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-

Thor: Another solid comic book film!

Thor, a powerful warrior from the distant planet of Asgard, is banished to earth by his father Odin for his arrogance. He must use all of his powers to protect the friends he makes there from evil forces sent from his home world by a sinister villian.

Thor can almost be viewed as a companion piece to the other Marvel superhero film adaptation released this summer, Captain America. Both featured richly, complex protagonist that had to learn to deal with the high and lows of the great responsibility of having great power. But whereas Steve Rogers grew up never knowing what it was to have power before he became Captain America, Thor grew up always having that power. He grew into an arrogant prince that needed to have that power yanked from him in order to realize what it meant to be a true leader. This might sound a little complex for a simple action film about a Norse God with a cool looking hammer but director Kenneth Branagh tempered the Greek tragedy overtones of the story with some solid action sequences as well as some truly amusing comedic bits as Thor adjusted to life on earth (the parts featuring his introduction to the taser and modern medicine were the highlights of the "fish out of water" stuff). Where Thor fell short was in showing the audience the Thunder God's transformation from selfish brat into selfless hero. It is true that, once on earth, he meets a beautiful scientist in Jane Foster (the always stunning albeit under-utilized in this particular role Natalie Portman) but it should take more than one romantic conversation under the stars to convert him into someone other than the egotistical brat he was.

All in all Thor was another solid entry into the growing lineup of Marvel superhero films.

Grade: B-

Captain America: The First Avenger - The Summer Blockbuster that delivers the goods!

Steve Rogers, a kid that has been rejected for military service on a number of occasions, volunteers for a top secret program which seeks to turn the average soldier into a superhero. This program successfully turns him into Captain America, a hero dedicated to the truths, ideals and defense of the American way of life.

In this summer of blockbuster sequels and comic book adaptations it might be difficult to sell a film like Captain America to the movie - going public, but there are a number of reasons why they should not skip over this tale of The First Avenger.

The story gave the audience the necessary nuts and bolts of the good Captain's origins to draw them in without overwhelming them in miniscule details that could derail it. Director Joe Johnston effectively mixed solid action sequences along with properly timed bits of humor to give the film an almost "Indiana Jones -esque" quality. But what set Captain America apart from those other lackluster sequels or comic book films was the performance of Chris Evans as the title character. When the audience is first introduced to Captain America, he is a skinny kid from Brooklyn named Steve Rogers who has been rejected by the Army four times due to his poor health and other medical problems. One got the sense that Steve had been picked on most of his life, but that did not stop him from standing up to bullies or taking on challenges that stronger men shied away from. He was the prototypical underdog and if Johnston had just jumped straight into showing Captain America cracking skulls and kicking Nazi butt without showing the audience who he was before, the film would have lacked the depth to story and character that it exhibited throughout (a trait sadly missing in the bulk of films released this summer). The humanity and heart that Evans endowed Steve with at the beginning not only made him the perfect subject for the Army's Super Soldier program, but also gave the audience a hero that they could relate to on an emotional level.

It was easy to stand up and cheer for Captain America for it was the first summer blockbuster of 2011 to deliver the goods (and make sure you stick around after the credits for a special surprise, you'll be glad you did).

Grade: B

Jonah Hex: As bad as the scar on his face

Former Confederate soldier turned bounty hunter Jonah Hex is a scarred man, not only physically but mentally as well. He is haunted by the memories of his murdered family and the man who killed them (a guy named Turnbull). When the Union Army ask Hex to hunt down Turnbull, he jumps at the chance for revenge.

You feel bad for Josh Brolin (a good actor in his own right), because he was given so little to work with script and story wise. He tried to make Hex a likeable (or as likeable as a bounty hunter could be) character but the lack of a cohesive story and total absence of character development truncated that and the audience was never given the chance to start to root for him in his quest for vengeance. Not only was the story sloppily hacked together from the remnants of other comic book film adaptations but the action was lacking, which made the running time of about an hour and fifteen minutes feel like an eternity. And what of the other major actors in the film, could they save it mediocrity? Sadly not, John Malkovich had it on cruise control as the baddie Turnbull, Will Arnett was on the screen for only about two seconds and Megan Fox showed why people should start thinking that Michael Bay was a genius for firing her from Transformers 3.

Hollywood has once again succeeded in turning a very cool anti-hero from the comic book world into a clichéd, one-liner saying joke of a character. Jonah Hex is an awful mess.

Grade: D-

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-

X-Men Origins: Wolverine: More blah than anything.

All of the elements were there to make X-Men Origins: Wolverine a solid entry into the spectacular series of X-Men films (well, X-Men: The Last Stand wasn't all that great thanks to the craptacular direction of Brett Ratner). Hugh Jackman was returning to the lead role, the cast was rounded out with other credible actors including Liev Schreiber and Ryan Reynolds and it was being helmed by a respected director in Gavin Hood. But that's the thing about expectations, (especially for big summer blockbuster films), sometimes what you are expecting does not even come close to what you get.

X-Men Origins: Wolverine failed to echo the first two X-Men films in story, character development, action and even fun. The director of those first two X-Men films, Bryan Singer, took the time to cultivate the stories and the characters within them. He developed both the heroes and villains and, through their development and that of the plot/story, was able to draw the audience into the film emotionally so that when the action and tension arose one could not help but watch intently at each individual characters' internal struggles as well as their physical ones on the battlefield. Singer was able to create a full and rich X-Men universe that not only entertained the masses through effective action sequences but also created memorable characters that audience members could relate to on a personal level. Unfortunately those kinds of things were missing in Wolverine. Hugh Jackman was unable to do much emoting, if any at all, as his range of emotions went from silent to snarling and that was about it. Hood tried to get across his internal conflict of not wanting to become what it was he seemed to be bred for but it failed to connect and came across as maudlin at best. The same could be said for the rest of that "credible" cast I mentioned earlier, who seemed like window dressing at best (here's a note to all casting directors, not all rappers can act. Will. I. Am looked as out of place in the film as Kenny Rogers in a rap video).

In the end, X-Men Origins: Wolverine mirrored X-Men: The Last Stand in its silliness and lack of subtlety, choosing to treat the audience like a gaggle of five year olds and throw a ton of action sequences and special effects at them (some of which looked so amateurish that one could not help but laugh) in the hopes that they would not notice how truly bad it was.

Grade: D+

Superman Returns: And what a return.

In this day and age of constant Hollywood adaptations of classic comic book heroes a relaunching of one of the most popular, Superman, seemed like a sure fire box office smash. But when this film was released, it was met with mixed emotions from fanboys and critics alike. But unlike most superhero films, Superman Returns shines.

After a five year search for his home planet, Superman returns to earth. However he finds a great number of things have changed. There are some people that think the world does not even need him around anymore. But when his arch enemy Lex Luthor hatches an evil plan to destroy billions of lives, Superman will once again take up the mantle as protector of the planet.

In re – launching the Superman franchise, director Bryan Singer made a wise decision to not simply retell his origin and rehash what was covered in the first Superman film. Instead, Singer and the film’s screenwriters used the story of his return to ponder, in a broader sense, if the world truly needs superheroes at all. He then set about filling the screen with impressive action, treating the audience to the whole menagerie of Superman’s powers and resplendently composed shots which could take their collective breaths away. Some true action fans might have been disappointed that there was not more fighting and henchman butt – kicking in the film but what separated this film from other recent comic book to film adaptations (and made the first two X-Men films which Singer directed so good) were the directors’ ability to make those quiet moments in the movie so human and sincere. Yes the audience got to see Superman fly around, save lives and other spectacular feats, but that also got to see him interact with Lois Lane as they tried to hash out their personal relationship and grapple with the inner turmoil of trying to be the earth’s savior again. It was those quiet moments which made the return of Superman a film to remember. The lack of enough action could have also been due to the main villain of the movie. Kevin Spacey effectively tore up the screen as Lex Luthor, giving him the kind of snobby flair the character demanded, but his evil plan to destroy the world felt feeble and made Luthor look like nothing more than an evil land developer and not a proper nemesis for The Man of Steel.

Grade: B

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-