a film crew following an old guy who tracks Norwegian creatures of lore you'll ever see.

Stepping away from the sci-fi/superhero blockbusters that are littering this summer, I was all too anxious to get to a theater for the Norwegian, low-budget fantasy mockumentary TrollHunter. Made for a modest three million, the POV-style film's suspense and wonderfully downplayed special effects will keep you locked to your chair.

TrollHunter (or Trolljegeren in Norwegian) has a fairly basic premise. A collegiate film crew is tracking down the whereabouts of a supposed poacher who has been illegally killing bears. After repeated attempts to interview the man, (expertly played by Norwegian comedian/actor Otto Jespersen) the trio of students follows his movements for several days, leading them out in the middle a dark Norwegian forest one night. After losing sight of him, the crew is shocked when the man runs back into frame and can only muster the cry of "Troll!" It is then that they discover the man's true occupation: he is a government-funded operative charged with hunting and containing the Norwegian trolls of legend. After that the mockumentary chronicles the hunter as he investigates a series of inter-connected incidents that leads him to a confrontation with the most dangerous troll of all.

What isn't to love about that plot? Loose as it is, it leaves plenty of leeway for the film to take you on a tour of Norway's gorgeous landscapes as well as its folklore, which it borrows from liberally. TrollHunter takes the troll and twists into a real life mammal, complete with some of its trademark characteristics. Turning into stone when exposed to sunlight and smelling the blood of a Christian are just a few of the traditional traits they apply to the film versions of these fantastical creatures. They avoid making them hokey or childish at any point, instead focusing on the extreme danger they can pose when in the proper setting.

Obviously, a movie based on a man that hunts trolls is going to have moments of levity. However, they were far fewer than I had expected. While it doesn't take itself too seriously, the film doesn't let you move past the inherent fear of the unknown which could be lurking around any corner. If these characters couldn't relax, neither could I. As characters, none the film crew is given much depth, which sadly may detract from any emotional investment on the viewer's part, as aside from the troll hunter himself there are only a few other named roles.

In regards to the trolls, they're certainly a treat at which to look. Coming in a variety of forms and sizes, the Norwegian creatures are given a decent scientific explanation (relative to other movies of TrollHunter's ilk). While some of the trolls the crew encounters are seen through slightly fuzzy night vision, any clear shot of the trolls is always a good one. Not cartoony in the slightest, the trolls are realized with a gritty, almost prehistoric nature. (Think the trolls from Lord of the Rings trilogy.) At no point in the movie will you find yourself saying "That looks dumb." And in a creature feature, that's a tremendous compliment.

Without a advertising campaign, a bankable American star or flashy effects, TrollHunter illustrates some of the best that foreign films have to offer. Norway's deep, immersive national mythology lends itself to films of this genre, keeping it based in a legitimate (if still make-believe) mythology. If you can find a theater playing TrollHunter, make to sure to buy yourself a ticket. It's an effing fun ride.

Movie Night: Green Lantern

That'll Do Hal, That'll Do.

Anyone that knows me personally is well aware of how long I've been waiting for a Green Lantern film. Behind Spider-man, GL is a close second for my favorite superhero ever. The ever-changing settings, the space drama, the bad-ass ring, and the propelling theme of controlling your emotions and harnessing your willpower hooked me from the moment I started reading. Ever since I have become so entrenched in the Green Lantern universe that it and Green Lantern Corps are the titles I look forward to reading the most. So believe when I say I was more than anxious as I waited for a midnight showing to commence featuring the emerald ring-slinger.

Back when I started reading the comic series in the 90's, I knew the technology to bring the lantern story to the screen simply didn't exist. In 2011, not only does the technology exist, but the financial backing for superhero movies has never been more forthcoming. So enter Green Lantern, a movie with a more than solid cast and a whopping $200 million budget.

Let's start with the hopefully bankable star of this production: Ryan Reynolds. As Hal Jordan, he's wittier than I'd like him to be. No offense to Hal, but the guy just isn't that funny. He doesn't have a lot of one-liners. Unfortunately, Reynolds is too effing funny/sarcastic/annoying to not have a few zingers in the flick. That being said, I certainly expected more of them. He's got the looks and he's got the chops, so who am I to complain about a studio wanting someone entertaining in the role? He may not have been my first choice for Hal, but he's certainly not at the bottom.

As far as the Green Lantern Corps goes, I have no complaints whatsoever. Mark Strong is absolutely spot-on as the legendary and ferocious Lantern Sinestro. The intensity behind Strong's eyes bring life to the character and set the stage for one of the most significant aspects of the Green Lantern mythos. Tomar-Re and Kilowog are voiced by the talented Geoffrey Rush and Michael Clarke Duncan, respectively, perfectly capturing the essence of two storied members of the Corps. As for their leaders the Guardians, I thought they were aloof and arrogant enough in the time they're on screen and were exactly how I would have imagined them. I desperately wanted to see more of the lantern forces, but this was definitely more of a Hal Jordan story than a tale of the Corps. Maybe next time...

For the story's main villain, enter Parallax. A deep history in the comics, the Parallax of the film has been tweaked a bit. He's still a representation of fear, but instead of a cosmic entity that IS fear, he's a former Guardian infected and consumed with the yellow energy that is fueled by fear. It worked for me. I never expected them to create glowing alien life forms in the color of the spectrum, so this was a way to work a Parallax into the film.

On the terrestrial side of the movie, I was surprised by how not annoyed I was by Blake Lively. I knew she would be easy on the eyes, but she never once felt like a throwaway character to me, even proving useful in a fight scene. (Didn't see that coming. Good for her.) She may not have been as ballsy as her comic counterpart, but she proved a equal opposite to Reynolds. Peter Sarsgaard gets downright creepy as Hector Hammond, the evil, large-craniumed telepath. Angela Bassett even shows up as government powerhouse Amanda Waller, a nice surprise for fans of of the DCU. Still, she's not as... forceful as you would expect her to be. Some of the surrounding characters aren't that memorable, but it's a comic book blockbuster. Not every character gets to develop.

As the advertising clearly shows, Green Lantern is a 3-D summer superhero blockbuster. And I do mean, blockbuster, so you will have the occasional moment of near-cringe-worthy dialogue and the over-the-top special effects. However, there is a grand central theme of the will to overcome fear that serves as an anchor which with the film grounds itself. There's no particularly weak performances and the CGI does a fantastic job of putting form to the ring's abilities. Even the costume looked great to me after seeing on screen for two hours, instead of the glimpses in pictures and commercial snippets.

Maybe I'm softie for one of my favorite superheroes, but I was more than entertained by Green Lantern. I've seen and heard from plenty that found it horrid or boring, but not I. Could it have been better? Abso-freaking-lutely. It felt dumbed down a bit from the direction the comic book has taken over the past few years, but I think that's a necessity for GL so that the story is a bit more accessible to those new to the hero. (Though what's not easy to understand about space cops? It's AWESOME!) Unfortunately you'll almost have to see it in 3-D, which still underwhelms me every time I'm forced to endure it. Weak, yo.

If you're looking for a few fun hours at the movies, Green Lantern will do the job. It may not be the "Epic Space Opera" that the fanboys were looking for, but that's what sequels are for, fellow nerds. Try to enjoy the ride.