A$AP Rocky is the stage name Rakim Mayers, a rapper who despite the inclusion of a dollar sign in his name is much more than a ripoff of '90s gangsta rap. While A$AP certainly spends a fair amount of time dealing with the themes of that particular genre, LongLiveA$AP makes it clear that A$AP is concerned with other things, like compassion and social justice, having a good time, and the thing that makes him a rapper of note, art.
While the first couple of tracks on the album make it seem like LongLiveA$AP is just a cheap callback to the works of Puff Daddy and Biggy, with weak beats and a ridiculous menacing deep voice, it is clear through this haze that A$AP is a really talented rapper. He is highly intelligent and referential, and when he's willing to be vulnerable he is really thoughtful. Of course, anyone who delves into gangsta-style rap, even for a couple of tracks, has difficulty with vulnerability, so you have to dig a little bit for thoughtful moments. When you get to a song like "Suddenly," however, A$AP effortlessly incorporates wisdom like the following line: "You my brother, you my kin / F*** the color of your skin."
For the most part, the album is well produced, and songs like "LVL" and "F***** Problem" are a couple examples of songs with amazing hooks. A$AP has the same problem that most of my favorite rappers have: he has difficulty producing an album. Don't get me wrong. He makes amazing tracks. But rap and techno tracks are often made differently than those of other genres because they're more likely to be mixed into other tracks by DJs. As a result, there will be more emptiness at the beginning and end of tracks and less flow from one track to another. While A$AP may have flow (ie. a decent amount of money gained by having successful records), he does not have flow (a consistent sound and feeling from track to track), and it certainly doesn't help that his album is a little bit too long. I would have cut out a couple of the first tracks and then sequenced and mixed the album a little differently, but I can't say that A$AP and his production crew have the same goals in mind. I can't fault A$AP too much for being better at tracks than albums. The only two rappers I've ever encountered who can put together an album that would make the Beatles and the Beach Boys proud are Kanye West (My Beautiful Dark Twisted Fantasy) and Outkast (Speakerboxxx/The Love Below).
On that note, I have to digress and bring up a constant theme on LongLiveA$AP. After my first listen, I was certain that A$AP is obsessed with Outkast and the ATL scene. The first track "Long Live A$AP" has a chorus that could have been borrowed directly from Love Below track if I didn't know any better. With a high-pitched dreamy voice and enveloped sound, this could easily be Andre 3000 singing (although, I have to say Andre is a better singer). The fast rapping on "PMW (All I Really Need)" sounds like a throwback to Andre as well. In "Wild for the Night," A$AP directly references Outkast and the song "She Lives in My Lap," while Andre and Big Boi are both mentioned later in the track "Ghetto Symphony." This is a strong enough theme that I wonder whether I should review this album on its own merits or as a tribute album.
LongLiveA$AP didn't blow me away, but it certainly put A$AP Rocky on my map of rappers to look out for. My girlfriend said that 2013 is likely to be a great year for rap, and that means that the January release of LongLiveA$AP is merely the warning shots. Even if I'd skip a track or two here and there, songs like "Hell, featuring Santigold," "Fashion Killa," and "Like I'm Apart" were strong enough that I wouldn't be surprised to see them on a few reviewers end of the year favorites list.
I've syndicated this review at Examiner. You can read it here. If you click on it a few times, spend some time there, or navigate to a new page, I might get some money. But I'm only asking that of you if you liked reading the article here and want to show your appreciation.
Saturday, February 9, 2013
The Americans S01E01: "Pilot"
The year is 1981. Two Russian spies have been posing as an American couple for a decade and a half complete with a house and two kids at the center of American policy, Washington DC. The Cold War seems everything but cold with the election of Ronald Regan and the difficulties his spy-hunting stance bring for these KGB operatives. Phillip and Elizabeth Jennings speak perfect English, and if rumors are correct they haven't spoken a word of Russian since they met. They also hunt down former Soviets who have turned into informants for American money while also making certain that their daughter has the clothing she needs and their son gets to hockey practice on time.
In the first episode, The Americans delivers some of the best story telling I've encountered since watching The Godfather for the first time. A scene will create a question in the viewer - like, "Why was Elizabeth romancing that Department of Defense guy in the beginning?" - and right when it seems like that scene might have just been a throw-away scene about sacrifice and the spy life it is tied perfectly into the story. Every scene is necessary and plays an important role in the development of the narrative. After the one hour ten minute long pilot has completed I found myself amazed that I not only knew who the five main characters - Phillip, Elizabeth, Paige and Henry Jennings, and Agent Stan Beeman - were, what motivated them and a rough idea of the trajectory of their story arcs, but I also understood a lot about the American and Russian governments and their aims during the time period.
The acting is surprisingly strong. Keri Russell has been a favorite actress of mine for years now. I was never as much of a fan of her during the Felicity days, but when she started taking more adult roles she really showed that she is incredibly professional and very dedicated to the art of acting. But Russell is not the only one who delivers. There is not a single awkward actor in this series, at least not as of episode one. Furthermore, and I think this might be the key to the future success of The Americans, the creative team is brave. Already in the pilot, they tackle some seriously difficult issues of sexuality, from Elizabeth's sexual intelligence sortie and its implications for her relationship with Phillip to a KGB commander who is sanctioned to rape his underlings as part of their training to a brute who believes it is OK to take advantage of under-aged girls to the most difficult topic of all: the balance of duty to country and love of ones family.
Furthermore, if you want to win me over, there are two things you need to do: have a good story and make it a period piece in the 1980s. I was really impressed by the music and how well it was mixed into each scene. I'm not talking cheap, pop tunes that anyone would hear on some BMG "I Love the 80s" disc, although there was a little cheese to the fact that the song "In the Air Tonight" played during an integral sex scene. And who doesn't love a family who cares about hockey. While the Jennings family are proclaimed Washington Capitals fans, I can only imagine the drama that might have unfolded just a year earlier when the American Olympic team had their "Miracle on Ice" which pitted them against the seemingly invincible Russian team in the semi-final game. I'm going to admit that if we don't get a flashback to that game, I'm likely to be a little disappointed.
While the spy family concept has been done to death in such depictions as Mr. and Mrs. Smith, the Undercovers, and True Lies, The Americans stands out because of its incredible delivery. I have to admit that The Americans isn't likely to be my favorite new show in a year where House of Cards hits the scene, but then again, The Americans doesn't have the budget of House of Cards, so the accomplishment that this show marks means a little bit more. Ultimately any doubt I have about the series is overshadowed by hope and intrigue, and I highly recommend this show to anyone with eyes to see and ears to hear, but also to those with disabilities because of closed captions and whatever blind people use to enjoy visual art.
I've syndicated this review at Examiner. You can read it here. If you click on it a few times, spend some time there, or navigate to a new page, I might get some money. But I'm only asking that of you if you liked reading the article here and want to show your appreciation.
In the first episode, The Americans delivers some of the best story telling I've encountered since watching The Godfather for the first time. A scene will create a question in the viewer - like, "Why was Elizabeth romancing that Department of Defense guy in the beginning?" - and right when it seems like that scene might have just been a throw-away scene about sacrifice and the spy life it is tied perfectly into the story. Every scene is necessary and plays an important role in the development of the narrative. After the one hour ten minute long pilot has completed I found myself amazed that I not only knew who the five main characters - Phillip, Elizabeth, Paige and Henry Jennings, and Agent Stan Beeman - were, what motivated them and a rough idea of the trajectory of their story arcs, but I also understood a lot about the American and Russian governments and their aims during the time period.
The acting is surprisingly strong. Keri Russell has been a favorite actress of mine for years now. I was never as much of a fan of her during the Felicity days, but when she started taking more adult roles she really showed that she is incredibly professional and very dedicated to the art of acting. But Russell is not the only one who delivers. There is not a single awkward actor in this series, at least not as of episode one. Furthermore, and I think this might be the key to the future success of The Americans, the creative team is brave. Already in the pilot, they tackle some seriously difficult issues of sexuality, from Elizabeth's sexual intelligence sortie and its implications for her relationship with Phillip to a KGB commander who is sanctioned to rape his underlings as part of their training to a brute who believes it is OK to take advantage of under-aged girls to the most difficult topic of all: the balance of duty to country and love of ones family.
Furthermore, if you want to win me over, there are two things you need to do: have a good story and make it a period piece in the 1980s. I was really impressed by the music and how well it was mixed into each scene. I'm not talking cheap, pop tunes that anyone would hear on some BMG "I Love the 80s" disc, although there was a little cheese to the fact that the song "In the Air Tonight" played during an integral sex scene. And who doesn't love a family who cares about hockey. While the Jennings family are proclaimed Washington Capitals fans, I can only imagine the drama that might have unfolded just a year earlier when the American Olympic team had their "Miracle on Ice" which pitted them against the seemingly invincible Russian team in the semi-final game. I'm going to admit that if we don't get a flashback to that game, I'm likely to be a little disappointed.
While the spy family concept has been done to death in such depictions as Mr. and Mrs. Smith, the Undercovers, and True Lies, The Americans stands out because of its incredible delivery. I have to admit that The Americans isn't likely to be my favorite new show in a year where House of Cards hits the scene, but then again, The Americans doesn't have the budget of House of Cards, so the accomplishment that this show marks means a little bit more. Ultimately any doubt I have about the series is overshadowed by hope and intrigue, and I highly recommend this show to anyone with eyes to see and ears to hear, but also to those with disabilities because of closed captions and whatever blind people use to enjoy visual art.
I've syndicated this review at Examiner. You can read it here. If you click on it a few times, spend some time there, or navigate to a new page, I might get some money. But I'm only asking that of you if you liked reading the article here and want to show your appreciation.
Friday, February 8, 2013
House of Cards S01E01: "Chapter 1"
Frank Underwood is the House Majority Whip and architect of the president's recent successful election strategy, two facts that should clinch him an appointment to Secretary of State. In fact, this cabinet position was promised to Frank when he put his name in support of the president. House of Cards follows the drama that unfolds when Frank's victorious colleagues deny him what is rightfully his and Frank decides to dedicate his devious political prowess to vengeance against those who wronged him.
By episode one, I can already tell that this is some of Spacey's best work in years. He is multifaceted and downright frightening like he was in the Usual Suspects. He is matter-of-fact, sarcastic and somewhat conceited like in American Beauty. He acts, he reacts, he narrates, and if he doesn't win awards, I will be incredibly surprised. The supporting cast does their job, but nobody is stealing the spotlight from Spacey. Perhaps this is because of his brilliance, and perhaps it has more to do with his character's need to be vindicated. I originally thought Spacey talking to the camera like he was Zack on Saved by the Bell or Wayne in Wayne's World was weak and it underestimated the intelligence of the viewers, but now I believe that there is no other way to deliver the complexity of Spacey's character on the screen.
The big talk about House of Cards is that Netflix invested mounds of money in this series. The money was invested wisely, at least in terms of artistic value: House of Cards is written, directed and acted superbly. The series gives credit to a hypothesis that I have been developing that subscription services like Netflix and Hulu Plus are going to be the future refuge of well-written scripted television. Of course, two things remain to be seen, whether Netflix can make back at least as much money as they have put into this original series, and whether their risky move of releasing the entire first season of House of Cards at once will sit well with viewers. I will have to admit that the only negative I could think of in regards to this new series was that it feels weird not having a new episode each week, but like the many changes to Facebook that everyone always complains about, I think I will get used to it.
What I look forward to in House of Cards is how Frank Underwood is able to get revenge on the highest ranking members of his party without jeopardizing his party, his personal beliefs, the good of the people, and his soul in the process. Since the entire first season is already out, I'm sure there are those of you out there who already know that answer. For the sake of the rest of us, keep it to yourself.
I've syndicated this review at Examiner. You can read it here. If you click on it a few times, spend some time there, or navigate to a new page, I might get some money. But I'm only asking that of you if you liked reading the article here and want to show your appreciation.
By episode one, I can already tell that this is some of Spacey's best work in years. He is multifaceted and downright frightening like he was in the Usual Suspects. He is matter-of-fact, sarcastic and somewhat conceited like in American Beauty. He acts, he reacts, he narrates, and if he doesn't win awards, I will be incredibly surprised. The supporting cast does their job, but nobody is stealing the spotlight from Spacey. Perhaps this is because of his brilliance, and perhaps it has more to do with his character's need to be vindicated. I originally thought Spacey talking to the camera like he was Zack on Saved by the Bell or Wayne in Wayne's World was weak and it underestimated the intelligence of the viewers, but now I believe that there is no other way to deliver the complexity of Spacey's character on the screen.
The big talk about House of Cards is that Netflix invested mounds of money in this series. The money was invested wisely, at least in terms of artistic value: House of Cards is written, directed and acted superbly. The series gives credit to a hypothesis that I have been developing that subscription services like Netflix and Hulu Plus are going to be the future refuge of well-written scripted television. Of course, two things remain to be seen, whether Netflix can make back at least as much money as they have put into this original series, and whether their risky move of releasing the entire first season of House of Cards at once will sit well with viewers. I will have to admit that the only negative I could think of in regards to this new series was that it feels weird not having a new episode each week, but like the many changes to Facebook that everyone always complains about, I think I will get used to it.
What I look forward to in House of Cards is how Frank Underwood is able to get revenge on the highest ranking members of his party without jeopardizing his party, his personal beliefs, the good of the people, and his soul in the process. Since the entire first season is already out, I'm sure there are those of you out there who already know that answer. For the sake of the rest of us, keep it to yourself.
I've syndicated this review at Examiner. You can read it here. If you click on it a few times, spend some time there, or navigate to a new page, I might get some money. But I'm only asking that of you if you liked reading the article here and want to show your appreciation.
Monday, February 4, 2013
Superior Spider-man #2
Otto Octavius/Spider-man continues to prove that he can be a better Spider-man than Peter Parker ever was. In the last issue, he did so by craftily dealing with the newly formed Sinister Six. In this issue, his focus turns to Peter Parker's love life and the inevitable Otto Octavius and Mary Jane Watson coupling.
The issue of Otto romancing Mary Jane while in Pete's body is touchy. If he succeeds in "wooing her" and "sealing the deal," that would be tantamount to rape. After all, it is not Otto Octavius but Peter Parker who she wants and who she believes she is dating. No deception on Otto's part can get around that fact. Slott deals with the issue carefully. With the help of ghost-Peter-Parker, the reader is alerted to the disturbing moral situations of Otto touching Mary Jane, flirting with Sajani, and even of Otto washing his current body in the shower. The moral ground is laid out so well that the reader is disturbed when Otto makes use of Peter's memories to "experience" Mary Jane fully.
Despite failing completely at every attempt to get invited up to Mary Jane's apartment, Octavius is able to gather some important data from his scientific trials concerning his sex life, namely that there is a logical conundrum with dating Mary Jane. Peter Parker cares about Mary Jane and wants to date her, but his presence in her life puts a target on her head, so Octavius concludes that he cannot pursue Mary Jane. At least on the surface, this appears to be yet another way in which Octavius is superior to Peter Parker.
Here's where a little reading between the lines might be able to reveal a prevailing theme in Superior Spider-man. I think that in every individual way, Otto Octavius is going to be able to prove that he is better than Peter Parker at being Spider-man, and yet overall he is going to fail at being Spider-man. What we're going to see is that being better has far less to do with the content and arrangement of ones actions as it does with the motivation behind the actions one commits. Octavius defeated the Sinister Six with ease, but he should have stormed their headquarters and prevented any possible harm that they might have done before they got to his trap. He decided to push away Mary Jane, but a super hero who has no connection to the people of the world will fail at seeing them as anything other than collateral damage in an all-out brawl.
Otto Octavius will fail because being Spider-man is less about intellect than it is about compassion. While Peter Parker has a great head on his shoulders, you put down Spider-man and pick up an issue of Fantastic Four if you want to read about what the smartest people in the world are doing. You pick up a Spider-man book because Peter Parker is all heart, something that Octavius will always fail at.
The future of Superior Spider-man looks bright. We can look forward to more quirks, like Peter Parker with a robot lab assistant that whirs when it speaks and spider-surveillance drones. Despite the surprising lack of witty dialogue from the vulturettes, Otto's run-in with the Vulture should be pleasing. And who can forget the fact that Carlie Cooper may have figured out that Otto Octavius has inhabited Pete's body. Like I said, future, bright!
I've syndicated this review at Examiner. You can read it here. If you click on it a few times, spend some time there, or navigate to a new page, I might get some money. But I'm only asking that of you if you liked reading the article here and want to show your appreciation.
The issue of Otto romancing Mary Jane while in Pete's body is touchy. If he succeeds in "wooing her" and "sealing the deal," that would be tantamount to rape. After all, it is not Otto Octavius but Peter Parker who she wants and who she believes she is dating. No deception on Otto's part can get around that fact. Slott deals with the issue carefully. With the help of ghost-Peter-Parker, the reader is alerted to the disturbing moral situations of Otto touching Mary Jane, flirting with Sajani, and even of Otto washing his current body in the shower. The moral ground is laid out so well that the reader is disturbed when Otto makes use of Peter's memories to "experience" Mary Jane fully.
Despite failing completely at every attempt to get invited up to Mary Jane's apartment, Octavius is able to gather some important data from his scientific trials concerning his sex life, namely that there is a logical conundrum with dating Mary Jane. Peter Parker cares about Mary Jane and wants to date her, but his presence in her life puts a target on her head, so Octavius concludes that he cannot pursue Mary Jane. At least on the surface, this appears to be yet another way in which Octavius is superior to Peter Parker.
Here's where a little reading between the lines might be able to reveal a prevailing theme in Superior Spider-man. I think that in every individual way, Otto Octavius is going to be able to prove that he is better than Peter Parker at being Spider-man, and yet overall he is going to fail at being Spider-man. What we're going to see is that being better has far less to do with the content and arrangement of ones actions as it does with the motivation behind the actions one commits. Octavius defeated the Sinister Six with ease, but he should have stormed their headquarters and prevented any possible harm that they might have done before they got to his trap. He decided to push away Mary Jane, but a super hero who has no connection to the people of the world will fail at seeing them as anything other than collateral damage in an all-out brawl.
Otto Octavius will fail because being Spider-man is less about intellect than it is about compassion. While Peter Parker has a great head on his shoulders, you put down Spider-man and pick up an issue of Fantastic Four if you want to read about what the smartest people in the world are doing. You pick up a Spider-man book because Peter Parker is all heart, something that Octavius will always fail at.
The future of Superior Spider-man looks bright. We can look forward to more quirks, like Peter Parker with a robot lab assistant that whirs when it speaks and spider-surveillance drones. Despite the surprising lack of witty dialogue from the vulturettes, Otto's run-in with the Vulture should be pleasing. And who can forget the fact that Carlie Cooper may have figured out that Otto Octavius has inhabited Pete's body. Like I said, future, bright!
I've syndicated this review at Examiner. You can read it here. If you click on it a few times, spend some time there, or navigate to a new page, I might get some money. But I'm only asking that of you if you liked reading the article here and want to show your appreciation.
Tuesday, January 29, 2013
Savage Wolverine #1
Savage Wolverine is savage because he's in the Savage Land. You could say that he was sent to save Shanna the She-Devil and some SHIELD agents, but there are a whole lot of incidents of falling from the sky so it is unclear whether or not there was any sending or intention involved. The book is also savage because Wolverine kills and maims without good reason, because that's what Americans apparently want after the savage killings in the Northeast.
Wolverine's monologues are annoying to read. Much of the disgust previously pointed toward the writing in Detective Comics can now be directed toward Savage Wolverine. There are cheesy lines where he explains that he disarmed his foes while cutting off their arms and then cut a little off the top while cutting off their heads. That kind of cheesy. While we're on the topic, Wolverine is the headmaster of a school that values all kinds of different forms of life - the Brood, the Shi'Ar, sentient landmasses, Bamfs - and yet when he enters the Savage Land apparently all life is only good enough to become shish kabobs on Wolverine's claws. Moreover, as far as I can see, this carnage is the main selling point for the book.
There is one other selling point. Savage Wolverine features Shanna the She-Devil, an X-Men and SHIELD ally who remains skimpily-clad at all times, whether she is in the tropical Savage Land, on a climate-controlled (one would assume) SHIELD vessel, or anywhere else in the world. This strong and vicious woman is reduced to little more than a damsel in distress housewife who only wants to return to her beloved Kazar and Zabu and who is dressed in a shredded bikini.
Despite having no desire to read any more issues in this series unless major creative team changes are made, I am left wondering whether Savage Wolverine will take place in the Savage Land for the entire run. If not, what sorts of things will happen to maintain Wolverine as "savage"? Perhaps the better question is: "Does Marvel expect Savage Wolverine to get cancelled immediately?"
I've syndicated this review at Examiner. You can read it here. If you click on it a few times, spend some time there, or navigate to a new page, I might get some money. But I'm only asking that of you if you liked reading the article here and want to show your appreciation.
Wolverine's monologues are annoying to read. Much of the disgust previously pointed toward the writing in Detective Comics can now be directed toward Savage Wolverine. There are cheesy lines where he explains that he disarmed his foes while cutting off their arms and then cut a little off the top while cutting off their heads. That kind of cheesy. While we're on the topic, Wolverine is the headmaster of a school that values all kinds of different forms of life - the Brood, the Shi'Ar, sentient landmasses, Bamfs - and yet when he enters the Savage Land apparently all life is only good enough to become shish kabobs on Wolverine's claws. Moreover, as far as I can see, this carnage is the main selling point for the book.
There is one other selling point. Savage Wolverine features Shanna the She-Devil, an X-Men and SHIELD ally who remains skimpily-clad at all times, whether she is in the tropical Savage Land, on a climate-controlled (one would assume) SHIELD vessel, or anywhere else in the world. This strong and vicious woman is reduced to little more than a damsel in distress housewife who only wants to return to her beloved Kazar and Zabu and who is dressed in a shredded bikini.
Despite having no desire to read any more issues in this series unless major creative team changes are made, I am left wondering whether Savage Wolverine will take place in the Savage Land for the entire run. If not, what sorts of things will happen to maintain Wolverine as "savage"? Perhaps the better question is: "Does Marvel expect Savage Wolverine to get cancelled immediately?"
I've syndicated this review at Examiner. You can read it here. If you click on it a few times, spend some time there, or navigate to a new page, I might get some money. But I'm only asking that of you if you liked reading the article here and want to show your appreciation.
Saturday, January 26, 2013
The Last Stand
The Last Stand is the first movie that features Arnold Schwarzenegger in a lead role since his time in politics. As such, I was incredibly excited for this movie. It ushers in an era of post-Schwarzenegger Schwarzenegger films that will undoubtedly consist of sequels - I'm still holding out for a King Conan film - and movies that are referential to his previous works.
The Last Stand is about a small town on the border with Mexico and its police chief Ray Owens. I almost didn't recognize Owens as Schwarzenegger, but that was mostly because the character wasn't named John like most of Arnold's characters. (John Matrix is a personal favorite of mine.) The town is populated by a lot of B- and C-list actors that many will recognize like Luiz Guzman, Jaimie Alexander (Lady Sif in Thor), Johnny Knoxville, and Rodrigo Santoro (Paolo on LOST).
Beyond the delightful cast, I have nothing particularly good to say about this movie. It was filled with awkward moment after awkward moment, and not the kind championed by the Office or It's Always Sunny in Philadelphia. It was the kind of awkwardness that comes from shoddy writing, directing and acting. The pace of the film was all kinds of bad. The first half of the film did not even feel like it was building toward anything. It just felt like some stuff was happening, and while you knew it would be connected, it was really insignificant. In the second half of the film, there is just action. There is no sense of importance, and again, no build - just action and then later conclusion. The characters are one-dimensional and expendable, especially the woman hostage who was somehow important to the plans of both the villains and the authority in pursuit.
In a post-Schwarzenegger Schwarzenegger world, you expect Schwarzenegger movies to be filled with cheesy lines and improbably/impossible action sequences. Unfortunately, there weren't enough ridiculous puns or camp to make up for this film's lack of substance. One also expects some sort of hidden science fiction reference, like cloning or a rail gun. Instead, The Last Stand delivers a really really fast car and hopes that it is enough to keep you interested.
The Last Stand was a horrible letdown, both for viewers who like good movies and viewers who simply like movies because Arnold is in them. With a little bit of art it could have been either good or bad enough that it was funny and enjoyable. As for me, I actually had a good time watching this movie, but my enjoyment relied on one thing that no other movie will supply me with this year: the fact that Arnold Schwarzenegger is back.
I've syndicated this review at Examiner. You can read it here. If you click on it a few times, spend some time there, or navigate to a new page, I might get some money. But I'm only asking that of you if you liked reading the article here and want to show your appreciation.
The Last Stand is about a small town on the border with Mexico and its police chief Ray Owens. I almost didn't recognize Owens as Schwarzenegger, but that was mostly because the character wasn't named John like most of Arnold's characters. (John Matrix is a personal favorite of mine.) The town is populated by a lot of B- and C-list actors that many will recognize like Luiz Guzman, Jaimie Alexander (Lady Sif in Thor), Johnny Knoxville, and Rodrigo Santoro (Paolo on LOST).
Beyond the delightful cast, I have nothing particularly good to say about this movie. It was filled with awkward moment after awkward moment, and not the kind championed by the Office or It's Always Sunny in Philadelphia. It was the kind of awkwardness that comes from shoddy writing, directing and acting. The pace of the film was all kinds of bad. The first half of the film did not even feel like it was building toward anything. It just felt like some stuff was happening, and while you knew it would be connected, it was really insignificant. In the second half of the film, there is just action. There is no sense of importance, and again, no build - just action and then later conclusion. The characters are one-dimensional and expendable, especially the woman hostage who was somehow important to the plans of both the villains and the authority in pursuit.
In a post-Schwarzenegger Schwarzenegger world, you expect Schwarzenegger movies to be filled with cheesy lines and improbably/impossible action sequences. Unfortunately, there weren't enough ridiculous puns or camp to make up for this film's lack of substance. One also expects some sort of hidden science fiction reference, like cloning or a rail gun. Instead, The Last Stand delivers a really really fast car and hopes that it is enough to keep you interested.
The Last Stand was a horrible letdown, both for viewers who like good movies and viewers who simply like movies because Arnold is in them. With a little bit of art it could have been either good or bad enough that it was funny and enjoyable. As for me, I actually had a good time watching this movie, but my enjoyment relied on one thing that no other movie will supply me with this year: the fact that Arnold Schwarzenegger is back.
I've syndicated this review at Examiner. You can read it here. If you click on it a few times, spend some time there, or navigate to a new page, I might get some money. But I'm only asking that of you if you liked reading the article here and want to show your appreciation.
New Avengers #2
New Avengers #2 continues to follow Black Panther in his struggle to save the Earth(s) from complete and utter destruction while working with the Illuminati, a group of puppet-masters whose decisions the Panther does not agree with. In this issue we find out just how serious the problem introduced in issue one is, a chain reaction of planetary destruction that not only threatens our planet - it threatens our universe and every other universe.
When I read the first issues I was incredibly happy that this story is being told from Black Panther's standpoint. My fear for the second issue was that we would see things from the standpoint of one of the other Illuminati, perhaps Mister Fantastic. Luckily, the book is still a Black Panther story with the Illuminati as his backup band. I'd be happier to find that Marvel was changing the title of the book to Black Panther, that they have no fear that a black lead character will hurt sales, and that they want to make this change retroactive for the first two issues, but I'm not holding my breath. I'll settle for Marvel telling an important Black Panther story from beginning to end.
While this is certainly a book centered around Black Panther, I was happy to see that Jonathan Hickman was able to incorporate his homeboy Mister Fantastic into a really interesting explanation of the planetary collapse theory that the Illuminati are now facing. It was exactly what Hickman does best - explaining comic book science in a way that is accessible and not heavy handed. This is not the author explaining the plot. It is Reed Richards being Reed Richards, borrowing the spotlight from Black Panther only momentarily in order to get the Illuminati (and the readers) on the same page.
Hickman gives his Illuminati a couple of quests for the next couple of issues, but more interesting is a theme that was introduced in this issue. In response to the first issue, many readers were wondering why Black Panther was able to work with Namor despite the destruction of Wakanda at his hands during Avengers vs. X-Men and the current war between Wakanda and Atlantis. In the second issue, this issue is addressed and not lightly. When this is all over, Black Panther wants to kill Namor. Plain and simple.
New Avengers is extremely accessible for a heady story that references a long history of conflict in the Marvel Universe. Slowly, Hickman is bringing the new reader up to date with explanations of who the Illuminati are, what they have done, and what their continuing motives are. If there is anything negative I have to say, it is that I wish Hickman's sister title Avengers were nearly as good as New Avengers. Here's to hoping that the quality of Avengers catches up to New Avengers, because if they're going to have consistent crossovers like Fantastic Four and FF, I don't want to be annoyed.
Buy this book. Do it because it's a great story. Also, buy it in order to invest in Marvel's black comic book characters. They need help that the editors, writers and artists won't give on their own. They need the help that only money can buy.
I've syndicated this review at Examiner. You can read it here. If you click on it a few times, spend some time there, or navigate to a new page, I might get some money. But I'm only asking that of you if you liked reading the article here and want to show your appreciation.
When I read the first issues I was incredibly happy that this story is being told from Black Panther's standpoint. My fear for the second issue was that we would see things from the standpoint of one of the other Illuminati, perhaps Mister Fantastic. Luckily, the book is still a Black Panther story with the Illuminati as his backup band. I'd be happier to find that Marvel was changing the title of the book to Black Panther, that they have no fear that a black lead character will hurt sales, and that they want to make this change retroactive for the first two issues, but I'm not holding my breath. I'll settle for Marvel telling an important Black Panther story from beginning to end.
While this is certainly a book centered around Black Panther, I was happy to see that Jonathan Hickman was able to incorporate his homeboy Mister Fantastic into a really interesting explanation of the planetary collapse theory that the Illuminati are now facing. It was exactly what Hickman does best - explaining comic book science in a way that is accessible and not heavy handed. This is not the author explaining the plot. It is Reed Richards being Reed Richards, borrowing the spotlight from Black Panther only momentarily in order to get the Illuminati (and the readers) on the same page.
Hickman gives his Illuminati a couple of quests for the next couple of issues, but more interesting is a theme that was introduced in this issue. In response to the first issue, many readers were wondering why Black Panther was able to work with Namor despite the destruction of Wakanda at his hands during Avengers vs. X-Men and the current war between Wakanda and Atlantis. In the second issue, this issue is addressed and not lightly. When this is all over, Black Panther wants to kill Namor. Plain and simple.
New Avengers is extremely accessible for a heady story that references a long history of conflict in the Marvel Universe. Slowly, Hickman is bringing the new reader up to date with explanations of who the Illuminati are, what they have done, and what their continuing motives are. If there is anything negative I have to say, it is that I wish Hickman's sister title Avengers were nearly as good as New Avengers. Here's to hoping that the quality of Avengers catches up to New Avengers, because if they're going to have consistent crossovers like Fantastic Four and FF, I don't want to be annoyed.
Buy this book. Do it because it's a great story. Also, buy it in order to invest in Marvel's black comic book characters. They need help that the editors, writers and artists won't give on their own. They need the help that only money can buy.
I've syndicated this review at Examiner. You can read it here. If you click on it a few times, spend some time there, or navigate to a new page, I might get some money. But I'm only asking that of you if you liked reading the article here and want to show your appreciation.
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