STAR TREK INTO DARKNESS review: Face it, Trekkies...this series will continue to live long and prosper with or without you! #STARTREKINTODARKNESS

 

 

Star Trek Into Darkness

Directed by JJ Abrams

Starring Chris Pine and Benedict Cumberbatch

4 out of 5 Arnolds

 

A mass-murdering maniac with apparent super-powers is on the loose in Star Trek Into Darkness. And it appears he has a serious bone to pick with Starfleet. J.J. Abrams' sequel to his hit 2009 reboot of the Star Trek franchise lives up to it's title, it is darker, meaner and has a body-count that dwarfs it's predecessor (excluding the first film's destruction of Vulcan, that is). That being said, it is a sequel in the truest sense of the word. The battles may be bigger, the stakes may be higher, but at the end of the day, it definitely feels like it is cut from the same cloth that Abrams' used to great success the first time around.

 

As far as summer blockbusters go, Into Darkness is among the higher caliber entries. It is smart, slick and fun. Although it doesn't seek to reinvent the wheel, it serves as a straight-forward continuation of the franchise, which fits with the Star Trek series' episodic nature.

 

 

 Chris Pine and Zachary Quinto are, as always, a breath of fresh air. Pine's quick-witted smart-assery bounces easily off of Quinto's cool, calculating performance. As the stakes of the film get higher, these two easily hold their own and deliver strong performances when things get real. The rest of the crew of the Enterprise each do well with what they're given, Simon Pegg in particular really gets a chance to play with his role as Scotty this time, and the results are some of the films' best comedic moments.

 

Benedict Cumberbatch in the middle of stealing every scene he is in.

Finally, our maniacal super-villain, John Harrison, played by geek-favorite, Benedict Cumberbatch. Cumberbatch brings his A-game here; cold, steely, ferocious, without ever batting an eye. Unfortunately, after his character really takes center-stage as our antagonist, his role becomes limited to constant yelling and a lot of running. That being said, Cumberbatch effortlessly steals all his scenes during the film's second act, and his performance is not one to be missed this summer.

 

The film's plot, constructed by the familiar team of Kurtzman, Orci and Lindelof, almost edges into the territory of political thrillers. It's twists and turns are both engaging and entertaining, markedly different from the mostly straight-forward nature from the first installment. Into Darkness is as much a mystery-thriller during it's first two acts as it is an action flick. The writing team was smart in their decision to move this direction, it keeps the audience thinking on their feet, a rare move these days in the arena of big blockbusters.

 

"So, you ready to see this movie or what?"

Action A Go Go or Action A No No? Action A Go Go!
 

Star Trek Into Darkness is a big, bombastic summer action movie. It plays it straight, with a few stellar elements here and there to elevate it above the rest of the rabble. It's funny, it's intense, it's cool, just an all around good time. If you've got a hankering for another dose of what Abrams' brought to the table four ears ago, this will definitely do the trick.

 

I, for one, would love to see this series live a long, full life. Bring on the next sequel! 

 

-Andrew Allen

 https://twitter.com/a_b_allen

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In Defense of 2009's Star Trek: JJ Abrams' Take is Closer to the Original Series Than You Want to Admit

Star Trek

Directed by J.J. Abrams

Starring Chris Pine and Zoe Saldana


4 out of 5 Arnolds

It’s hard to avoid a cultural phenomenon like Star Trek. I’ve never seen an entire episode of any Star Trek series (I have, however, seen most of the movies) and yet, despite it all, I know more about Gene Roddenberry’s creation than I want to admit.

For example:

• I know that Vulcans are a species fueled on logic, not emotion.
• I know that there was a Captain Sisqo, a Captain Jane, and a Captain Picard.
• I know what a mirror universe is.
• I know that the Klingons have some sort of honor system that defines them.
• I know that Data is a humanoid artificial intelligence.
• I know what a “Tribble” is, and that they are indeed trouble.
• I know that the guy with the visor was on Reading Rainbow (Jordi?).
• I know that everyone loves Wrath of Khan.
• I know that Kirk died falling from a bridge in Generations.
• I know that Spock learned to embrace his emotions by serving on the USS Enterprise.
• I know George Takei (Sulu) is gay in real life.
• I know “The Borg” assimilated with Captain Picard.
• I know that Captain Kirk was a p@ssyhound, who shared the first interracial kiss on television with Lt. Uhura.

I also know that creator Gene Roddenberry intended for Star Trek to be a “space-western,” a kind of Bonanza by way of science fiction. It’s that space-western angle that has always made me want to watch Star Trek, but the overt sci-fi-ness of the original’s predecessors (Next Generation, Deep Space Nine, etc.) always kept me away. What can I say? I'm a lizard brain that writes for an action movie blog. I want less philosophy, less of that aliens-are people-too crap, and less stationary spaceships shooting at each other while the actors throw their bodies from right to left. Basically, I wanted less sci-fi and more western. I guess director J.J. Abrams must have felt the same way, because this new, simply named Star Trek film is exactly that.

Mandatory Maxim: Zoe Saldana. between AVATAR,
GUARDIANS OF THE GALAXY, and this...
she makes sci-fi look sexy.

Abrams, along with the screenwriting team of Alex Kurtzman and Roberto Orci, make their intentions very clear early on. In an action sequence seen millions of times before with a stagecoach, we’re reintroduced to a young James T. Kirk. He’s involved in some pre-teen grand theft auto (read: horses) and narrowly avoids death by letting his dad's sports car drive right off the cliff. For discerning viewers who aren't preoccupied with their skewed version of Trek lore, you'll appreciate the small nods similar to this one throughout the film --- from saloon fights to old west shoot-outs on Romulan ships.

Action A Go Go or Action A No No? ACTION A GO GO!

Yes, there is a lot of action in Star Trek, almost to the point of interfering with it’s nimble comic book-styled plot, but never at the risk of under-characterizing the film’s magnificent seven. Chris Pine (Kirk), Zachary Quinto (Spock), John Chu (Sulu), Anton Yelchin (Chekov), Zoe Saldana (Uhura), Simon Pegg (Scotty), and Karl Urban (Bones), all glisten with charisma.

Abrams and his Bad Robot crew prove that they are adept at writing for ensembles, and the actors all manage to tightrope that line between pop impersonator and personal interpretation (though, Urban’s take on Deforest Kelly is so spot-on that you never want him to leave a scene). Surprisingly, the only small disappointment is Eric Bana as the heavy, but you’ll be too concerned with when the sequels coming out to think about that. This non-Trekkie sure was.

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Ray Harryhausen

FX wizard Ray Harryhausen inspired countless filmmakers, from George Lucas to Peter Jackson. He had the type of influence that most men dream of.

If you're not familiar with Harryhausen then turn in your "geek" card now. More than likely, some fandom that you're a part of started with someone seeing Ray's work, growing curious about the artistry behind it, and going off to create the very thing you love.

RIP

Full Article.

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IRON MAN 3 Review: Every bit as entertaining as last year's THE AVENGERS and twice as smart!

Family watches out for family, so I invited my younger cousin Andrew to chime in on Iron Man 3.

Why? Well, mostly because I'm tired of writing about Marvel @$#%, but also because the kid seems to have an opinion. Whether I agree or disagree is irrelevant, but, as a movie nerd, what I can't accept is a viewer with no opinion at all. Sure, those people exist (hell, movies like Iron Man 3 are targeted exactly towards people like that), but I don't have to like them.

What was I saying? Oh. Right. Andrew...

If his review is anything like our Thanksgiving movie debates, I'm sure he's bound to piss someone off. Enjoy.
-Troy



 

 

Iron Man 3
Directed by Shane Black
Starring Robert Downey, Jr. and Ben Kingsley

4 out of 5 Arnolds

Ghosts from Tony Stark's detestable past resurface in Iron Man 3. This time the once shallow hero has to contend with three key players. Initially, scientist Maya Hansen (Rebecca Hall) and scorned fanboy Aldrich Killian (Guy Pierce) are his main opposition. However, the story doesn't really get rolling until the much advertised villain hits the scene: The Mandarin.

 

 

Played by Ben Kingsley with maximum effect, The Mandarin is a brilliant creation and the best  I have seen in a superhero film in years. On the one hand, he is the icon of evil, playing the role of a menacing supervillain phenomenally. On the other hand, he serves as a profound commentary on the American culture's xenophobia. It's an extremely meta take on the Nolan-esque "super-terrorist," popularized by Heath Ledger in 2008's The Dark Knight.




If this is the standard that Marvel is setting for "Phase 2",
I cannot wait to see what they bring to the table next.

Action A No No or Action A Go Go? Action A Go Go!
Iron Man 3 is filled to the brim with engaging action and gut-busting humor. Director Shane Black's presence is strongly felt, as the story plays out in a manner very similar to his patented buddy cop style from two decades prior. The fact that Black wrote Lethal Weapon will come as no surprise after seeing this movie, and I mean that in the most complimentary way possible.

Robert Downey, Jr. gives what is by far his best performance as Tony Stark, completely selling Black's script, which, surprisingly enough, serves as a perfect finale to the Iron Man series. I didn't expect to say that after seeing this, but I honestly don't want an "Iron Man 4" to be made. Never before have I seen a franchise voluntarily wrap itself up so neatly and with dignity intact.

Iron Man 3 is the best thing Marvel Studios has ever done on film. It analyzes and deconstructs the superhero movie but  never loses its identity as a member of the genre. The script is ferociously sharp with a dark sense of humor, making it refreshingly different than the other two "Iron Man" films that precede it.

-Andrew Allen

@A_B_Allen

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ACTION A GO GO VIXEN OF THE WEEK: The Unstoppable Pam Grier

 

 

It’s the 1970’S. American Cinema is a hot mess of tired tropes and young rebels trying to change the business. Among this era of crazy films and wild indulgence were the norm and movies like Shaft (1971) kicked off Blaxploitation cinema. It was a unique, if pandering, movement that gave voice to black culture and actors like never before.

One woman that stood out of from the crowd and became a pop culture icon was Pam Grier. Gorgeous and tough as nails, Grier shattered stereotypes of all sorts and became the first female to headline an Americaaction film.

She got her start with movies like The Big Doll House(1971), Women in Cages (1971), The Big Bird Cage (1972), and Black Mama, White Mama (1973).

But it was the movie Coffy (1973) that solidified her as an action star who could headline a movie. She played a woman who took the law into her own hands after drugs and violence ruined her family. This was followed by Foxy Brown (1974), Sheba Baby (1975) and a host of other movies whose subject matter was centered on black hero’s that bucked the system while standing for justice.

In the decades since the glory years of Blaxploitation, Grier has continued to act in various movies and television shows such as Escape From L.A (1996) and Law And Order: Special Victims Unit. She did make a comeback to her action star roots to take the lead role in Quentin Tarantino’s Jackie Brown (1997). Her performance garnered much critical acclaim and the movie is considered a modern classic.

So, enough with the stalling. Gaze upon the awesomeness of Pam Grier in some classic photos and posters from her long and amazing career!

 

 

 

PS. Sorry this one was late, that's why this one is packed with extra fun! 

 

 

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Why IRON MAN 2 is Marvel Studios' Worst Film

Iron Man 2
Directed by Jon Favreau
Starring Robert Downey, Jr. and Mickey Rourke

3 out of 5 Arnolds

With 2008’s Iron Man, Marvel Studios gave viewers an incredibly strong introduction for what would be referred to as the Marvel Cinematic Universe. It was sleek, clever, extremely entertaining, and a pleasant surprise. In slight contrast, with Iron Man 2 (2010), Marvel, director Jon Favreau, and screenwriter Justin Theroux mis-stepped, making a follow-up that is clearly bogged down by Marvel’s larger continuity.

Behind the scenes, actor Robert Downey, Jr.’s contract with Marvel stipulates that the star gets to choose what off-camera talent helps mold the Iron Man films. For Iron Man 2, RDJ didn’t go with Mark Fergus and Hawk Ostby, the original film’s winning screenwriting duo. Instead, he brought on Tropic Thunder’s Justin Theroux to condense an existing script by Favreau and Downey, Jr.

Ironically, Theroux’s script combined with Downey Jr.’s  ad lib-heavy performance, kind of makes the character of Tony Stark seem...well, kind of like a dick.

The film tries to sidestep the comic’s infamous “Demon in a Bottle” storyline (in which Stark’s heavy drinking causes the hero to become a reckless, walking weapon of mass destruction) by substituting booze with Tony’s despondency over his impending death. It’s a sound attempt, but it’s played out in a way that makes the main character seem inconsiderate, dangerous, and childish. Basically, all the character flaws that were circumvented by the first film’s end.

There is no argument that Iron Man 2 was a box office success ($623,933,331 worldwide), but for this reviewer the film is way too impressed with its own cleverness. It's an endless series of overlapping conversations -- as if every character has something so witty to say that they all demand simultaneous screen time. In the first film, this improvisational feel was particularly refreshing. Here, it seems to be an attempt to mask an overly-crowded and hurried project.

To be fair, during the overall production of Iron Man 2, Marvel seemed a bit unprepared to play Hollywood’s version of musical chairs. Outside of a not-so-quiet actor swap that saw Terrence Howard replaced by Don Cheadle, Emily Blunt quietly replaced by Scarlett Johansson, and rumors about salary disputes from several peevish parties, the studio would soon find itself under the wing of the Walt Disney Company. I can only speculate that these factors, in addition to the demands of tying Iron Man 2 to 2012’s Avengers film forced Marvel to multitask ineffectively. The end result cost Iron Man 2 creatively.

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IRON MAN: RISE OF THE TECHNOVORE Review

Chris Campbell of Anime Rest Stop has braved the Otaku overbelly in order to give us a review of Iron Man: Rise of the Technovore. 

Rise of the Technovore is the latest in a series of Marvel projects brought to us by the Japanese studio Madhouse. Its April 16th release was intended to get the early jump on this week's Iron Man 3 craze. Does it fit the bill? Why don't I just let Chris tell you...

First, as a long-time viewer of Japanese Animation, I am honored and proud to be invited to Action-A-Go-Go!

Review:

            As movie goers and fans prepare for another repulsor blasting barrage (yes, I’m running with that) of comic book action on the big screen from the House of Ideas, the Armored Avenger who spearheaded Phase One of the Marvel Cinematic Universe continues his adventures in anime form in Iron Man: Rise of the Technovore.  This marks the fifth entry in Marvel’s Anime efforts with Madhouse Studios and Sony Japan.  Similar to his live action exploits, Iron Man was the first to launch the Marvel anime universe that included Wolverine, X-Men, and Blade.    

Comic book scribe Warren Ellis (Iron Man: Extremis, Nextwave: Agents of H.A.T.E., etc.) who headlined the Iron Man anime series that kicked off the run of Marvel’s Japanese invasion is absent this time around, leaving Brandon Auman of Iron Man: Armored Adventures, Dante’s Inferno: An Animated Epic, and Dead Space: Aftermath to helm this project (Jeph Loeb and Dan Buckley, advocates of the anime effort since Iron Man, are attached as Executive Producers).  Further, Hiroshi Hamasaki, known to otaku the world over for his solid work on Texhnolyze, Steins:Gate, and Shiguri: Blood Frenzy, is leading the charge as Director with a Screenplay from writer Kengo Kaji (Wolverine, Lycanthrope Leo, Tokyo Gore Police).   Also, compared to the first anime, which was a television series that aired on Animax in Japan and G4 in the United States, this movie is a straight to [home] video release as of this writing.  Will everyone’s favorite shell-head live to rise or plunge harder than the Helicarrier on a good day?  But enough of the rabble-rousing, let’s get to it! 

Story:

            Our story begins with a tepid and dreary monologue narrated by a young woman while ants and moths scurry about a lone road.  As the title screen cuts in between the monologue, a young man watches from the road as two objects in the distance soar across the sky.  Coming off the heels of his self-titled anime series Iron Man, billionaire Tony Stark and James “Rhodey” Rhodes (War Machine) have a little aerial sparring match prior to Tony showcasing a new satellite that will assist S.H.I.E.L.D. in its efforts to monitor all nefarious activity across the globe.  However, before it launches, a mysterious mercenary group called The Raiders try to interrupt the launch, prompting Iron Man and War Machine to battle the invaders.  However, the conflict reveals an armored clad young man leading the charge who tells Tony that the Technovore, a mysterious biotech virus, will set the world straight with its godlike ability.  With that revelation in mind, chaos erupts for Tony: The Good News is the satellite, H.O.W.A.R.D., (named after his dear old dad) managed to launch into orbit despite the ruckus.  What’s the Bad News? His dear friend and comrade in arms War Machine was taken out in the midst of the madness along with three hundred civilians.  As a result, Tony finds himself on the other side of the law. With Nick Fury and his S.H.I.E.L.D. agents Black Widow and Hawkeye (Avengers Mania, Brother) on his metallic heels and the possibility of the organization A.I.M. being involved, Tony finds help in the form of The Punisher.  After much bickering between the two and the quickest investigation possible, Tony learns that the mysterious young man, who was present at the very beginning of the film, is none other than Ezekial Stane, Son of The Iron Monger.  Cue the guitar riffs!  

What is Action A-Go-Go?:

            The animation in this feature is very good thanks to Japanese Animation Studio Madhouse (Demon City Shinjuku, Ninja Scroll, Black Lagoon, Paprika and Summer Wars).  From Tony Stark’s suave appearance mimicking the likeness of Robert Downey, Jr. to the luscious curves of Black Widow as well as the kinetic firing of Hawkeye’s arrows and Punisher’s array of firearms, Madhouse manages to capture the details that make the Marvel characters fun to watch.  They even managed to capture Hawkeye’s modern day look that was originally cultivated in the Ultimate Marvel Comic Universe and made famous in 2012’s summer blockbuster.  Even Obidiah Stane, the Iron Monger, is captured in the similar vain of Jeff Bridge’s appearance in this film. Also, Sasha Hammer, granddaughter of Justin Hammer, appears beside Ezekial in his efforts to harness the Technovore entity (she’s also the one who delivered the crazy monologue that started this circus).

            The storytelling is scattershot, but manages to pull from Marvel’s immense history and make

something that skates between both worlds.  Compared to the previous Iron Man anime, Rise of the Technovore takes more from recent Marvel Comics, specifically The Invincible Iron Man, and manages to mesh it with ideas from Madhouse staff to create this movie.  A good portion of the story itself tries to emphasize how much Tony cares about his fallen comrade only to have it feel rushed and disjointed for running time.  The other half pretty much showcases why Iron Man can handle the best of them, including allies turned enemies.  Although Black Widow and Hawkeye are bit characters and The Punisher (despite a show-stealing entrance in the movie) is one dimensional, the director keeps the focus on Tony and Ezekiel Stane. 

            In addition to the crisp and dynamic action on screen (when it’s present) as well as the cheesecake factor of Pepper Potts in a bikini in her reintroduction since her anime debut and Black Widow’s barely zipped top, Iron Man: Rise of the Technovore boasts a plentiful voice cast.  Much like Ellis’ absence, Adrian Pasdar (Heroes) did not return to play Iron Man.  Our armored clad hero is played by Matthew Mercer (ThunderCats, Fate/Zero) this time around while anime voice stalwarts Kari Walghren (FLCL, Blood+); Troy Baker (Persona 4 Franchise, Trinity Blood); Kate Higgins (Eureka Seven, Code Geass); and Tara Platt (Buso Renkin, Mobile Suit Gundam Unicorn) join  JB Blanc(Hellsing anime franchise and The Count of Monte Cristo), James C. Matthews III (Avengers: Earth’s Mightest Heroes, Metal Gear Solid 3: Snake Eater), Clare Grant (Robot Chicken, MAD)  John Eric Bently (TRON: Uprising, The First Family) and Eric Bauz (Ren & Stimpy, Ben 10) to round out of the roster as Maria Hill, Hawkeye, Pepper Potts, Sasha Hammer, War Machine, Black Widow, Nick Fury, and Ezekial Stane respectively.  Norman Reedus of The Walking Dead, The Boondock Saints, and Blade II notoriety plays “The Punisher” Frank Castle, who is randomly thrown into this plot to aid Tony in clearing his name and stopping the Technovore from destroying the earth.   For those who follow Marvel comics, this is a very strange alliance that is short lived and only serves to progress the plot of the story.  However, Norman Reedus manages to do a passable job as the skull-wearing vigilante.  Each performance is not bad, but not the best given their prior work or the work of other voice talent who have handled past incarnations of these iconic characters.

What is Action A-No-No?:

            However, Madhouse is not without its faults.  The Punisher’s transition to anime is sufficient, but slightly off scale while Pepper Potts mirrors Black Widow in facial structure (even this reviewer had to blink twice before realizing the slight tint in hair color makes a difference in the characters here).  The mechanized villains are given clunky appearances that are at best forgettable.  The Raiders looks like random rejects from Robotech (Macross for those in the know) while Ezekiel Stane,  an established villain made famous in Matt Fraction’s The Order and The Invincible Iron Man, falls victim to one of the worst modern anime tropes, appearing not as a raven-haired villain out for revenge and personal conquest, but as a vengeful, androgynous beautiful young man or “Bishonen” with an effeminate bodysuit, melancholy eyes and a sanctimonious swagger most would find in the target demographic of Hot Topic. 

            Rise of the Technovore is a reach, even for a Marvel property.  It has some worthwhile elements, but not enough to keep it afloat compared to its live action properties.  Rise of the Technovore slightly innovates, but very much imitates other action titles.  From the introduction of the H.O.W.A.R.D. satellite (aka Skynet Lite) to the general public that just doesn’t seem to be too concerned about big brother (S.H.I.E.L.D.) spying on them above to Nick Fury’s clichéd diatribe of why Tony can’t go after those responsible for his friend’s apparent death feels like something pulled out of the last twenty years of action films.  Normally, that would be a good thing, especially here at Action A-Go-Go where the history of action films is greatly honored. But improper execution, stilted dialogue, and convoluted pacing prevents the efforts from fully paying off.  In addition to all of that, the score of the film is uninspired with repetitive guitar riffs and basic orchestra Although the final act of the movie was strong and scenes in the second act were good (especially the Black Widow and Hawkeye team efforts), it could not make up for the weaker aspects of the film given its eighty seven minute running time. 

            Verdict:

            Sadly, Iron Man Rise of the Technovore joins Batman: Gotham Knights and Rurouni Kenshin: New Kyoto Arc in the hard luck heap of tie-in products that fail to compete, and compare to their respective (and successful) live action counterparts or the comic book material that inspired them in the first place.  Iron Man: Rise of the Technovore also drives home a solid point: By attempting to please everyone, you please no one in the end.  Is this a movie for anime fans, comic book fans, fans of Marvel characters, or all of the above?  Lastly, the movie is not a horrible title by any means despite this review, but simply feels incomplete and unfocused in comparison to other Marvel animated properties.  There are sound ideas that fly up at a moment’s notice that just don’t seem to develop while other scenes linger agonizingly to its tepid point.   In hindsight, it is probably the best feature in comparison to majority of the Lions Gate associated Marvel releases years ago.  In short, only the mightiest of Marvel fans should seek this out for the crisp animation, feasible voice work (both in English and Japanese tracks), and the fact of seeing your favorite Marvel characters portrayed by some of the best.   For all the casuals, you can wait for the trade (better known as a rental).

Not Action A-Go-Go Approved. 


Chris Campbell
@CAIMERMAN

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