BYOB 60513
A little extra room to talk Man Of Steel and other summer movies without having to use acronyms.
April 19, 2024
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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?
So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.
And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.
There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.
I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.
So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.
But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”
My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher
“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.
~ David Simon
Why have I fooled myself into thinking ill like a Snyder film when he hasn’t made a single film I’ve liked?
Cause of Nolan’s involvement?
When is the review embargo up on this thing?
Because visually Snyder can be very interesting but his movies have lacked a connective soul/gravitas and a lof of the writing on his films has been spotty. This story is done by Nolan and Goyer so I feel like one of the problems will most likley be fixed but we will have to wait and see on the other.
300 was better than what I expected but then again, my expectations were pretty low. At least the trailer didn’t have me excited to see it. Not sure but I think I may have gotten free passes. Even w/out that, I thought it was alright.
I was soooo disappointed in the last Superman movie that I can’t generate any real enthusiasm for it. I don’t even mean to be pessimistic. Like when KFCs used to sell those li’l bucket strawberry shortcake parfaits. You know, back in the day when they only had original or extra crispy. They look so good and then you peel the foil off and dig in all excited but they’re so bland and syrupy and crummy, it was almost like they had negative taste. Years later, you go back and they have like 4-5 dessert items on the menu. They sound interesting and new but do end up popping the $2.79 to try one? No! Because you know greasy chicken makers can only do so much!
I have not liked anything Snyder has done except DotD, but I’m super excited for this Superman. It looks epic, and even though the Dark Knight Rises sucked, I trust Nolan to deliver. And Snyder is a master of the visual, so I would think this is going to at least look beautiful-that goes a long way (as Wes Anderson about his entire career).
I’d rather see Mel Brooks make a sequel in which the Greeks attack Israel: 300–BUT FOR YOU, 250.
Good joke!
why do nolan and goyer get a free pass on their plots? their stories have have nice setups but all their third acts crumble. all the epic moments from the bat films (joker being defeated, bane breaking bat’s back, batman beating bane) missed and missed big. if anything, nolan has a good visual sense (not including the times he shoots action), and any visual “gravitas” from snyder really should be attributed to the great comic book artists he transcribed during his “visionary” director period.
goyer has written or helped write some heinously bad movies (and I mean badly-written) and nolan is arguably better but ‘memento’ is probably his cleanest, most ingenious effort and that was a looong time ago, for me he’s been getting progressively more convoluted and messy and heavy-handed as a writer so the fact he and goyer wrote ‘superman’ isn’t some gold-standard in my book, but likely ensures it’s going to be ‘dark’ and heavy-handed and overly-serious and overly-gritty just for the sake of it.
Eh… a lot of people rag on TDKR but for me it’s pretty good and the Bane fights in particular serve their purpose. My take is that the fights themselves aren’t supposed to be the centrepieces – after all, Bats style is usually hitting people from the dark, so having the climax as two roided dudes beating on each other doesn’t seem to fit the character for me. So the inevitableness (if that’s a word) of Bane’s initial steamroll-into-backbreaking, and the “I beat you, but I got another problem to take care of now” at the end serve the themes perfectly well.
It’s the “Your fear makes you weak” “No, wait, your fear gives you strength” back-and-forth dance that annoys me. Save your attempts at fortune cookie wisdom and just make up your mind.
Saw Another Earth and Now You See Me yesterday…ha ha…what can I say, I’m a masochist I guess. Both awful. Need to go cleanse my soul with Stories We Tell or something. Louis Leterrier move the camera around much? Ever use a crane or have the camera swirl around the actors? I felt carsick after that movie.
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“Now You See Me” is a great movie from the 90s. Seriously, it has a 90s score, 90s story, and even similar style 90s heist style silliness. It’s everything that’s missing from movies today and why that might be a good thing, that does not mean I dislike taking a jaunty visit to the past. Also, the camera work is pretty exceptional, especially the use of the virtual camera on the Vegas set.
Nick, he’s a solid filmmaker working with people who can pull a story out of their ass, and they seem to take Superman very seriously. It could have possibly yielded a great movie. That aside, Triple, it’s 7 years later, and time to get over KFC. Popeye’s is now.
You need a hooker? Really? That’s going to solve your problems?
YES
My problem is known as “virginity.”
@Nick
“Why have I fooled myself into thinking ill like a Snyder film when he hasn’t made a single film I’ve liked?”
I don’t know if you (or anyone else) will like the finished product but your enthusiasm is probably coming from the same place as everyone else’s: that third trailer is motherfucking GREAT.
I find it funny that so many people are surprised by being taken in with effective marketing.
Effective save for the spot with the cop saying “I think he’s hot.” Ugh that one is bad.
Like the MIGHTY GLEN BENTON I am now promising that I will commit suicide on Satuday 11:59pm if I have still not had vaginal intercourse
@ Amblinman
haha! that’s definitely true, however the one with zod announcing his intentions to earth in a weird lex luther style vo dampened my anticipation just as much. +1 for marketing then -1.
Speaking of trailers, I’m pretty taken with the one for Ain’t them Bodies Saints. Imediatly moved to the second must see spot for the summer behind Supes.
And even with how much i am anticipating Man of Steel I am still a little peeved at how these comic book movies monopolize the time of actresses that would be better served in their own vehicles. Last year it was Emma Stone and Anne Hatheway, this year Paltrow (who has just gotten hotter and more charming with age) and Adams. Is it too much to ask to watch a movie where these lovely creatures fall in love with someone without them being held hostage by a giant lizard or heavily accented hammy supervillian?
Folks thought it was pointlessly stupid when Abrams turned Jimmy Olsen gay, but the brain trust behind MoS decided to turn him into a girl, better known as Jenny.
And s/he’s not even a ginger.
Yippee.
Oh, and hcat, I was just watching an IGN Rewind of a MoS trailer and they pick out a woman with a ponytail falling from a great height that Supes has to rescue–they figure it’s Lois, so once again she’s just the damsel in distress.
Nick and Amblinman, I’m right with you on Snyder. I could not even get through 300 or Sucker Punch, and Watchmen was just way too reverential to its source material to actually be an effective movie. Dawn of the Dead was very well done, but that was nine years ago. That said….
You gotta HOPE (that’s what the S stands for right? 🙂 that with Nolan producing and that top-flight cast, he can raise his game right?? I keep going back to Curtis Hanson who really was a pure hack for several years with films like Hand that Rocks the Cradle until he nabbed LA Confidential.
It’s all about hope.
So there goes my dream of SUPERMAN’S PAL: JIMMY OLSEN spin-off franchise…
Maybe she’s his special pal, the one Lois doesn’t have to know about.
Whatever happens two miles above Metropolis stays two miles above Metropolis.
Maybe hypoxia adds that extra kick, the one you usually need a noose to achieve (RIP Hutchence and Carradine). We have seen plenty of aerial fighting, so why not aerial f–
Of all the things in the world that easy to get, isn’t hookers at about to top of the list? Pick up the phone motherfucker.
‘So there goes my dream of SUPERMAN’S PAL: JIMMY OLSEN spin-off franchise’
Given Warner’s success with non-Batman comic properties, you’re probably likely to get that before a justice league movie.
Why phone when you can post?
While I understand the fundamental argument about women being ‘damsels in distress; in superhero movies, its difficult to apply that to Man of Steel. By the looks of it, the entire world is in danger, not just Lois. And Lois has always been a character who is strong minded, independent, and ends up in danger due to the nature of her job.
Calling Lois Lane a ‘damsel in distress’ feels like a blanket label. Superman digs Lois not because she’s a damsel in distress, but because she’s strong willed, speaks her mind, and does what she wants. Those are the qualities that make him fall for her. Not because she’s in perpetual need of help. With seven decades of Superman stories, i think it’s easy to paint that picture because there were periods where every story was about Superman saving Lois or protecting her from harm. But there are few comic book characters who seem to defy many of the typical female roles of the medium. Lois Lane is most assuredly one of them.
Even in the marketing, when they’re in the room and he says
“It’s not an ‘S’. Where i come from, it means ‘hope'”
She replies
“Well, here it’s an ‘S'”
That to me pretty much nails the character. Basically saying ‘well, hayseed, youre not there now, are you?’
And when you have a tenacious reporter trying to get the story on an alien who comes to earth and ends up in an intergallactic punch up between super powered beings, chances are she might be in distress at some point.
As for the Jimmy Olsen sex change, i’d be stunned if people really cared about this. They wanted to add another female character to the cast. PERISH THE THOUGHT. At this point i’m expecting someone to freak out because Perry White is now black. Which to me would be equally silly.
Lana Lang?
And when 100 Great Films Starring Only White People was on the MCN front page a week ago, I read the first few entries and decided the whole thing was a joke because the author repeatedly asserted a) if your movie doesn’t have any minorities then you’re promoting a racist “paradigm” or “framework” (or any other pomo word of your choosing), and b) your movie must include minorities to reflect the fact that there are minorities in the world, even if the minorities you hire are merely token characters or extras in the background.
So I’ve assumed all the pointless race-flipping reflects a white liberal fear of being labeled a racist if a producer happens to buy the rights to a property featuring all-white characters but actually dares to cast all-white actors.
EDIT: My bad, the author argues that the inclusion of “Pimp” in the original SUPERMAN, whose one line was “Hey Jim, that’s a bad outfit!” was so noxious that the movie would’ve been better if he hadn’t been in it at all.
Sam, it brings to mind the recent discussion about the Fantastic Four reboot where the part of Johnny Storm is being played by an African American actor. You would think this was some kind of epic ordeal. The character has always been white. His sister is white. Never been anything to the contrary. And someone decides to deviate from the script and make him black. I could care less, but it seems to rub people the wrong way.
The problem is when someone says ‘but the character has always been white’, somebody else pops up and says “YOURE A RACIST FOR SAYING THAT.”
The race thing is such a no win scenario. Even if you state something factually true: Johnny Storm has always been a white guy, someone will accuse you of being a racist. It reminds me of that conversation we had a few weeks back about a UK actor playing Superman. I replied “that’s kind of xenophobic” and they replied “I HOPE YOU DIE IN A HOUSE FIRE”
I learned two things from that exchange. 1. People take things WAY too seriously. And 2. Calling somebody out on their phobias or ‘isms really doesn’t contribute to any good conversations. The minute someone says ‘THEY CHANGED (BLANK)’, the best response is ‘So what? They’re trying something different.’
Jimmy Olsen is now a girl…
Superman is played by a non-American….
Perry White is black…
So what? They’re trying something different.
Escorts are NOT a simple matter of picking up a phone. There needs to be a 10000% guarantee that she is “safe,” a guarantee that could only come courtesy of a BENEFACTOR.
Like if I scrolled LA Weekly and called a girl who looked my type, I’m flying blind. But if some Bel Air Hollywood Player Studio Mogul wanted to court a writer or director, he DAMN SURE would know where to procure girls who are safe and top-tier escorts. I need that level of assurance.
Anghus, Cracked did an article about that and the author blew off all five reasons why folks were opposed to a black Johnny Storm as “You’re racist.” Didn’t matter that this would change other things, like the Invisible Girl, because she’s his sister, but hey, whatever.
The same unintended consequences came up with the seemingly random decision to change the race of Alicia, the blind sculptor in the first movie, without realizing they would also have to make this guy black. They made the change in the animated series but he still looks nothing like that freakish China doll you see in the picture.
The one race-flip that is still the most insulting to the character has to be Heimdall in THOR, who even in Norse mythology was called “the whitest of the gods”. I’m sure Branagh still giggles himself to sleep over that one.
Oh, and I did hear that the fans who liked the decision to make Nick Fury black are now puking in their oatmeal because Marvel has decided to include him in their official universe by making him Nick Fury, Jr., the illegitimate offspring of the original Nick Fury.
“I need that level of assurance.”
Then you’re probably going to die a virgin.
If I had a public venue– any venue– for my writing or rants or comedy, MY DREAM is to be like HIGH PITCH ERIC and get put in a porn video just for shock value.
I’ve thought about Kickstarting the LexG porno, but I don’t think you can do adult film financing on Kickstarter, and I’m under the assumption that anyone starting anew in adult film production probably has to make phone calls and talk to people, and get pressured by shady figures. I don’t know how to do any of that bullshit.
Don’t you mean “public venues that pay you a 100k a year?”
I could name eight websites right now that would give you a weekly column.
And isn’t this the 845th version of this conversation?
Same as it ever was.
No website will PAY ME as in PAY ME to write a column of any sort.
Plus I sure as shit ain’t giving my I-9 info over to some DVD BLOGGER KID on the INTERNET.
Matt Taibbi (the only American writer as talented as me) has a salary. I want a SALARY. 100K. NO exceptions, nothing less.
“. I want a SALARY. 100K. NO exceptions, nothing less.”
Picky. Entitled.
Are you sure you’re not a 22 year old college graduate?
No, a 40yr old man with 4k a month in bills who’d like to make a living wage for once in his fucking life.
Lex I will give you $100k a year if you stop talking about things you will obviously never do; sleep with a hooker, do regular standup, write a column or write a screenplay.
So what else do I do? Just seeing movies on my own dime is getting boring and it’s no kind of fucking life. Working at a SUBTITLE COMPANY is the absolute antithesis of creativity. I have no outlet. No life. I’m depressed.
I can’t do anything without money. Also I don’t do any of those things BECAUSE THERE IS NO POINT. Doing anything UNSOLICITED is the lowest form of human behavior. If no one’s ASKING FOR IT, don’t write it, don’t do it.
RE: ROBERT RICHARDSON CINEMATOGRAPHY CREDIT ON “WORLD WAR Z”
. . . or rather the LACK of his credit.
Seems pretty big news when a major cinematographer’s credit is removed from a major albeit troubled production . . . but there’s NO news.
Any ideas, David?
It was reported that Richardson wanted to leave the project at one point
but totally removing his credit seems unlikely.
God this is awkward, but I’m the guy you were responding to, Anghus. I immediately regretted everything and went into a depression then started lurking around here again a few weeks ago. I literally was sweating when Jimmy Olsen being made into Jenny was mentioned. And I saw your comments and am, well… I just wanted to apologize again.
To be fair, below is your first response to my comments. I’m putting them there not to say you were just as bad as me or I was justified or anything, but to illustrate that it’s easier to say some borderline offensive things and make it out unscathed when you make a high-road argument (regardless of whether it is correct). Food for thought, I guess.
I’m still a dick though, and don’t want to think about this ever again. I’m sorry again and I won’t be commenting again. Sorry.
http://moviecitynews.com/2013/04/trailer-man-of-steel-2/
Anghus:
As for the whole ‘Cavil not being American’ thing, come the fuck on. Do we still live in that world. Wolverine is Australian. Spiderman is British. Who gives two fucks where the actor who plays the alien from another planet is from. If that thought goes through your head when you watch that trailer, you are part of the fucking problem. I mean, say this sentence out loud instead of typing it:
“I wish Superman had been played by an American.”
How do you not sound like a dick saying that?
Okay, so we’ve established SamLowry as ignorant as well as having poor taste.
Next.
“So I’ve assumed all the pointless race-flipping reflects a white liberal fear of being labeled a racist if a producer happens to buy the rights to a property featuring all-white characters but actually dares to cast all-white actors.”
To further explain what Foamy means…
I don’t think anyone is saying white characters should suddenly be played by non-white actors. But for many of these characters, their race was never explicitly stated and being white wasn’t integral to the story.
And further, demographics have changed to the point where if you have something set in a big city, it seems especially weird and troubling if you maintain all-white casting even while we all know that life in the big cities are far more diverse than they were when the original comics were written.
Finally, sometimes you do get an actor who is not only good and talented enough for the role, but also brings a fan base that the film wouldn’t otherwise have. Makes a lot of sense.
The “white people” website is just there to point out how casting overall does tend to leave out non-whites. I mean, it even happens in roles that were written for them (The Last Airbender for example).
If anyone has problems with Superman being played by a non-american, then they should also have problems with an American playing Jesus, or Nelson Mandela, or Margaret Thatcher, or Tonto.
My biggest problem with Nick Fury in the films is that they left out his stogie.
Gotta say, as a black guy, I kinda hoped to see just one black person in middle earth.
If you’re inventing an entire new world, couldn’t you include some minorities?
Bulldog, well he put them in King Kong. How much do you want from the guy. You may remember them as the “bone through their nose, sharpened teeth black boogeymen” of that motion-picture.
Bulldog, the “White Movies” guy said the orcs seemed to be the only “minority” characters in Middle Earth, and you can figure out what that implies.
And now I have bad taste because I prefer David Niven’s Bond to that blond guy. Hmm….
http://m.youtube.com/watch?v=PpdZf3FY_WY
It just looks fucking amazing.
“It just looks fucking amazing.”
I think Snyder has that printed on his business cards.
Bulldog, its funny. Never really thought about the race issue in LOTR but it surprises me that I never heard some kind of comedic spin on it. Every hero is lily white. Trying to stop “the coming darkness”. Black riders, the Orcs… The most powerful wizard role is to become “the white wizard”
sounds like an unfinished Chris Rock bit.
GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER GET ME A HOOKER v
Sorry to bore you Lex. I guess I’m just a boring guy.
Changing Jimmy to Jenny makes no difference because the character relationships are not the same in MOS as they were from the ’30-’90’s.
Re: Torch. For me, it’s not the racial change, it’s the choice. The flashy, smart-ass hothead is the black guy. It’s blatant stereotyping and racebaiting in one deft move.
So to avoid that, they would have to change the character, which no longer makes him Johnny Storm and alters the dynamics of the group.
But if they don’t change it, they’ll have to adjust everything around it so the stereotyping fits a larger “vision”, or whatever. Then the options get worse and worse.
Make Thing a black guy, no one blinks. It fits. I used to think Bernie Mac had a real Ben Grimm vibe. But then, it turns Luke Cage into a derivative. Make it Reed and you kill Jackson’s uniqueness to the Avengers. So it’s Jonny and Sue, but then you’re promoting a white guy/black girl romance, which is not widely accepted in the black community, which defeats the real purpose of the racial change, marketing.
The other problem is film dictates the “source material”, not vice versa, first out of some desperate hope to draw readers, (which never happens), and second to appease the comic industries PC masochistic streak.
That’s the great irony of Jackson’s Fury. In Ultimates, they made Fury into Sam Jackson, then signed Sam to play himself, and now have replaced Nick Fury with Sam Jackson in every format, for no reason other than Sam is kewl.
Sales wouldn’t change an iota with or without Jackson from the start. But now, they’re all-in on his leather-clad sky pirate, who looks as big a cartoon as the superheroes he supposed to corral.
Pop eats itself.
Since I’m apparently a bit dim, I guess it took me a while to figure out that Lex is trying to hold the site hostage until he’s given a job.
Great negotiating skills you have there, Lex. You’ll be the jewel in the crown of any organization that hires you.
And Anghus, maybe you never heard any kind of comedic spin on LOTR because today’s crop of comics and their audiences may be a bit too low-brow. It’s not just an elfy fantasy that reeks highly of nerd, but an elfy fantasy that requires ten hours of focus and attention; Soderbergh pointed out that most young movie-goers today are into action porn and they will fast-forward through anything that isn’t a flame-tinged streak of mayhem.
And Martin, some suggested that maybe Johnny can be black but Sue can still be white, which implies a backstory in the Storm family of death/divorce/remarriage/adoption/illegitimacy/who knows, opening yet another can of unnecessary exposition.
Hollywood just does not realize that comics universes have become over the decades such a tangled spaghetti mess that you cannot change one element without being forced to change many, many others.
“Wow, riveting post, Martin S, boring me since 2006.
Who on earth would read that? WHO GIVES A FUCK?”
Apparently you did and you do Lex.
And so it goes.
Lex would it be “adequate assurance” if a 6 foot tall black transvestite takes $75 from you and tells you to call Lana, she’s what all the little white momma-boys want?
I was reading the Atlantic article on the MCN front page about Whedon’s new film and had to look up THE CABIN IN THE WOODS (haven’t seen it yet, but give me a few hours) just to get the initial jokes, and a comment was made that the five kids in the cabin replicated the Scooby Gang, but since there wasn’t a dog that meant the odd-man out–who is black–must therefore be Scooby’s stand-in.
Umm….
They might resemble the scooby gang in that they are archtypes and the Cabin kids were also broad archtypes(jock, scholar, virgin, whore, glutton) Though Fred is hardly a jock, more of a dandy, and the velma role is more suited to the black guy as he represented the scholar. So they are grasping at straws for the article.
As far as the movie itself, I was pleasantly suprised, it was a fun little deconstruction of horror cliches, much more intelligent and witty than it needed to be. Wasn’t a fan of Whedon’s television stuff, all too smirky, but this held back on the whole “people realizing they are in a horror movie scenario” self reference stuff in just the right way.
Lex,
Why do you need a high level of assurance that a hooker is safe in order to sleep with her. Your life isn’t that great. Sorry to be the bearer if bad news. Just take the risk. Maybe you get an STD maybe you don’t. It’s a gamble. It’s also the most exciting thing you’ll do this year.
The Scooby Gang reference in relation to “Cabin In The Woods” in the comment you read was probably just a reference to the core cast of “Buffy The Vampire Slayer” who have had that for a nickname.
Actually, the reference I saw wasn’t in the Atlantic article, and whoever wrote it specifically referred to “Scooby-Doo”, meaning Fred, Daphne, Velma, Shaggy, and Scooby. I was the one who assumed this is what was meant by “Scooby Gang”…a term I had seen in reference to “Buffy” long ago that never made any sense.
(TV Guide listings back in the day always said “The Scooby Gang does this asinine thing or pulls that idiotic maneuver and has to be rescued”, so I assumed it was some group of worshipful dipshits who, like the guy in the Batman-flavored hockey gear in DARK KNIGHT, get themselves into trouble and need to be rescued by the person they’re trying to emulate.)
After having seen the movie (thanks, Redbox!), the Fred analogue drives the van, is obviously in charge and does have a blonde girlfriend, plus there’s the stoner, and the brunette who is fittingly stuck in the virgin role since guys just can’t seem to follow through with her.
That leaves the other guy.
And “the Scholar” reference seems meaningless since Fred has a full-ride sociology scholarship (?!?), Daphne is pre-med and Velma wants to bring a book on Russian economics to stave off boredom. Scooby doesn’t seem to do anything really all that scholarly–even Shaggy seems brighter by comparison.
And yes, I brushed off this movie until now because all the writeup implied it was a fresh new take on horror movies…which sounded exactly like the tagline for SCREAM. Pass. I didn’t become curious until the Atlantic interviewer made a “speakerphone” joke that I had to look up, then I saw the control room, which instantly changed the whole dynamic. Now it was something I had to see.
Bonus extra: The song during the end credits sounded like lame-ass heavy metal crap until I cranked up the speed to 1.5x to get to the end and suddenly it sounded awesome, like some forgotten mid-90s NIN masterpiece. For a laugh, I decided to wait to the end to see who made this crappy-at-normal-speed song and…it was NIN.
…and then afterward I watched SILVER LININGS PLAYBOOK, which is one of those special movies you grow to dislike the more you think about it. It felt like a rejected Movie of the Week script spiced up with plenty of naughty words and brief flashes of nudity to make it worth putting into a theater.
JLaw was the only worthwhile part of the movie, or rather her ample cleavage, which the cinematographer had clearly fallen in love with, but her presence even when fully covered (no, Lex, she doesn’t get naked) is much more welcome than BraCoop, who you just want to keep slapping to knock some sense into him.
There’s a lengthy extra segment showering praise on the movie for showing the reality of mental illness, which is bizarre considering that both leads were described as fairly normal albeit a tad quirky who each experience a traumatic event that suddenly turns them into a total nympho (no, Lex, you never get to see her have sex) and an unpredictably violent nutjob. If anything, the movie will make people fearful that the same thing could happen to them if they ever have a bad day.
Even worse is that this is a sports movie, meaning the happiness of all involved doesn’t depend on the successful outcome of just one competition but TWO. Guess how they turn out?
And Julia Stiles in a microscopic part? What the heck happened, girl?
(Oh, I can also assure you that if BraCoop was the “substitute history teacher” at a single high school, he must’ve spent an awful lot of time sitting at home because most subs sign up at several schools and are expected to cover any class imaginable. Also, that story about coming home unexpectedly early to find his teacher wife and her teacher lover going at it reeks of BS–how would they get there before him? If they each decided to teach for a half-day so they could split early and get it on, wouldn’t they have banged the gong as quickly as they could, knowing he’d be home in only an hour or so? And since he was subbing at the school where she worked, wouldn’t he notice she’d left early and wonder why?)
Sigh. This is what happens when someone makes a movie about something you know. And that substitute teaching stuff, too.
Superman was invented by a Canadian. His is the ultimate American immigrant success story. Why shouldn’t he be played by a non-American?
I grew disappointed with Silver Lining half way through when it turned from a different sort of indie into a standard rom-com.
It shouldn’t be too late to create new superheros that are not white but even that would create a backlash by some saying it’s Hollywood trying to force a liberal agenda on the masses.
I think conception and perception just need to be slowly eroded away. It may mean short term losses but I’d suspect long term gains. Fast & Furious doesn’t get sold or generally discussed as a “triumph of diverse casting”. Disney has long had an axiom of being able to grow their own stars. If they can do it w/whites, why can’t it work for people of color? Plug in more diverse actors in smaller roles in bigger film, see which ones start to gain traction. Do people really remember Halle Barry from Boomerang? I think she just starts popping up more and more and people take notice and she’s a star before she wins an Oscar. Obligatory sports reference, it’s akin to playing the underclassmen late game blowouts now so they’ll be ready start in the next couple of seasons.
If people saw more of the world’s population reflected now in films, it won’t create such a negative stir later on. Remove the conditioning that makes people only see one type of person as certain type of lead.
“It shouldn’t be too late to create new superheros that are not white…”
Triple Option, in the Cracked article about the possibility of a black Human Torch, a commenter actually said something like “Minority characters aren’t popular, so we have to make popular characters into minorities.”
Is it safe to finally weigh in on “MOS”? The blackout ends tonite, right?
(Spoilers? Not really.)
I was disappointed overall.
The first half was wildly
portentous (pretentious, too, come to think of it, lol), and so fraught
with “significance” I could barely keep a straight face. I can’t recall a previous incarnation of the Superman comics that was so bald-faced about the Jesus/messiah metaphors.
The second half, like every other
21st century comic book movie, devolves into yet another
“Transformers” knock-off.
Yawn.
(I think it’s official: Michael Bay’s “Transformers”
flicks are clearly the most influential movies of the past decade.)
And I even thought it bordered on 9/11 pornography at times.
I liked Amy Adams and thought her scenes w/ Cavill’s Superman were the best parts of the film.
But it’s still more of a “Oh, well” than an “Oh, wow!”
I was also inordinately depressed at the sight of Diane Lane weighed
down w/ old age make-up in the present day scenes. Man, that made
me feel older than Methuselah.
P.S.= The 3-D–at my screening anyway–seemed pretty much non-existent.
movieman, I know a couple people who’ve seen it who said much the same thing (and the exact impression I got from the trailers that some people seem to be creaming their pants over – so much ‘meaning’ and angst and fucking boohooing, cheer up assholes it’s SUPERMAN)
“I think it’s official: Michael Bay’s “Transformers” flicks are clearly the most influential movies of the past decade.”
a sure sign of the apocalypse haha
I really thought I was going to be in the minority, Leah. Glad to hear I’m not on a limb here.
The buzz–dim, but increasingly pronounced–has been exceptionally reverential.
It’s funny.
One of the things I liked about the trailer was how it seemed to be taking the whole Superman mythos seriously (akin to what Nolan did w/ Batman). Imagine my surprise when I wanted to scream, “Lighten up!,” halfway through the movie.
The prologue w/ Russell Crowe felt like something out of a bad ’50s swords-and-sandals meller. And although it only lasts 20 minutes, it felt like an eternity.
Made me nostalgic for the lugubrious Brando prologue from the 1978 “Superman.”
Out on a limb.
well my sampling was only two people, though both of them are pretty ‘geeky’, so i guess it remains to be seen, could still be a fanboy-gasm to come; my feeling has always been that nolan is just too heavy-handed for Supes but i’ll have to see for myself of course (weirdly the teen boy cadre around here has little interest in Man of Steel). I just (re)watched Donner’s orig ‘Superman’ a couple nights ago – they’re running the series on cable presumably in a run-up to Man of Steel – and it’s such a sweet, dorky movie really but with such style and sincerity, it really works (i think a lot of it has to do with the casting, Reeve in particular of course and Kidder and Hackman, i just can’t get enthused for an ultra-serious Superman, it just doesn’t feel respectful somehow)
I will say that Cavill is the sexiest Superman ever (too bad he wasn’t able to keep his beard after donning the cape and tights!)
Not sure yet how good an actor he is since he’s not given a whole lot of opportunities to prove his thesping range in this movie.
But he does have a charming romantic chemistry w/ Adams (very reminiscent of Reeve and Kidder), and that counts for a lot. I just wish there had been more of it.
One of the things I liked best was how they junked the whole “Clark Kent: Nerdy, Bespectacled Daily Planet Reporter” (and no Jimmy Olson, hurrah!) cliches.
But–spoiler alert-the closing scene indicates that’s precisely where the sequel is headed.
Drat.
the general consensus of the people i spoke with after the junket ‘mos’ screening was ‘meh’… on the up side, no one said they ‘hated’ it….
my original impression was that nolan had a pretty firm hand on the first half but then stepped out for coffee or something and snyder went all batshit with his action toolbox in the second half…. completely agree with movieman’s ‘more oh, well than oh, wow!’…..
Just walked out This is The End. And it’s exactly the movie you think it is. Self-referential and funny. But it’s nothing to brag about. I chuckled more than laughed. Some cameos were very funny, some kind of random and the “straight to gay” jokes never let up. There’s a really funny scene where McBride and Franco go at it about where to masturbate and that really had me going. Check it out, but don’t expect too much.