Green Lantern: An underwhelming adventure

Hal Jordan is a hotshot test pilot who always lives life on the edge. His life is forever changed however after he is chosen to join an intergalactic group of warriors known as the Green Lantern Corps. While he struggles with the demands of being a superhero an evil force gains strength and threatens to destroy not only Earth, but the universe.

There was a chance here for the Green Lantern to be another one of those successful comic book adaptations much in the same vein as Captain America, Iron Man, etc. Hal Jordan was a complex character who, although bestowed the awesome powers of the Lantern Ring, struggled with his own personal demons of fear and tenacity. His story had the opportunity to show the audience that terrific powers can only help one so much, that it takes the will of a person to see things through in brightest day or in blackest night.

Unfortunately the script failed to give the film a consistent flow, juggling too many subplots and characters and simply not keeping the audience mentally engaged with anything on the screen other than the elaborate action sequences which were not all that great. The perfect example of this was the final showdown between Hal and the main villain of the film (Parallax), which was anti-climatic and unsatisfying given the build up of Parallax's powers and abilities as well as the power of Hal's Ring. Ryan Reynolds tried his best to make Hal not only cocky but accessible and vulnerable but he was (again) hamstrung by the script, which gave all of the characters in the film the individual emotional depth found in the characters of a SyFy made for tv movie. Director Martin Campbell only seemed interested in making sure the CGI looked good and also ignored the chance to present the audience with a story that would accentuate the action.

Green Lantern was an underwhelming excursion into the DC comic book universe.

Grade: C-

The Green Hornet: Bruce Lee would not be pleased

Newspaper heir Britt Reid never really cared for much in life except for partying and having a good time. But after the death of his father he decides to don a disguise and make a difference as the crime fighter The Green Hornet. Along with his trusted sidekick Kato they set out to clean up the streets of Los Angeles.

Based off of the 1960's television series of the same name The Green Hornet had something of a Batman vibe to it given the backstory of the main character (Britt Reid, like Bruce Wayne, is a rich kid who decides to take justice into his own hands after the murder of his father). However with Seth Rogen in the role of Reid, the audience was no doubt expecting quite a few hilarious one-liners  and other comic gems to complement the action expected in a superhero film. While the action was present (most of the said action was supplied by Jay Chou who played Kato), the sloppily scripted story never connected with the audience. Rogen's Reid/Green Hornet failed to be anything other than an unfunny, spolied brat who was completely unbelievable as a good guy, let alone a superhero. Christoph Waltz, as the bad guy Chudnofsky, was whinier than a seventeen year old girl who didn't get asked to prom and never amounted to anything menacing or convincingly evil while Cameron Diaz did nothing more than show up and look hot. Even the directing by Michel Gondry (who has directed visually unique films such as Eternal Sunshine of the Spotless Mind and The Science of Sleep) seemed ordinary and added little to an already underwhelming film.

The bad jokes, shoddy story/plot, poor acting and stagnant directing all combined to make The Green Hornet nothing super at all.

Grade: D

The Fighter: In this corner, one heck of a good film

Growing up in the shadow of his older brother Dickey, a once talented boxer and small town hero who now battles a drug addiction, Mickey has always struggled to be his own man and makes a name for himself as a professional boxer. Things start to turn around for him in the ring once he begins training with someone other than Dickey and starts dating a woman named Charlene, but will he be able to maintain his newfound success?

A film in the same vein as Raging Bull, though lacking in the same kind of intensity story-wise and visceral viciousness when it came to the actual boxing sequences, The Fighter was an engrossing sports drama which sucked viewers in thanks to the impressive performances of its cast. Mark Wahlberg was steady as Mickey, invoking both strength and vulnerability in his portrayal, making him imminently easy to root for. Melissa Leo’s portrayal as Alice (Mickey and Dickey’s overbearing and unscrupulous mother) was horrifying to behold at points (because of the way she treated Mickey) and therefore solid in its own right but major kudos (and a well deserved Oscar) go to Christian Bale as Dickey. When he is first shown on the screen, it’s hard to imagine that this is the same man who portrays Batman, as Bale has the look, twitches and other believable characteristics of an addict. He was not an easy character to like at first, for Dickey had a number of faults beyond his addiction but Bale was able to breath bits and pieces of humanity into the character until he finally decided to give up drugs and recommit himself to living a clean life and helping Mickey with his boxing career. The parallel lines that both he and Mickey took to their ultimate redemption and/or triumph were difficult to watch at times, but that just made their victories much sweeter. Plus it served the purpose of keeping the audience engaged in the story.

Featuring mature directing from David O. Russell, The Fighter delivered an emotionally satisfying story with captivating performances.

Grade: B-

Inception: A Must See!

From the mind of Christopher Nolan, the man who helped make Batman a legitimate film superhero again, Inception was a caper film of a different breed for the objects that Cobb (Leonardo DiCaprio) and his crew are usually looking to steal are not diamonds or cash, but thoughts and ideas. But instead of stealing ideas this time around, he is hired by mysterious billionaire Saito (Ken Watanabe) to perform (surprise) inception on a rival businessman Robert Fischer (Cillian Murphy). The concept of inception is that Cobb and his crew will go deep into the subconscious of Fischer and plant the idea of breaking up his father’s business, thereby giving Saito the largest energy company in the world. Their task is made all the more dangerous by the constant threat of Cobb’s dead wife Mal (who is now a projection in his mind) plaguing their attempts to complete the task.

Now before I loose you amongst an attempted explanation of the multiple dream layers, host of symbolic visuals that riddled the various conscious and subconscious arenas involved in planting an idea into someone’s mind or even the ending, which could make a person’s head hurt trying to decipher just what was real, the main point you should take away from this review is that Inception was an amazingly complex, audacious, thought-provoking and original film that is leaps and bounds above any and all movies you will rent from Redbox or Netflix for quite some time. It deserves such high praise because it challenged the audience to think and try to comprehend its labyrinthine story, quite a heady thing to ask in this era of Michael Bay-ish one dimensional Hollywood action film story structures. Add to that the dazzling visual brilliance of the picture as well as some career defining performances by the cast and the audience cannot help but be sucked into the multi-layered dream world.

It doesn’t matter how many times you watch Inception, upon each viewing you are bound to catch something different than the last time, perhaps in the way a certain shot was composed or the way a character said a certain bit of dialogue but that’s the beauty of the film. The fact that you can view the same movie over and over and still find new things, still be thoroughly engulfed in the story of a dream within a dream within a dream is incredible

Grade: A

The Losers: It's like The A-Team lite

After their handler Max sets them up and tries to kill them a group of CIA operatives go into hiding in order to plot their revenge. Their chance to settle the score arrives with the appearance of a mysterious woman who offers them the opportunity to capture the elusive Max. But can they trust her?

The Losers did not carry the darker tone of some of its comic book adaptation brethren. The characters were not gloomy, brooding types that dressed up like winged creatures or awkward teenagers that were bitten by radioactive spiders. They were a group of regular people, albeit regular people who happened to be highly trained CIA operatives. In this way, the film felt less like a comic book film and more like an ordinary action thriller. Between comedic quips about how their boss Clay always fell for women that were “volatile” and the usual cool swagger that one would expect to see from a group of CIA guys with nifty codenames such as Roque, Cougar, and Pooch, there were a myriad of stylized action sequences which capitalized on their comic book source material be more outlandish than run of the mill and keep action junkies satisfied (for an example of this, see the ending showdown between Clay, a motorcycle and a plane). Chris Evans shined in his role as Jensen, providing the bulk of the laughs with well-timed smart ass remarks, Zoe Saldana sizzled as Aisha and Jason Patric almost stole the show as Max, channeling all of the best bits of all those old time James Bond villains with just a tinge of Dr. Evil kookiness.

It is certainly not going to evoke comparisons to The Dark Knight or other heavier comic book films but The Losers does its part by keeping you entertained for about an hour and a half.


Grade: C

Kick Ass: Take it or leave it

Inspired by his love of comic books, high schooler Dave Lizewski decides to become a masked super hero himself named Kick Ass. Soon he becomes a media sensation and he inspires others to do as he has done. But his fame also makes him the target of the evil crime boss Frank D'Amico, who wants him dead.

The bright side to Kick Ass was the story of Dave Lizewski (or Kick Ass as he is known to his adoring fans). His intentions in taking up crime fighting were pure (i.e. to do good) and provided the back bone for the story. It was absorbing to watch him wrestle with the problems one always thought heroes like Spider - Man or Batman had, but never got the chance to explore on the big screen. It made him a character one could easily identify with and root for. The film got sketchy however when Kick Ass' story was hijacked by that of Big Daddy and Hit Girl. Inspired by Kick Ass, these two decided to don costumes as well and pursue vengence at one specific target, crime boss Frank D'Amico (an underused Mark Strong). Big Daddy and Hit Girl were not burdened with the sense of "doing the right thing" like Kick Ass, rather they simply went about their business in an ultra-violent fashion that mirrored the other comic book anti-heroes like The Punisher. The most unnerving part of their pursuit was the fact that Hit Girl was 11 years old, and doing and saying things that would make even The Punisher blush. It was almost surreal to see her whirl around in those John Woo inspired slow motion shots, guns blazing, spouting curse words but after a while, it became almost abhorrent and made one wish the film had continued to focus on Kick Ass' internal conflict. Instead the filmmakers tried to mask the holes in the plot with the insanity of more shoot outs and four letter bombs involving a girl who should have been more worried about getting the latest Hannah Montana cd instead of storming the strong hold of the city's most nefarious crime boss.

There was a time, years ago, when I would have lauded Matthew Vaughn's Kick Ass as a well deserved jolt to the comic book adaptation genre for it did not shy away from breaking the well worn standards of said genre  in order to bring fresh new verve to it. However I am older and wiser (though my family and friends would probably tell you differently I imagine) and that "fresh" new verve in the film seems more unnerving and lazy to my weathered eyes.

Grade: C-

Watchmen: So how complex do you like your superhero movies?

When you hear the words, "comic book adaptation" the first images that probably pop into your head are of Spider-Man swinging on a web or Batman brooding on a dark rooftop. The last thing on your mind would be images of heroes philosophizing on how the world is not worth saving or those same heroes discussing the need to sacrifice a few in order to save the many. But this was the case with Watchmen

In an alternate universe, one in which Richard Nixon is still President and the Cold War between the U.S. and USSR still threatens to destroy the world, masked heroes are being murdered. It is up to the remaining members of the superhero group known as the Watchmen to figure out why this is happening.

Director Zack Snyder (of "300" fame) was very faithful in keeping to the source material (a graphic novel) in bringing the story of Nite Owl, Silk Spectre and all the rest of the characters to the screen. His trademark visual style was certainly on display as the audience was treated to the same kind of slow-motion, stylized action sequences present in 300 as well as some truly breathtaking scenes (i.e. Nite Owl and Silk Spectre kissing as a nuclear blast envelopes them). These heroes were far from being carbon copies of ones who came before them as time was spent building up their backstories. By doing this, the audience was shown all the moral dilemmas each Watchmen faced as they struggled in making sense of their own lives both professionally and personally.

But therein lies the catch - 22 of Watchmen, how many audience members are willing to sit through an almost 3 hour film in which the action sequences seem few and far between when compared against a Spider-Man or Batman film? The universe that the Watchmen inhabited certainly was not for the faint of heart (kinda made Gotham City look like Beverly Hills) as the heroes killed indiscriminately, fought amongst each other, and seemed to blur the line between good guy and psycho vigilante from time to time (especially Rorschach). In this way the film challenged the audience to think beyond their normal expectations for a comic book movie and take a journey in which the greatest accomplishments of its heroes were not the apprehension of supervillians or the simple battle of good vs. evil, but the philosophical breakthroughs made when the hero realizes that the world is not pure black and white but a shade of gray which can grow lighter or darker depending upon where you are standing morally.

Watchmen just might be the most literate comic book movie you're likely to run across, which might enthrall some but discourage others.

Grade: B-