Tron: Legacy: A Review

It's been a while since I reviewed the original, but here I am reviewing the sequel... and I must say I'm feeling pretty good. Tron: Legacy (2010) is very much a sequel, with more references to the former than Empire, but in many ways Legacy stands on its own in a way few sequels do. As a heads up most of the plot will be ignored due to the fact that there are several twists and turns, a lot of ins, a lot of outs, a lot of what have you.

To begin with: Yes, the movie is pretty. I won't spend a lot of time on this seeing as how anyone who has viewed a single trailer knows that this movie is a stunning piece of CGI. The world of Tron came to life in ways that the creators of the original probably only dreamed of, with bright lights and vivid imagery, allowing the Grid to become a world of it's own, not a sound stage with a lot of neon tubing.

Also a thing of beauty is the Daft Punk Score, as a newbie to Daft Punk I was really impressed with how they were able to mix the sound of classic video game music with new style to make probably the best soundtrack I've heard in years, frankly if Daft Punk doesn't win the Oscar, or at least gets nominated, then there is something wrong with the Oscars... well... that's a rant for another day.

Really, my only problem with this movie comes in with the Script, although when compared with the first they are on par, Legacy does what the first one doesn't... leave frayed ends. The Purge of the ISOs is touched on, but the ISOs themselves are mentioned for just a few scenes. I know Disney was gunning for a sequel to this sequel, but the way the ending doesn't show what Sam has done now that's he's back, or for that matter what happened to Tron after his lights changed back to blue, leaves the viewer with a sense of longing. Furthermore, the whole state of the Grid is in question, now that Flynn and Clu are gone, will there be some rebuilding? Will Sam rebuild The Grid? Who knows? The viewers don't, that's for sure.

Also, there was some dialogue that felt a little weird, falling under the Lucas Rule of "You can write it, but you can't read it." Though, there are few movies without an occasional snag in the script. I do appreciate all the Fan service that was done, I really do, but if you have time to include the Tanks passing in the background, then you should have time to polish the script enough to keep the ends of the strands in Ole Duder's Kevin Flynn's The Grid loose.

The acting is actually a lot better than I thought it would be. But, as could be expected, Bridges stole the show in his double role as both Flynn and Clu. What was probably the best CGI piece was "Young" Flynn, even though there were a few times that the CGI was very obvious. Also strong was Olivia Wilde, who oozed sex appeal, at the same time she seemed innocent and naive. Garrett Hedlund is very good, but he lacks the pure laid back charm of Bridges in the original, and even here.

For a sequel, you won't find much better. Plot snags aside Tron: Legacy is a very fun ride and well worth a trip to the cinema for a big screen viewing. For fans of the first... it's definitely been worth the wait.

Dr. Brooklyn says: LIKE this movie (8.75/10)




  

Gremlins: A Review

Some movies stand the test of time not because of amazing stories or outstanding performances, but instead they just touch certain audiences in a certain way. In other words, they're just fun. Such is the case of Gremlins (1984), equal parts comedy and camp, with a delightful infusion of horror and Christmas joy to make a movie that will be remembered for decades because its fun and unique, but nobody will accuse it of being one of the greatest movies ever made.

In some ways the movie plays like a modern version of 'The Trouble with Tribbles' one of the truly classic Original Star Trek episodes, but other than the annoying, rapidly spawning creatures the similarities end there. Gremlins starts out very innocent, with a like able kid, matched with geeky yet like able parents, and a cranky old lady causing trouble in his life. In a lot of ways the characters work because they are very conventional, many are straight out of the standard 80s mold (think The Goonies). The redeeming element to this is that all the characters are very enjoyable, because viewers have seen them before.

As I briefly touched on earlier, the script, by later Harry Potter helmer Chris Columbus, mixes comedy with horror to produce a very different Christmas movie. I was kind of impressed with how interesting a movie about little monsters could be. There's the main story involving the aforementioned monsters, there's also a romantic side plot for Billy (Zach Galligan). Again, these subplots are very cliche for a movie that came out during the 1980s, but the point is that they work.

In what was probably my favorite inclusion of the movie was the constant shots of old movies, many of which set the stage for the events of the movie. Particularly The Invasion of the Body Snatchers (1956) before the Mogwai began to break out of their own pods, it was little touches like this that allowed sci-fi genre fans an added level of enjoyment.

From the future looking back, the effects are quite lame, the creatures eyes often don't sync up and motion is very rigid and unnatural, something that today would be done easily with CGI. That being said, for the time the effects would have been cutting edge and probably would have left a young viewer or two with bad dreams for a while after seeing this movie.

Also, the human performances all fall into the "1980s camp" pile, due to shoddy acting made alright simply because the movie is shoddy itself therefore the average performance play along with the whole campy vibe, instead of seeming out of place. There are no great performances, but there's nothing on a Wiseau level, either.

As a piece of high quality cinema, Gremlins is a bit of a failure. The story is bizarre, matched with decent acting and sub par effects there's not a lot of substance. But taken as a piece of entertainment... there is a lot going for Gremlins. There are laughs, good characters, and even a bit of romance, all added up to make a very fun movie, even if it's not a Citizen Kane or a Casablanca.

Dr. Brooklyn says: LIKE this movie (8/10)

I Review You, Man

Over the last few years the slacker set has invaded motion pictures and established a base camp in the romantic comedy genre. Some of the movies have turned into modern classics, with an endless stream of quoting and tie in merchandise for teenagers to wear. One of these movies was the 2009 movie I Love You, Man starring Paul Rudd (Knocked Up) and Jason Segel (Forgetting Sarah Marshall). In effect the movie is part of the current "slacker/striver" strain of the romantic comedy virus, but as it describes itself, it's a "bromantic comedy."

Pete (Rudd) seemingly has no friends, except his girlfriend and most of his female coworkers. With an impending wedding, Pete has a problem: He has no Best Man. As such, he decides to set out to find a best friend: involving a few gay men that think effeminate Pete is also gay, all leading to the meet cute with Sydney (Segel). The two instantly become friends and in true rom-com style spend all their free time together... falling deeper and deeper in bro-love.

As a romantic comedy there are many of the same pitfalls that plagues most movies in the genre, mainly being: Love and friendship like this is not instantaneous. Also, there's a love building montage set to "Tom Sawyer," and worst of all... two dimensional characters.

Jon Favreau is the worst offender here; as shown in movies like Swingers (1996), Favreau can do comedy, but here he is so abrasive there is little to no comedy... just... Favreau being an asshole. Rudd's character is just a loser, I'm sorry, but he is. For character's like Rudd's to work, they have to be more than just sad sacks. Tragically unhip, Pete is just a loser pretending to be cool... but the writers gave him so little real development he remains a loser acting cool. Then there's the opposite end of the spectrum in Sydney, a guy who is so hipster cool that he wears Ugg boots ironically, has a hybrid dog, and plays Rush songs. Again, there is so little characterization that Sydney is essentially what a 10 year old dreams they'll be like when they are nearing 30.

Bringing me to my biggest complaint with the movie: the script. I have seen just about the whole cast in other movies, even the back ground fillers pop up in most of the "edgy" comedy shows and movies. So I know they can do comedy and are all decent actors, leading the weakness of the movie to be shared between the script writers and the director, the latter being one of the former. There are some funny parts, but most of the movie isn't funny on it's own, laughs are only elicited because of Segel's over acting, the only redeeming part of this movie. The jokes are usually strung out longer than they should be, making them less funny than they were.

I heard this movie get hyped beyond belief, and I was a little let down. Segel and Rudd have both been in much better movies, so if you want a does of Segel or Rudd (or Segel and Rudd in some cases) check out most of the Apatow family tree. Though if you're looking for a few immature laughs and hip references check this out, but if you want a good comedy... don't.

Dr. Brooklyn says: PASS this movie (6/10)



 

Reviewer No. 1

During my recent hiatus I was still watching movies, one of them being the ground breaking and controversial A Clockwork Orange (1971) which starred Malcolm McDowell. After liking him in Time after Time (1978) and A Clockwork Orange, seeing his name on the cover was enough to convince me to watch the movie Gangster No. 1 (2000).

To be frank I have been let down by several of the  British crime flicks I've seen... mainly those directed by Guy Ritchie, because many times the movies rely too heavily on conventions and American precedent, but Gangster No. 1 is surprisingly original. To begin with, the movie is stylized beyond belief, shots are broken up in a nod to old pop art movies, with fourth wall breaks and a bi-linear plot of The Gangster (McDowell and Paul Bettany) in the modern times and as a young man, facing his own fall and rising respectively. Although released in 2000, the movie oozes 1960s cool, mainly because that's when the Gangster begins to make his climb to the top.

In that regard it seems like most Rise of the Gangster movies (see Scarface, Carlito's Way, State Property, The Public Enemy, GoodFellas, etc), and in many ways it is conventional: young Gangster learns from Boss, only to later usurp Boss resulting in animosity and blood shedding, but because of all the style and the variables thrown into the formula is enough to make Gangster No. 1 different and exciting.

Although it's not his first movie, this is the first Paul McGuigan movie I've seen, and I was pleasantly pleased by his eye for style. I know I have been saying the word "style" a lot, but that's only because this movie had more in the opening minutes than Snatch had in it's entire run time. McGuigan captures the brutality of the Gangster and the world around him in a way that is visually pleasing and impressive for a man on his second film.

Furthermore, McGuigan was working from a great script by Johnny Ferguson. My main problem with the films of Ritchie is that he is a so-so screen writer who tries to be edgy and funny, but fails. Ferguson on the other hand gives a subtle wit to a very violent movie, kind of like a lesser Tarantino.

The acting is all amazing, McDowell is grand, playing the character (in his own words) as an older Alex Destrange. As such the character has a roguish charm to him, despite not getting a lot of screen time until Act III. The way The Gangster narrates Act I and II though do establish him as a very strong character, despite McDowell's face being absent for much of the early stages of the film.

That being said the man playing the Gangster during Acts I and II really owns this movie; and that man is Paul Bettany. Many Americans will know him as the hype man Geoffery Chaucer in A Knight's Tale (2003), but his role here is so far removed from that film that it;s hard to imagine that same jovial man is this violent psychopath who rises to the top... of a heap of corpses. The sheer ice of The Gangster's soul shows every time Bettany opens his eyes, cold and unforgiving.

To be honest this is a very good movie: great acting, a great script, great direction, amazing style and a very cool plot roller coaster. Although it won't be on any of my crime top 5s it's a very thrilling movie and worth a watch if you haven't seen it.

Dr. Brooklyn says: LIKE this movie (9.25/10)

An American Reviewer in London

Hey guys, just so you know I AM alive... but barely due to exam week. The Doctor has been getting schooled. That having been said I am making my triumphant return to the reviewing game... so buckle up... we're going to go for a little journey.

Although many don't want to admit it... the Horror genre has actually contributed some of the finest movies ever made: Dracula (1931), Rosemary's Baby (1968), The Excorcist (1973), Halloween (1978), etc. But, soon people didn't want strict fear inducing scenes, and soon horror-comedy was born. Of course to cinema goers in modern times horror-comedy is nothing new, movies like the Scream series and 2004's modern classic Shaun of the Dead have gained widespread popularity that horror movies with campy humor are almost the new status quo, but this new breed of horror movie's was not a recent creation.

In the early 80s there was a movie that challenged what people expected from horror, for example one doesn't expect a horror movie to begin with peaceful shots a a tranquil moor... matched up with a peaceful little diddy like "Blue Moon" sung by velvet tongued crooner Bobby Vinton. The more common place opening usually involves a bloody massacre to get viewers attention, making An American Werewolf in London (1981) all the more unique.

But the camp factor was not the only factor that sets this movie apart. The way David (David Naughton) discovers his condition is amongst the more inventional aspects, Landis beautifully uses dreams, flashbacks, and a chilling and chuckle inducing scene with David's deceased friend, Jack (Griffin Dunne). The script is pretty inventive, not relying solely on Werewolf canon as passed down from such classics as The Wolf Man (1941), instead flexing the mythos a tad here and there to make the movie more modern and appealing. I was also impressed with how Landis (mostly known for his classic comedies and the Thriller music video) was able to craft a very good werewolf based script... leaving behind animals like Bluto to make one of the best were wolf movies ever.

But it's not just the script that Landis got right. The over all vibe of the movie is perfect. All the archetypes are presented in ways that are both traditional and new. The creepy townsfolk provide some of the best town fillers since the robots of Thermostadt in the Futurama episode The Honking. And, although I did say that the Werewolf tale was modernized a bit, the key elements are respected such as only a loved one can kill a lycanthrope, etc. (There are none of those fake Twilight Werewolves here). But one of the true highlights is the Tarantino esque soundtrack, ironically matching songs involving the moon with intense violence and moments that one wouldn't associate with a certain song, adding to diffuse the horror and make the viewer half smile... even while David is writhing in pain during a horrific transformation.

Speaking of that transformation, the movie truly does deserve the praise for it's groundbreaking make up work. Before computers could do everything Baker and his boys put on one heck of a show during the transformations, and when Jack shows up as a decaying corpse. I do have to agree with some critics saying the real star of this movie is Baker and the make up crew.

For a horror movie, the acting is not bad. I do have to use that qualifier because the acting is not amazing by any stretch of the imagination, but compared to many other entries of macabre cinema the acting is pretty good. Naughton plays the eponymous American Werewolf with a like ability that I believe is mostly natural, and he portrays the confused young man very well, but he's not a great actor. The same can be said of Jenny Agutter, for a horror lead she is actually a strong independent woman who doesn't spend the entire movie squealing, which is refreshing. But the best acting performance is probably John Woodvine as the Dr. J.S. Hirsch, a small role, true, but Woodvine does act better than the rest.

All in all this is a very good movie, not just a good horror movie, but a good movie in general. There are some scares and more than one laugh; So if you are looking for a good way to spend an hour and thirty eight minutes pop in An American Werewolf in London, you won't be disappointed.

Dr. Brooklyn says: LIKE this movie (9/10)

Comic Book Wednesday Part 3: The Rest

Take heart, dear reader, there are only two more reviews for you to read, but they are also two of the best comics of the week.

SCALPED #43
Words by: Jason Aaron
Art by: Jason LaTour

It's kind of strange, I've always hated Wooster Karnow, and yet... because Aaron is such a great writer I actually feel a little for him. Not a lot, but enough for me to like a one and done starring the hate able sheriff. I guess like doesn't even cover it, perhaps truly enjoyed would better convey my emotional response to this issue. Although far from the best of Scalped, 43 holds some touching moments and was an interesting change of pace... even though I would have wanted a continuation of Unwanted which had some of the best comics I've read this year. Back to the issue at hand, the affair is genuine Aaron and Karnow is his typical braggart self but when faced with a man who's actually done what he claims to Karnow feels all kinds of inadequacy. My only complaint would be the art, after the tremendous work of Guera, LaTour's work seems to rely too much on imitation. Other than that this issue is another win for Scalped and Jason Aaron.

Dr. Brooklyn says: LIKE this issue (9.5/10)

THE WALKING DEAD #79
Words by: Robert Kirkman
Art by: Charlie Adlard

In terms of The Walking Dead, this was an average issue. In terms of most comics this was a great issue. With roamers surrounding the town and internal struggles, Rick and Company are up the creek with out a paddle with a new arc in the next issue. Adlard continues to give some of the best art in all of comics and Kirkman continues to earn all the praise he gets, but for the final issue of an arc this issue felt a little rushed, I know that 79 is just set up for 80, but still I've come to expect a bit better from Kirkman... even though it's a good issue. Other than the last panel, there seems to be little major build up, yet that final page is so mouth watering that I can't wait for #80.

Dr. Brooklyn says: LIKE this issue (8.75/10)

After more typing than I have typed for any previous CBW I think I'm content to say good night and have a happy thanksgiving.

P.S. Next week (due to the holiday) new comics come out on Thursday so my reviews won't hit until Thursday or Friday... because I know you'll be waiting to read them

Comic Book Wednesday Part 2: Marvel

Remember my promise of 10 marvel reviews? Well you should because it was only like 2 minutes ago... but here they are!

CAPTAIN AMERICA #612
Words by: Ed Brubaker
Art by: Butch Guice

The Trial of Captain America is on... well, the pre-trial is on. This issue doesn't really deal with the trial, other than a bunch of set up. Brubaker introduces us to Bucky's Lawyer, and there are a few scenes with her that make up the meat of the issue, but there is also the interesting sub plot of Sin being freed by Master Man with hopes of Reich's and Aryan nations all around.  But that's pretty much it, still setting up all the players in the trial, there isn't anything truly ground breaking in this issue. It's good, don't get me wrong, but there's no real substance, it's all just expository scenes and interactions. I also can't help but notice the constant presence of Steve who it seems is making his way firmly back into the Cap main title... I'll let you think of that what you will.

Dr. Brooklyn says: AT LEAST READ this issue (7/10)

DEADPOOL #29
Words by: Dan Way
Art by: Carlo Barberi

Deadpool's main title is really the only one worth a darn at the current time, and this issue reassures it's readers that yes... it is worth a darn. Mixing the hilarious antics of Deadpool with such serious characters as Steve Rogers, Black Widow, and Moon Knight was a genius stroke by Way. In the conclusion to possibly the best arc since Monkey Business (yeah I know there's only been like... 2) Deadpool uses his own brand of "tactical genius" to bring Dr. Bong down, all the way cracking funny jokes and saving the day, truly becoming a hero. Now I'm curious as to where this arc will send the Merc with a Mouth next. Barberi's art continues to be some of my favorite art out there and the writing is returning to some of it's best moments.

Dr. Brooklyn says: LIKE this issue (8.5/10)

DEADPOOL: PULP #3 (of 4)
Words by: Adam Glass and Mike Benson
Art by: Laurence Campbell

I know it's a constant gripe but you'll only have to hear it one more time... this is a great series, but a horrible Deadpool series. I believe given an actual Deadpool 616 title Glass and Benson could knock it out of the park, because they truly have a great grasp on his inner monologue, it's just that they've made the external dialogue of Wade so not Deadpool-y and the rest of the series is so not Deadpool-y that I can't truly love this series as much as I want to. This issue finds Wade flashing back to a war (which war is not specified) at the same time General Stryfe is instituting his master stroke to start WWIII and return America to it's natural state... one of war. The art is superb and the writing is exactly what you'd want in a story like this, except when there are actually any genuine Deadpool moments they seem more out of place than if Batman decided to wear a lime green cowl. I do recommend this series greatly because I like it and I'm positive you will too, but don't go in expecting to get Deadpool squaring off with a hit-man whose a monkey.

Dr. Brooklyn says: LIKE this issue (9/10)

INVINCIBLE IRON MAN #32
Words by: Matt Fraction
Art by: Salvador Larroca

If you've been reading this blog regularly you know I've been losing my faith in Invincible Iron Man. Luckily for the money counters at Marvel Fraction was able to revive my faith in him with a good issue, bringing back what I loved about the earlier issues of this series. Instead of Tony Stark just moaning about the environment and running Oil out of business we get to see Tony being Iron Man and delivering repulsor based whoop-ass to the drones and Detroit Steel. But even cooler than that we get to see Pepper and Rhodey destroying drones too, giving us the first mission for Team: Iron Man. The issue returns to the action aspects of the first arc (The Five Nightmares) and gives both Pepper and Rhodey some development to the side, showing that with a threat like this Tony can't lone wolf it. Larocca's art is some of the best I saw this week and with visuals like this it's easy to forgive sins of the past.

Dr. Brooklyn says: LIKE this issue (9/10)

NAMOR: THE FIRST MUTANT #4
Words by: Stuart Moore
Art by: Andres Guinaldo

What a way to end the first arc of a series! In a final climactic showdown Namor fights his grandfather and leader of the Aqueos Thakorr, while his team is out fighting the rest of the threat in true Return of the Jedi fashion. The art is slightly off, with Guinaldo attempting to recreate Olivetti's art from issue's 1-3. But other than the slight gripe about the art style this was one of my favorite issues this week. As a Namor fan I am really excited to see when Moore takes this series when it leaves the "Curse of the Mutants" banner and begins to deal with some original plot lines. This series should definitely be on your radar, because I have a feeling that it'll keep getting better and better.

Dr. Brooklyn says: LIKE this issue (9/10)

SECRET AVENGERS #7
Words by: Ed Brubaker
Art by: Mike Deodato

Although another exposition heavy issue from Brubaker (see above) SA sets up a lot of plot lines that the first arc indicates will be brought to a glorious conclusion. Shang-Chi's father is proved to be risen, which spells disaster for the rest of the world. And as such the Secret Avengers begin to mobilize with sweet fights (beautifully portrayed by Deodato) and intrigue (beautifully written by Brubaker) all leading up to a big reveal of another member of the Shadow Council, John Steele... the first Super Soldier. In what is quickly becoming one of my favorite series, Brubaker continues to develop the team dynamic of the Avengers and we get not only a cool martial arts story, but a cool military story as well... all added up to an awesome issue of an awesome comic.

Dr. Brooklyn says: LIKE this issue (9/10)

SHADOWLAND: BLOOD ON THE STREETS
Words by: Antony Johnston
Art by: Wellington Alves

I am really sad that Shadowland is ending, but with the continuing amount of good issues coming out as of "3 of 3"s and "4 of 4"s the pain is being comforted. In the stunning conclusion to Blood on the Streets, or the story of Misty Knight, Paladin, Silver Sable, and Shroud hunting down the fake Hand. In one of the best twists of Shadowland yet, revealing that the cops have taken advantage of the Hand's fear tactics to bring "justice" to the criminals that escaped real justice. But, the way Johnston frames how Misty and crew deal out real justice is quite interesting, reminding the readers in the midst of a crossover that is questioning the effectiveness of the police that real justice isn't anybody who kills a criminal. Alves gives gritty visuals and closes off this mini with a vengeance. I can honestly say that after SL:Moon Knight Blood on the Streets was my favorite mini.

SHADOWLAND: POWER MAN
Words by: Fred Van Lente
Art by: Mahmud Asrar & Ray-Anthony Height

Another end to a Shadowland mini... another fantastic end to a Shadowland mini. I may have said some unkind things about SL:PM over the course of the last few months, but this last issue actually begins to redeem the series a little. With the final assault on Shadowland happening Power Man has gone in secretly to rescue his cousin, which results in the Beast of the Hand thinking he could take Power Man... long story short he was wrong. The story ends with Power Man realizing that he can't do it alone and if anyone can teach him things, it's Danny Rand, a.k.a. The Immortal Iron Fist. I also liked the semi Rocky III end, with Power Man and Iron Fist sparring in Rand's dojo. I will admit that I didn't like the series, but I will also admit that this was a great capstone and the best issue of the mini.

Dr. Brooklyn says: LIKE this issue (8.75/10)

ULTIMATE AVENGERS 3 #4 (of 6)
Words by: Mark Millar
Art by: Steve Dillon

I must begin by saying that Blade breaking up a scene from Twilight was probably the best Twilight Parody yet. I have found that when an issue starts that strong it usually declines a little... unless it's written by Mark Millar, and then the only place it can go is up. And it goes up, up, and away. With Captain America breaking free and the Stark brothers unwilling to admit that Cap isn't just infected, but a Vampire, Blade relates the Ultimate history of Vampire hunters and reveals who's in Starks Mark I armor. Speaking of that suit of armor, Nerd Hulk whose now Vampire Nerd Hulk, begins to get a little cocky leading to a show of strength between Anthony and Nerd Hulk... spoiler alert Hulks always win the shows of strength. The writing continues to be top notch stuff with great art from a living legend Mr. Steve Dillon. With a set up of epic proportions coming this series is just outside my Top 5 Comics series, and this issue is my favorite of the week.

Dr. Brooklyn says: LIKE this issue (10/10)

UNCANNY X-FORCE #2
Words by: Rick Remender
Art by: Jerome Opena

So issue one of this series was good... issue 2 was great. Following up with UCF's mission to kill the child Apocalypse, we see Wolverine toughening up his team... except Deadpool. When the team locates the child on the Moon, they set out to find him... only to bump into War, Pestilence, Conquest, and Death... leading to an epic fight in space. But the team is still a little green and they get captured, and Apocalypse will decide how they die. I like how Apocalypse is being portrayed like a cross between Damian and Rosemary's Baby being raised and groomed to bring the end of days. The art by Opena is just what the writing by Remender demands, I am quite impressed by this creative team and am looking forward to more... hopefully a lot more.

Dr. Brooklyn says: LIKE this issue (9/10)

Whew... did you have as much pain in your fingers reading that as I did typing it? No? Oh, well never mind then. But I still have two more to review so stay tuned for "The Rest."