Scene 20 – Ant Man

We’re back!!…and by we’re I mean me…so alone…


Sorry to my readers (roughly three people, including my…well, if she could read)…for  the lack of blogs in the past few weeks, just been uber busy and really haven’t had time. But I have made time now and will continue to do so…


One thing I will add is the weeks Watched, Read & Listened To List, may seem impressive but its actually a combination of the past three weeks due to the back log…but anyway on with the blog…


This weeks movie is set in the mega-film-world know as the Marvel Cinematic Universe…comic book nerds around the world rejoicing…about the movies, not so much about the Hipster like phase that comics have now fallen into. the vastly growing Marvel Universe, which has already brought us global successes such as The Avengers and Guardians of the Galaxy, delves back into its inner sanctum to deliver a new tale, that of; Ant Man. Paul Rudd takes the lead as Scott Lang, a robin hood-type burglar who has just finished a stint in jail and is hoping to change his ways, and to be a better father for his daughter…on the count of three everyone…awwww….


Unfortunately, as if this tale was scripted…life as a convict makes it difficult to Scott to keep his job and he is forced into burglary once again. With a little help from his friends, he manages to break into an old guys house and break open a safe only to find what seems to be a retro-biker outfit. Unbeknownst to Scott and co, the house belongs to super-genius Hank Pam (Michael Douglas), founder of Pam Technologies, and owner of said suit, which has the ability to change the atomic structure of a person, i.e. miniaturize a person to the size of…well you guessed it from the title; an ant.


The casting of Paul Rudd was a highlight for me, as I knew from being a fan of the character, that it would allow him to bring his charm to the role. Scott Lang isn’t as smart as Tony Stark or as strong as Captain America, but he is more resourceful than both..there I said it! He is quick on his feet and able to ‘MacGyver’ his way out of any situation which was fascinating to watch. I also am aware that I did just use ‘MacGyver’ as a verb there, and in hindsight, am shocked that it isn’t used that way on a more frequent basis…I blame rap music. So…as Scott Lang learns more about the suit and the ants, he is able to add his unique qualities of sharp thinking and resourcefulness to form into this new and unique type of hero.  Surprisingly, for me one of the best parts of the film was in fact the ants. Explain the different types of ants and the advantages of them, and in a sense turning them into Ant Man’s Bat-Utility-Belt.


The film also has plenty of heart, not only thanks to Paul Rudd, but also thanks to its supporting cast. Michael Douglas and Evangeline Lilly (who plays Hope van Dyne) share a father-daughter relationship, which in turn is beautifully echoed to that of Paul Rudd and his daughter Cassie. With Scott Lang being the first Marvel superhero who has a child, they don’t shy away form it.


Bringing in the comedic value was Scott Lang;s small team of enthusiastic consist played by Michael Pena, David Dastmalchian and T.I. Add to that the villain, played by Corey Stoll, who added just a tad more than the average Marvel villain. He had an awesome suit in the form of the Yellowjackets and a clear reason about why what he was doing was wrong. However, he doesn’t actually get that many scenes and it would have been beneficial to see him at a younger age to explain some of his back-story…but there is only so much time you can keep an audience in its seats.


This film manages to stand on its own, there are elements only made possible by being in the Marvel-verse, but it doesn’t heavily rely on them, which I thoroughly enjoyed. It has been a while since we’ve had a standalone superhero film which isn’t a sequel, other than Guardians of the Galaxy…but you get what I’m saying. In essence, this film is a comedic heist film that happens to feature a superhero. what was refreshing was that we saw Scott Lang as a hero foremost and added the ‘super’ later. At the same time they managed to op up the Marvel world by exploring the micro-verse and showing us a small…pardon the pun, insight into the world of quantum.


I really hope that Ant-Man is going to be a hard sale to conventional audiences. People find the trailer funny and/or they love Marvel films which will get them into the seats, but when the title is Ant-Man it sounds ludicrous, and not in a positive sense. Having listened to a Stan Lee interview on the Nerdist Podcast, I’d say the old charmer would be pleased with how Ant Man turned out. His many reasoning for how it wasn’t a fan favourite as a comic being that the concept of his size wasn’t truly exploited, i.e.. Ant Man in a comic panel by himself, so his size isn’t really shown. But that is not a problem here, as transferring of mediums actually highlights this character more than it would have with previous Marvel ones. And I guess it’s true what they say…great things come in small packages!!…now I don’t know if that was a gentleman vegetable joke or just a cheesy line…but thats a question for another day!

Scene 19 – Sin City: A Dame to Kill For

Sin City: A Dame to Kill For is a film that does about what you’d expect from a sequel that finally hits theaters almost ten years after its predecessor,  it gives the audience more of the same in terms of style and characters, but  not a whole lot more to be honest . Robert Rodriguez and Frank Miller return to co-writing and directing duties, bring the same visually stunning style that made the first movie  so resonate with audiences and fans.


The sequel takes ironically enough takes place in the same world; Sin City,  and once again tells its eerie noir vignettes through multiple character point-of-views full of its signature gratuitous violence, over-the-top vulgarity, and the black and white comic book panel style interspersed with dramatic splashes of color for effect.


Much of the original cast returns as well, and thankfully the nine years since the original Sin City have been kind to those actors…well the CG has been kind and done wonders for Mickey Rourke, who returns as the fan favorite Marv. Marv is just as insane and unpredictable as he was the first time around as he bashes skulls and swigs whiskey in his unusual but entertainingly written way.


Jessica Alba is given much more to do this time around as her character Nancy finally lets Sin City and the loss of Hartigan (Bruce Willis) corrupt her. It can be a bit confusing as to when the stories in Sin City: A Dame to Kill For do actually take place, as this particular story takes place after the first film, but other segments/characters, including a pre-gold eye Manute (Dennis Haysbert replacing the late Michael Clark Duncan), take place notably before the events of Sin City.


The notable new cast are actually a nice switch-up, and add the few factors of the film that somewhat outdo the original Sin City. Josh Brolin was born to play a character in these films with his square jaw and lined face, and he takes the focus of the movie, playing the dangerously smitten Dwight. Dwight can’t say no to his ex-lover Eva (played conveniently by Eva Green)…and to blame him who could, considering she is naked for pretty much the entirety of her scenes.


Eva Green yet again steals every scene, just as she did in 300: Rise of an Empire, and looks stunning with the black-and-white contrast mixed with her red lips and green eyes. This style of cinematography suits her down to the ground and she is clearly going through one of the most productive parts of her career, playing outlandish, strong and not always virtuous characters.


Another welcomed addition is Joseph Gordon Levitt, who brings one of the more noir-ish storylines as Johnny, a poker player that’s on a roll with revenge on his mind….if that doesn’t sound like a line from a movie poster I don know what does! His clash with the returning Powers Boothe as Senator Roark ends up being one of my favorite portions of the film, as it is so suited to the noir style.


Sin City: A Dame to Kill For suffers from many of the same problems that the first film had, namely a severe imbalance in the quality in effects and artistic values. Some scenes, such as a sequence that sees Marv beat up the bad guys from the point-of-view of the camera following him through windows in a mansion, almost Hulk-esque,  are brilliantly directed by Rodriguez. Then on the other hand  we have scenes like one with Marv and Nancy on motorcycles, which look so fake and poor that it’s almost laughable. I know Rodriguez is a director that likes to walk the line in terms of his vision and how he goes about achieving it, but its scenes like this that take away a lot of the artistic argument for these films.


Another point I had are the stories, or their extremities rather, as the stories/characters get so excessive or extreme, just for sake of being shocking, and end up ultimately feeling fake.…again this could be analysing  Sin City as a fiction movie rather the a comic adaptation movie. They, as in comic book adaptations,  are speaking to the raging hormone fanboy audience that prefers something more colorful to usual language, saying that is not that there isn’t a place for this type of storytelling, but it will certainly take down an otherwise intelligently original film.


Fans of the original film will find Sin City: A Dame to Kill For satisfying to those same distinct tastes for stylized violence and larger-than-life quirky characters. But even with some exciting new additions to the cast, the film never goes beyond the trappings of the original film and rarely, if ever, does anything better.

Scene 16 – Watchmen

This weeks movies we delve into the comic universe that is Watchmen. Personally speaking Watchmen, along with a lot of Frank Milller’s work grabbed my attention. This was mainly due to the roughness or the characters, worlds, and plots etc etc…just check out the Batman: The Killing Joke, written by nine time Eisner Award winner for best writer, Alan Moore….who also wrote Watchmen.

Firstly, a little bit about the graphic novel itself. In the mid-1980s, revered comic-book writer Alan Moore and artist Dave Gibbons got together to collaborate on a graphic novel called Watchmen, which became an instant phenomenon with comic book fans; selling in the millions, inspiring countless imitators and establishing the graphic novel as a legitimate literary form.…wining the first Eisner Award.  So almost as soon as it was published, movie studios lined up with their chequebooks out, only to shuffle quietly away once they had actually read the thing.  It was a vast, meta-textual post-modern story about a group of ‘damaged’ people pretending to be superheroes, set in an alternative 1984 universe, where Nixon is still president…which is scary enough as is,  and nuclear war looms on the horizon. The book was deemed ‘unfilmable’ for over twenty years by movie exec’s. That was, until Zack Snyder took the reins, having proved he could handle this sort of material with his frame-by-frame adaptation of Frank Miller’s 300….but lets not mention his later ‘I’ll take the reins’ movie..Man of Steel…but lets never talk about that!


Snyder delivers a beautifully opening montage credit sequence that sets out the breathtaking visual scheme and establishes an alternate historical context, while also showing the brutal murder of The Comedian (Jeffrey Dean Morgan), a retired super hero…in one of my favourite opening sequences, that relays and depicts comic books panels through film so well. The story picks up with a cursory police investigation that goes nowhere, so it falls on Rorschach (Jackie Earle Haley), a masked vigilante and our gravel-voiced narrator, to find out who killed his former colleague. Having reconnected with his now-outlawed crime-fighting group, Nite Owl (Patrick Wilson), Ozymandias (Matthew Goode), Silk Spectre (Malin Ackerman) and the only true ‘super-powered’ hero, the atomically-mutated Dr Manhattan (Billy Crudup). Rorschach uncovers a vast conspiracy to kill off all the remaining superheroes in an effort to provoke a nuclear war.


Snyder’s take on the book runs a lengthy two hours and forty minutes,  but accurately follows the complicated contours of the source novel it has to be said,  gracefully portraying the mechanisms that builds its multi-layered philosophical core.…ie, keeping the mad comic book nerds happy. Watchmen the movie is  visually dazzling…quite the mouthful. Snyder uses Gibbons’ original panels as a storyboard and somehow connects the narrative as accurately as graphic novel to motion picture has been, having seeing a series of disastrous adaptations with League of Extraordinary Gentlemen being as low as it got. Between these poor adaptations and Moore general perception of the film industry, Moore now refuses to take a screen credits and wants no involvement in the scripts. Gibbons is a supremely talented artist but Moore is the storytelling genius and Watchmen is probably his masterpiece.


One thing that does bother me with this whole fascination or trend of turning comic book/graphic novels into movies is the transparence between the written work and the scripts…Artistic liberties, is what some people call it.  I feel the same about these ‘based of a true story’ movies…how much is actually based? He had the same colour jumper…I think that counts. It leads to instances like Christopher Nolan’s staggeringly successful Dark Knight , which offered a simple binary relationship between order and chaos, good and evil, while Watchmen presents a vast spectrum of moral positions and character perspectives….and kinda goes under the radar. Watchmen asks ‘why people want to be heroes in the first place?’, ‘what drives ordinary men and women to fight crime?’ and ‘whether or not they are suited to the task of delivering justice?’ It doesn’t sugar coat the fact that they are human,  exploring both their good and bad sides, their altered-egos, their private and public lives. We see their memories and dreams. The third act does counter all this being based primarily on Mars, and containing far to much of Dr. Manhattan…if you know what I mean.

The novel is constructed like a Tamagotchi, a recurring symbol, delicately establishing and expanding ones-self into seeing the world in numerous different ways, and in turn helping them to figure themselves out….ok well not a Tamagotchi, but it my world that ranks pretty high. This is the ultimate self goal in every self-help book and isn’t really possible in cinema, which unfolds at a set rate, twenty-four frames a second, and abhors eternally parallel narratives. You cannot flick back through the pages of a movie if you miss something or fail to make a connection. You have to get it the first time…unless you rematch and so on.

Snyder’s version grinds through the gears of the story as he directs slow-motion fight scenes combined with intellectual tussles. He stages the major incidents of the book with a perfectionist eye for detail, guided by his own fanboy reverence and a team of special-effects imagineers. And I think it is his fanboy-isim that is the glue for his page for page graphic-storyboard, that’s inventive and attractive, that comes together in a satisfyingly-nerdy way. It doesn’t matter if you haven’t read the novel, as is the brilliance of Alan Moore’s writing, which transfers seamlessly to film, all you need is one nerdy fanboy and a few hundred-million dollars.


To conclude, Watchmen is a noir-influenced crime drama, set in a fascinating alternative history of America. At its core is the value of heroism portrayed in a blood-soaked giallo-horror. It is as close an adaptation of the original novel as it could possibly be, which to any fanboy or comic book fan is all that can be asked for, depicting a sense of existential malaise and a fear of the future. Having made minor adjustments to the ending…minor as in Christopher Nolan’s Batman has only and man dressed in a suit, a cave and an old butler; you can tell wants to punch the head of Christian Bale in, in common with the original novels. Don’t get me wrong, I really like the Batman movies, it’s that personal quarrel I have with ‘Artistic liberties’ that I mentioned earlier. Anyway, so in order to maintain some sense of realism, Snyder makes what some may say mistake, myself included, of allowing his anti-heroes take on some of the characteristics of the supermen the original story is attempting to subvert. Regardless, Watchmen is for fans of the novel; an essential film, to others; a brave, bold and beautiful comic sci-fi.