The Nerd Report

See Cap and Thor Fight......Guys?

2011-08-19T12:37:00.000-07:00

This whole post is SPOILERY, so proceed with caution!

So, with Avengers currently shooting bigass action sequences on the streets of Cleveland (doubling for New York) some youtube clips were bound to make the rounds. I never thought they would be this cool, though. We've got footage from the filming of a fight sequence featuring Thor (Chris Hemsworth) and Captain America (Chris Evans). They're mostly fighting guys with mo-capture suits on, and the scuttlebutt around the interwebs is that the villains are going to be (POSSIBLE SPOILERS FOLLOW) the Skrulls.

And finally here's the God O' Thunder smiting a Chevy:

So that's all pretty cool. If you're a lifelong Marvel Zombie, you've got to be jazzed to see those two characters kicking ass together.

"Drive" Trailer Looks Badass

2011-08-09T15:37:00.000-07:00

Below you'll find the trailer for Drive, a new low-budget thriller starring Ryan Gosling as a stunt driver who moonlights as a wheelman for criminals. And yes, while this looks a lot like every other movie about a monastic, disciplined and honorable crook who gets in over his head, it's been a while since I've seen a really good version of that particular story. This one could be it. The cast looks great, and holy shit, is that Albert Brooks? Awesome.

It's A Bird, It's A Plane...

2011-08-04T12:06:00.000-07:00

...yeah, you know who it is. Warner Bros. released their first official shot of Henry Cavill as the Man of Tomorrow in Zack Snyder's upcoming Superman: The Man of Steel. Take a gander below:

That's pretty awesome, actually. The detailing on the suit is a little busy, and is it me or does the cape seem absurdly long? Anyway, I like the look of Cavill. He gives Supes a sense of intensity and power that the more earnest portrayals have always missed. I'm still a little guarded, mostly due to how Snyder's movies seem to be heading on a downward slide. Dawn of the Dead was great, 300 was good but a little flawed, Watchmen was faithful but lifeless and Sucker Punch was mindblowingly awful. Haven't seen the one he did about owls, but assume there will be scenes that start off in slo mo and then ramp up to regualr speed. But Christopher Nolan and David Goyer are overseeing the film, so they could curtail some of Snyder's weaknesses and play up his strengths. Who knows, but this shot certainly has piqued my interest based on its atmosphere alone.

On a side note, recently watched all of the original Christopher Reeve movies. Beyond nostalgia, I was amazed at how well the first two films hold up, especially Richard Donner's cut of Superman II, which is head and shoulders above Richard Lester's more campy version. Also astonished that I found Superman IV to be vastly superior to Superman III. Yeah, IV had like a dollar ninety-five as a budget, and it looked like it. But III seemed completely uninterested in telling a Superman story, and way more interested in making a Richard Pryor comedy. And by trying to do both, it winds up being neither. It's painfully unfunny. Pryor isn't even as funny as Ned Beatty was in the first two Superman films. The only bright spot is Reeve's continuing brilliance in the title role, and an almost unbelievably luminous Annette O'Toole. That's it. Everything else is godawful.

On the other hand, its cloying naivete aside, Superman IV: The Quest for Peace, is at least trying to tell a Superman story. Gene Hackman is back, and though his wit is a shadow of his former excellence, bad Gene Hackman is still fun to watch. Margot Kidder is more involved, which is good even if she somehow looks ten years older than anyone else in the film aside from Jackie Cooper. Mariel Hemingway is quite good, and the much ridiculed Nuclear Man is actually a good physical foe. With a little more care (which new producer Cannon Films was unable to provide given their meager funds) the script and film could have been tooled into something actually enjoyable. As it is, it's a goofy little B-movie, and far easier to sit through than Superman III.

So, let's hope The Man of Steel is more Superman I & II than III or IV.

Apparently, A Mixed-Race Spider-Man Will Destroy the World.

2011-08-03T16:53:00.000-07:00

Spider-Man is perhaps my favourite super-hero ever. It's for a lot of reasons, but mainly it's because he is the best example of the everyman super-hero. I'm currently in the midst of a big reading project where I'm reading every single Spider-Man appearance in chronological order. So far, I've read about two decades worth of Spider-Man stories.

These days, Spidey exists in two separate iterations published by Marvel. The first is the mainstream Spidey, the one who has existed since 1962 and stars in Amazing Spider-Man, Avengers, and a couple other books. But over a decade ago, Marvel created a separate line of comics from their long-established line, called Ultimate Marvel. The original idea was that Ultimate Marvel would feature characters from their starting points, in contemporary times and without any established continuity, allowing creators to take them in brand new directions.

The first Ultimate series was Ultimate Spider-Man, written by Brian Michael Bendis. And, well over a hundred issues later, Bendis is still writing it today. I read the series when it first started, but around the 100 issue mark, I stopped reading it. I had always really enjoyed what Bendis and his collaborators were doing with the book, and I'm still not sure why I didn't keep up with it. I can say that Bendis did do some really exciting things, tweaking the story of Peter Parker and his classic arcs without losing sight of his core qualities that give him resonance.

Just recently he made waves with a story arc where Peter Parker actually died. That's right, they killed off Peter Parker. As in, no more Spidey. Now first off, I am not naive enough to believe he'll stay dead forever. He'll be back, that's for sure, it's only a question of when. That decision made enough waves, but what came out in the last couple of days really sent some people on the interwebs into insanity.

The new Ultimate Spider-Man will be a half-Latino, half-African American kid named Miles Morales. And the comic world cracked in half with some of the most racist bullshit spouted on message boards across the world. Here's a selection from Bleeding Cool of some of the most hateful:

Why not make him a dyslexic homosexual too, and cover all the politically correct bases, then we will really be “enlightened”

and

Peter Parker could not be whiter. A black boy under the mask just don`t look right. This opens up a whole new story line with a whole new set of problems. Who is going to believe a black man in a mask is out for the good of man kind?

and

Enough of this politically correct, racist nonsense.

Classy, right? And these are some of the least hateful comments out there. First off, my opinion on this is, why the hell not? If you're going to kill off a character and replace him with someone else, why not go for something different? It's not as if we are drowning in mixed-race superheroes in comics. Hell, there's not even that many heroes out there who aren't white, let alone biracial.

Personally, I can see a lot of good stories told about a character like Miles Morales. Removing Peter Parker from the equation truly allows Ultimate Spider-Man to do what it was always intended to do; tell bold innovative Spider-Man stories free of 40 years of continuity. What better way to do that than have a completely new person under the mask? To me, as long as the stories and ideas are good, then why get precious about a status quo? And if the Miles Morales stories are good, then he'll stick around. If they're not, then Peter will be brought back. The single greatest truth in superhero comics is this: no matter what kind of developments that get piled on to a character, that character will periodically get boiled back down to his core qualities. Always.

But the public outrage over this? This is racism, pure and simple. Sorry, but it is. You can say that you like Peter Parker as Spidey, and don't want to read another guy in the suit. Fair enough. That's your choice, and Marvel has this book called Amazing Spider-Man that's just what you're looking for. But if you are mad because Spider-Man has to be white, then that's racist.

Some people will make the case that they are against "political correctness". Comics have had this charge levelled against them for decades. A big example was the decision to use the John Stewart Green Lantern for the Justice League animated series. People claimed it was a transparent attempt to make the League mutlicutural. And it was. And who cares? Because John Stewart on that show was kick-ass. Same with Luke Cage. He was absolutely created as a response to blaxploitation characters like Shaft. And for many years he pretty much was always on a fine line between silly and out and out offensive. But now he is clearly a major character in the Marvel Universe, and a really good one at that.

The fact of the matter is that comics are most often written by white men. And white men are pretty clueless when it comes to minorities. And sometimes that results in some pretty awful and horrible cliches and stereotypes being put out there. But for every mistake, gains are made. The very first superhero of colour in Marvel was the Black Panther. He was king of his own incredibly advanced African antion. He was smart and powerful and not at all cliched. There was Falcon, the first African-American hero. He co-starred with Captain America in his book throughout the 1970s. Storm from the X-Men was not only of colour, but a woman to boot. Shang-Chi was a kung fu master who had his own series, and has remained a solid fan favourite. Creating a small minority of characters of different ethnicities in a genre that is still solidly dominated by caucasians is not pandering, it is simply an attempt to reflect the make up of our own society, and of the readers.

And I do not think the Morales situation is the same thing as the examples above. This is about doing something different with a long established character. As Stan Lee has always said, one of the best things about Spidey is that, with his full mask and suit, kids could imagine anyone inside. If an African-American kid or an Asian kid wants to pretded he's Spidey, it's pretty easy to do. He's the everyman character. He is all of us. And Bendis has adopted two biracial kids, so obviously this is a personal choice for him, not one dictated by cultural mores.

At the end of the day, if you are one of those people who thinks that Spider-Man is a white man, period, then I feel a little sad for you. And you need to confront that your problem isn't about rampant political correctness, or comic book continuity. It's much deeper, and more sad than that. And frankly, Peter Parker would say the same thing.

Teaser Poster for "The Dark Knight Rises" Hits Webs

2011-07-12T09:09:00.000-07:00

Can the the teaser trailer be far behind? Will it be attached, as many think, to the new Harry Potter flick? If it is, I think it'll be like that first teaser for The Dark Knight, maybe some dialogue of a very, very brief snippet of footage. Why? Well, they're still actually shooting, so how much could they have to show? Anyway, the teaser is good, it's definitely visually arresting. I'm not sure it's supposed to be foreboding or uplifting, though. Take a look:

So, is the motif supposed to communicate the sense of the hero rising to lift up the city from darkness into the light of day? Or is it communicating destruction? I lean towards the former, given that this is the end of the trilogy and the culmination of what Nolan has been trying to do with the franchise. Gets me jazzed though.

Less Than Meets The Eye

2011-07-05T12:22:00.000-07:00

In the past, I have railed against the Transformers movie franchise. I freely admit that I have hated each and every installment. Before any fans accuse me of being an elitist snob with pretentious film tastes, I have to say nothing can be further from the truth. I like big summer tent pole extravaganzas. I like films that aspire to be a great time at the movies, nothing more. And I've liked Michael Bay films. I don't think that he's the end of films as we know it. I don't think he signifies all that's wrong with American films in and of himself. I liked Bad Boys, The Rock, and Armageddon. They were all solid action blockbusters; not deep by any means, but they delivered on the promise of some thrills and explosions and fun. I even thought The Island, while bad, was kind of trashy fun with a neat concept at its core.

But the Transformers franchise is the Anti-Christ, and it must be stopped. Seriously. It's not because these films are thinly disguised toy commercials. And it's not because these films are basically about giant robots fighting each other. I love the idea of giant robots fighting each other. I loved it in the 1980s, when I couldn't get enough Transformers. I love it now. And I have to admit that, by and large, the franchise of films does deliver on the promise of giant robots fighting each other. No, there are different reasons why I believe the movies are actually bad for you.

I've posted before on how much I loathe this franchise. And I held off watching Transformers: Revenge of the Fallen for about as long as I could. I saw it about six months ago. And it didn't let me down at all. It was just as big a mess as I thought it was going to be. Casually racist, blindingly misogynistic, and totally incoherent. Not all of that was Bay's fault; the script was god-awful. But the little touches that were undoubtedly his were among the most aggravating. That awful Stepin Fecthit pair of Autobots may not have been his idea, but the tiny transformer that humps Megan Fox's leg probably was. Worst of all, his visual style and quick cuts made the action scenes so cluttered that any clear picture of what was going on was almost impossible. The screen simply became filled with metal crashing into metal, with bad guys and good guys indistinguishable from each other.

I don't care if you're voiced by Nimoy, you still suck.

With the third film, I decided to give him the benefit of the doubt. I honestly wiped the slate clean. The trailer was really strong, and it looked as if he was really going to pull out all the stops, and so I went in with an open mind. And it was an improvement, notably in the way it handled the action. The battles were no longer an indecipherable mess, but were clearly and efficiently directed, with Bay's skilled deftness with such set pieces seemingly back to the level of his earlier films. The major final battle in a decimated and war-torn Chicago is really a sight to see. Every single cent spent on visual and practical effects are up there on the screen, showing you things that you can honestly say are thrilling and bold.

The story is also better, or at least, almost coherent. Certainly it makes more sense than any of the previous films. There's a great little prologue involving the Moon Missions of the 1960s, and Shia LaBoeuf gets an interesting character arc at the beginning of the film; how does a guy who's saved the planet twicedeal with being seen by pretty much everyone around him as slacker doofus and not explode from frustration? It allowed for some interesting scenes for him to play. And LaBoeuf really does act his heart out.

But, that's where the good things end. There's still the same rampant misogyny, which is really getting tiring. Bay infamously fired Megan Fox after she made a few disparaging remarks about the guy, and replaced her with Rosie Huntington-Whiteley, a model who is not an improvement in any way. In fact, I thought she was a robot herself due to her complete inability to express any emotion whatsoever. I thought he might have corrected his treatment of women in films by hiring the astounding Frances McDormand, but she provides nothing aside from a slight obstacle, and her government agent character is not only set up as a jerk, but she also needs to get her butt saved by John Turturro's embarrassing caricature. Bay also manages to sneak a joke in about the Japanese and how those crazy people make strange machines like photocopiers! Awesome.

Remember how much you loved this guy? Yeah, he's nowhere near this movie.

The story completely sabotages its own hero, transforming Optuimus Prime from the wise noble warrior of the first two films into a merciless engine of destruction in this film's final act. There's also (and SPOILER WARNING here until the new paragraph) a part of the story where Prime and the autobots pretend to be dead until after Chicago is razed and thousands are dead because "your leaders had to learn" some sort of lesson about....well...giving in to giant robots, I guess. Well, thanks for letting thousands of people die, Optimus Prick, hadn't you sworn to protect us in the last two movies? Awesome object lesson, big guy. Where'd you learn that from, George Bluth?

In the final analysis, this film suffers from the same problems that both the earlier installments suffered from, namely laziness and a lack of heart. The effects and the action set pieces are not treated this way, but the story and the characters most certainly are. People don't behave consistently, and caricatures are placed right next to so-called actual characters that we're supposed to care about. The action, as well done as it is, is also pretty intense for a film series that is designed to appeal to 11 year old boys. More than one good guy coldly tells various bad guys, "I'm going to kill you". I'm not saying that PG action films can't be that intense, but they have to earn that level, and Transformers doesn't. It's a toy commercial, and its tone is so all over the place that when it does go to the dark place, it feels woefully inappropriate rather than an earned escalation.

Again, I feel this is different than other bad movies, say like Green Lantern. Green Lantern understands its audience, and tried to make a film for them, they just made mistakes that led to a bad film. Transformers: Dark of the Moon thinks its a great film, and makes choices that seems to say, "They're going to come see it, so we don't have to care that much about story or the characters, we can just throw anything we want in there as long as it ends with a giant robot battle." That's crass, and the epitome of soulless marketing.

It has made a huge amount of money, so I'm guessing Transformers will be back. Here's hoping Bay has had enough and feels the need to move on, because a fresh mind may still be able to give us the gooey robot centre, without wrapping it up in all that soullessness.

Explosions! Shooting! Punches! DeNiro! Facial Hair!

2011-06-23T11:53:00.000-07:00

Wow, okay, the trailer for Killer Elite has come out. Now, from what I can decipher from this trailer, Jason Statham is a Killer, being hunted by a mustachioed Clive Owen (also a Killer). To up the ante into "aw no, you di-in-n't" territory, Owen kindaps Robert DeNiro (Statham's father figure. Oh yeah, also a Killer).

There are so much balls in this trailer that women may become pregnant simply by watching it. The only way this film could be more manly is if someone opens a closet during the film and the corpses of Lee Marvin and Steve McQueen fall out, shooting rocket launchers. Check out the manliness below:

The best part is when they show Statham, tied to a chair, leaping out a third story window in slow-mo, and then flash the title card, "Based on a True Story". That actually had me laughing out loud.

Still, it does look like it would be a good time at the movies. It's just so over the top insane that it might be a blast to watch. Also, it makes me sad for Clive Owen. Remember when he was a big-time Oscar nominated super-star? Closer? Children of Men? The many thought was perfect for James Bond? Someone should introduce him to the concept of saying no to things like Shoot Em Up. Then maybe he wouldn't have to do movies where he's second fiddle to our generation's Jean Claude Van Damme and forced to grow a hideous perv 'stache.

5 Ways They Could Have Made "Green Lantern" Not Suck

2011-06-22T13:23:00.000-07:00

There is no way on Earth Green Lantern should get worse reviews than Mr. Popper's Penguins. How in the name of Ganthet did that happen? And yet, this is the case. And having seen Green Lantern this weekend, I can say, that the reviews were mostly spot on. Ryan Reynolds was far and away the best thing of the film; his Hal Jordan was cocky, funny and spot on, tonally. The direction and effects were solid, as well, with a couple minor oddities. The place where it mainly fell apart was the story. So, I've got a bit of a dissection of the mistakes that were made, along with some suggestions as to how they could have avoided the narrative pitfalls they eagerly leapt into.

1 - How is Green Lantern Different - This is actually a good question for anyone writing a story. How is my antagonist different from others? They totally screwed that up here. Green Lantern is the story of a guy who becomes an intergalactic space cop. Taking the super hero concept and transplanting it in to outer space takes it into a fresh new world. The film makers seemed unsure of taking the story to space, spending an absolute minimum amount of time on Oa, but those moments are by far the most interesting parts of the film. A space-set super hero story is something we have never seen before, and the freshness of that would have made the origin story less familiar than what was presented. The alien supporting cast, such as Tomar Re and Kilowog, are reduced to the barest sketches of characters, with only Sinestro being explored fully. Instead, we got a ton of time on Earth, with Hal Jordan struggling with taking on the role of a space cop. Which leads us to our next problem:

2 - Hal Jordan is not Bruce Wayne or Peter Parker - There's a whole bunch of time spent with Hal brooding over his father's death, and the fact that a GL is supposed to be fearless,and yet Hal has all this fear inside him. You know what's great about Hal? He is a cocky guy who loves his life, loves flying jets and banging chicks. He has no fear. THAT'S WHY THE RING CHOSE HIM.
I know we want depth in our characters these days, but why not stick to what makes him unique and make hubris his great flaw? Hal is a "go your own way" type of guy thrust into a corps of soldiers that rely on one another. There's your arc. Or you could explore the fact that he's the first human among a bunch of aliens. Culture shock. Or do both. Either would be more interesting than the arc we've seen a hundred times; Will our hero man up and take on the role of the hero, despite his inner pain? Iron Man proved that characters can have some depth without seeming like their constantly on the edge of suicide. I didn't want to see a demoralized Hal Jordan find the hero within, I wanted to see him get a kick out of finding a magic ring. And for most of the movie, having a magic ring didn't seem all that fun.

3 - Give Us One Good Movie Before Worrying About the Franchise - Marvel is skirting the edge of this problem, and Green Lantern dove right in to it. Look, I don't mind planning for more films. But not every movie needs to feel like Chapter One of Seven. I had waited my whole life to see a GL film, and I would have preferred to see the film makers really throw themselves into making the best damn GL film they could, and not worry so much about leaving more for the sequel.

4 - Don't Forget the Heart - Iron Man was such a surprise to audiences because of its kicky little heart, embodied by RDJ's offbeat and immensely charming take on Tony Stark, and on the tone of goofy gee-whizzery Jon Favreau brought to the role. The Nolan Batman films clearly had a vision and a passion behind them that comes through. Even Superman Returns had a sense that Bryan Singer was truly excited and interested in the story he was telling. But Green Lantern felt like what it was; a naked attempt to create a franchise, lacking in heart or vision. If there is going to be a sequel, a vital component is to make sure the story and the director has plenty of heart. Take the battle to Oa, or at least outer space, and if the story is going to be about Sinestro's fall from grace, then really crack that story. Pick someone who finds that story fascinating; who's burning to tell it, and then let them tell it in their way, with a minimum of studio notes.

5 - For The Love God, Give Him A Practical Costume - The mask looked dumb, and the rule they gave for its necessity was followed halphazardly. There were pletny of times his mask was there when it didn't need to be. The suit looked, well, just wrong. I almost can't explain why. It seemed slight, and didn't communicate any sense of power to me. I get what they were going for, but it looked too flimsy and skin tight. Oddly, on the characters that were almsot entirely CG, it looked fine. But on Reynolds, I never once bought it as an actual piece of clothing, it was always an effect.

Maybe we'll get a good Green Lantern film in the future, although its sluggish box office is no guarantee that we will see a second installment. It also may mean a murky future for DC Comics films that don't feature Superman or Batman; Wonder Woman, The Flash, Aquaman (?). Will a flopping Green Lantern wreck all their chances? Hope not, but Warner's needs to stop seeing these things as cash cows and treat them with the care they need to become the hits they deserve to be.

Avengers Sort-of Assembled!

2011-06-14T10:28:00.000-07:00

Over at Aint It Cool, they've got a scoop from The Licensing International Expo in Vegas that shows some early promo art for Marvel's Avengers film, due to be released in 2012.

To be clear, this is early promote art to attract potential merchandisers, not final finished art from the film, so let's not ascribe too much importance here. The cool thing to note is Captain America's revised "modern age" costume, as well as a potential Hawkeye suit, and the presence of a certain Incredible Behemoth. Check it out:

Okay, to me, this is just cool. If I has seen this picture when I was nine, I probably would have lost my fuckin' mind. Now, we just have to see some footage.

Pure Awesome

2011-06-10T08:50:00.000-07:00

Ladies and Gentlemen, the greatest beer commercial of all time....

Don't you wish they sold that beer here in Canadia?

"First Class" is First Rate

2011-06-06T14:13:00.000-07:00

Okay, so I'm not all that used to eating crow here at The Nerd Report. Nerds never admit when they're wrong. But a while back you might recall that I posted about X-Men First Class and how I couldn't really get my head around some of the continuity gymnastics the film presented. I'm sure many of you fully expected me to not see the film in protest, as nerds are wont to claim.

But hey, this is the Interwebs, where no one has to back up their principles with action! So, I went. And you know what? The movie is great. Before I went into the film, I pretty much thought the X-Franchise was dead. The third X-Men film was a colossal disappointment after the sustained excellence of the first two films. X-Men Origins: Wolverine was almost diabolically bad, and the idea of a Deadpool spin-off (a comic character that I think has absolutely zero mainstream interest attached to him) left me beyond cold. I was excited about a Wolverine film based on the classic badass Claremont/Miller miniseries and directed by Darren Aronofsky. But when Aronofsky had to leave the project, I really thought that the whole X-Franchise had run its course.

So when X-Men First Class was announced and in the run-up to release, I saw it as 20th Century Fox's attempt to squeeze a little more money out of a cash cow while holding on to the film rights that I'm sure Marvel Studios would love to snatch back. The whole mismatch of continuity (some of which directly contradicts the other films, let alone the comics) seemed arbitrary and while I liked the casting and the choice of director, the whole thing felt like the latest Pirates of the Caribbean flick; calculated, gluttonous and without any heart whatsoever.

But as the lights came up on First Class, I had to admit that I was completely and totally wrong in my impressions. This is the best X-Men film since X2. I would say it was better than the first film, and so much better than the third that it scarcely bears mentioning. Far from feeling like a heartless money grab, the film is loaded with heart, and it's got a great central story at that heart. It's clear the film makers wanted to tell the story of the friendship of Magneto and Professor X and how it collapsed. And it was also clear that they had a very interesting way to approach it. The brave thing about the film was that they did something that I often think needs to be done more often in adaptations; they didn't let the source material get in the way of a good movie.

MacAvoy as Charles Xavier and Fassbender as Eric Lensherr

It's a fine line between being faithful and respectful of the source material and being a slave to it. Continuity is one of those classic double-edged swords, especially in comics. It gives the characters and concepts heft, but it can also straight-jacket options for story-tellers. the fact that the film makers here chose to not allow past continuity to limit what they wanted to do makes for a movie that is both more surprising and more enjoyable.

Fox clearly would like this film to be the launching pad for more X-Men films, and I have no problem with that at all. James MacAvoy and Michael Fassbender are both great, with Fassbender turning in a particularly solid performance as Magneto. The kids who play the titular first class are well drawn, with special kudos going to Jennifer Lawrence as Mystique. Kevin Bacon makes a good villain, with a motivation that makes sense, and a power set that while not quite like the Sebastian Shaw of the comics, does fit the story well. There are tons of great little cameos and tidbits for fans of the previous films and the comics, but another way the film succeeds is in not letting those treats overwhelm the story.

Matthew Vaughn, the director, does a great job, and this film is head shoulders above his last comic book film, Kick Ass. I liked his film Layer Cake, and this is more of a return to form, with a great attention to the period setting that never feels artificial, but accomplishes a lived-in tone that works.

The only let downs are some of the visual effects, which a merely workmanlike, not stunning, and the performance of January Jones, who somehow manages to make a telepathic woman who can change into a diamond form and who dresses in lingerie the whole movie completely uninteresting.

Still, I'm very glad to be proven wrong in my initial suspicions. This is a solid direction for the franchise to take, and I think it means that the future for the X-brand is considerably more assured.

UPDATED - Trailer for "Dragon Tattoo" Hits The Interwebs

2011-05-28T14:08:00.000-07:00

Okay, so obviously I took most of this month off, but I think now I'm ready to resume transmissions. Amd I will do so with a very cool video. I don't know how long this will stay up on the World Wide Webs, but here's the first teaser for David Fincher's adaptation of the mega-hit novel The Girl With The Dragon Tattoo. The trailer is only playing in Europe right now, but the American version is expected to hit theatres next week.

UPDATE: So, the version I originally posted was completely unauthorized, which you could guess from how it was from footage of someone pointing a camcorder at a movie screen. Go figure. Here's the actual trailer, though it isn't a red band one. That one is gone, daddy, gone. Still a very good trailer.

How awesome is that? I love the music (Karen O from Yeah Yeah Yeahs and Trent Reznor from Nine Inch Nails covering Led Zeppelin), I love the cast, and David Fincher is an incredible director. I even love the tagline. Looking forward to this one.

Did-A-Chick, Friendo?

2011-04-27T13:03:00.000-07:00

If you don't get the references above, then you may not get the full impact of this post. It's being reported that Academy Award winner (and acording to my wife, muy caliente) Javier Bardem has been cast as Roland Deschain in the upcoming gargantuan adaptation of Stephen King's Dark Tower series of novels.

The book series, which stretched over seven novels, will be adapted into a trilogy of films, with two TV miniseries airing to bridge the gaps between novels. Bardem was long time favourite for the role, and while he currently has only signed for the first film and the miniseries, it is intended that he will appear in all of the films. Ron Howard is expected to direct the first film, at least, with Akiva Goldsman and Mark Verheiden writing the screenplays.

I've read all the books, and while I'm hardly a super-fan, I did really quite enjoy them. At least until the final book, which does make some choices that are a little unsatisfying. Bardem is a fantastic actor, and he certainly will bring a lot to the role, but I can't say I really picture him as Roland. Don't get me wrong, I'm sure he'll be great, but whenever I pictured Roland some of the other front-runners fit better; Hugh Jackman or Daniel Craig.

Still, it's an inspired choice, and one that makes sure that at least Roland will be memorable.

The Long Goodbye to Movie Theatres?

2011-04-21T14:40:00.000-07:00

The interior of Manhattan's Zeigfeld Theatre

There's an article over at Entertainment Weekly talking about how a group of A-List Hollywood directors have recently released a letter decrying the recent deal struck between some studios and DirecTV.

The deal basically allows DirecTV to release films for viewing to its VOD customers as soon as eight weeks after the films' release in theatres. Currently, most films are available to VOD services four months after their theatrical release. Yesterday, the National Association of Theatre Owners sent out an open letter blasting the studios involved in the deal, and the letter was signed by a group of film makers that included James Cameron, Peter Jackson, Michael Bay, Guillermo del Toro, Kathryn Bigelow, Robert Rodriguez, and others.

The letter says, in part: Major studios are struggling to replace the revenue lost by the declining value of DVD transactions. Low cost rentals and subscriptions are undermining higher priced DVD sales and rentals. But the problem of declining revenue in home video will not be solved by importing into the theatrical window a distribution model that cannibalizes theatrical ticket sales.

It goes on to warn that this action may force the closure of movie theatres: The competition for those screens that remain will become that much more intense, foreclosing all but the most commercial movies from theatrical release. Specialty films whose success depends on platform releases that slowly build in awareness would be severely threatened under this new model. Careers that are built on the risks that can be taken with lower budget films may never have the chance to blossom under this cutthroat new model.

I think this a fairly stunning act of solidarity. The film makers, form what I can see, are trying to not only prevent a move away from theatres that could see a great many of them go under, but they also are taking a stand regarding the ideal way they want people to experience their films. They are talking about the value of exhibiting films in theatres, not just in dollars, but in terms of the experience of being an audience member.

I thought most people would applaud the sentiment, but the posts I’m reading on message boards seem to trend towards contempt for the directors. They think it's ploy by them to get money, or that because they're wealthy they have no valid opinion. Case in point:

Dear Hollywood-

You work for us! We don’t work for you! If you want more people to watch your movies Work harder at making the movies GOOD.
Stop being lazy and letting your egos convince you that you are important and that people should be watching your crap.
Why don’t you come to my house, pay me $13, and watch my home movies. They are better than a lot of your films. Any filmmaker could take $200 million and create a film that is better than Avatar.

Portland's Bagdad Theatre

Here's my thing. This has nothing to do with how much money the directors will get paid. They'll get big bucks whether their movies are shown in a theatre, on demand, or projected on a sheet in an outdoor theatre in Mexico. This has to do with two things; ensuring there's still a market that allows small, risky, personal films to get made, and ensuring that films are still shown in the way they were designed to be shown, that is, in a movie theatre.

I complain about going to see movies in the theatre a lot. I hate it when people talk during the movie. I hate it when people text or take phone calls. But seeing the Millennium Falcon make the jump to hyperspace on the best flat screen with surround sound system in the world doesn't hold a candle to seeing it happen in a crowded movie theatre. Seeing a great comedy in a packed theatre is infinitely more rewarding than seeing it at home, alone. Even seeing a small indie drama packs a greater punch when you sit in a darkened theatre and give yourself over to the film.

To me, this whole issue is a symptom of the larger problem. We are, through our amazing technologies, isolating ourselves more and more. The act of seeing a film in a theatre used to be a communal experience. We would go as group and share a collective emotional catharsis. And the fact that we were in a large group could enrich the effect of the film, or play, or ballet, or opera. And the behaviour of people in theatres that I now find so objectionable, this stems largely from the fact that we are creating a civilization of people that have no idea how to behave around other people. We are losing our ability to be considerate, to have empathy, to simply put ourselves in the other guy's shoes. And when that goes, then how long will it be before we lose our ability to have the kind of emotional catharsis that all art depends on?

If movie theatres finally go the way of the dodo, then we are that much closer to becoming a completely insular, self-interested society. To me, the whole idea of film is to allow us to feel something, be it wonder, fear, joy, thrills or sadness. Cutting ourselves off from each other more and more may mean that we will feel less and less.

Me? I'll still stand in line at the box office.

RIP - Elisabeth Sladen

2011-04-19T15:18:00.000-07:00

Some incredibly sad news today, as word is coming out that Elisabeth Sladen, beloved to Doctor Who fans all over the world for her role as Sarah Jane Smith, has died. She was just 63.

Sladen played Sarah Jane Smith on the classic series from 1973 - 1976 and would return to the role twice in the 1980s. After the series revival, she returned in the 2006 episode School Reunion. Her appearance proved popular, and she soon was starring in her own spin-off series, The Sarah Jane Adventures, aimed at children.

Sladen began acting as a child in school, eventually heading to drama school and beginning her professional career in repertory theatre. By 1971, she was making guest appearances in such television series as Doomwatch and Z-Cars.

In 1973, longtime Doctor Who companion Katy Manning was leaving the series, and producer Barry Letts was scrambling to find a replacement. Sladen was recommended to Letts by the producer of Z-Cars, and when she auditioned for Letts and current Doctor Jon Pertwee, it was clear she was the best possible choice.

Sladen and Tom Baker

Sladen would appear alongside Pertwee during his final season, and help viewers adjust to the new Doctor as played by Tom Baker. Her remarkable chemistry with Baker, combined with her portrayal of Sarah Jane as an intrepid and resourceful best friend to the Time Lord, completely redefined what the role of the companion could be. As a testament to her popularity in the role, when she left the series in 1976, it was front page news.

Sladen reprised the role in a pilot for a failed TV spin-off called K-9 and Company, and once again in the 1983 anniversary special The Five Doctors. She would reprise the role for charity specials and audio productions, but it was not until 2006 that she again "officially" played the role in Doctor Who proper. That appearance led to her successful spin-off series, The Sarah Jane Adventures, which debuted in 2007, and recently began airing its fourth season.

Sladen remained a popular figure to Doctor Who fans, consistently ranking at or near the top of polls to list fans' favourite companions. It has been revealed that she had been battling cancer for some time, and eventually succumbed to the illness. She is survived by her husband, actor Brian Miller, and her daughter, actress Sadie Miller.

Sladen and current Doctor Matt Smith

RIP - Sidney Lumet

2011-04-11T13:06:00.000-07:00

A legendary filmmaker passed away over the weekend; Sidney Lumet died at the age of 86 after a battle with lymphoma. Lumet was one of the great American directors, having been behind such classics as 12 Angry Men, Serpico, Dog Day Afternoon, Network and The Verdict.

Mr. Lumet was born in Philadelphia in 1924. His parents were veteran performers of the Yiddish stage. His father Baruch was an actor, director, producer and writer, while his mother Eugenia was a dancer. As a young boy, Lumet began making appearances on stage, and soon made his Broadway debut. He had a successful career as an actor on stage, which continued up until World War II began.

Returning from military service in 1946, he joined the newly created Actor's Studio and created a theatre workshop. it was at this point he began his directing career. He started doing some Off-Broadway and summer stock work, while also teaching.

In the 1950s, he began working in early television, gaining a reputation as one of the most proficient and brilliant young directors in the medium. He directed episodes of Danger, Mama, You Are There, Playhouse 90, and Studio One. In 1957, he directed his first feature film, an adaptation of a teleplay that had been produced for Studio One. The film was set almost entirely within a jury room during the deliberation of a murder case. Henry Fonda played the lone juror who votes to acquit the accused, and the story follows his attempts to sway the votes of the others. The cast was one of the all-time great collections of character actors ; Lee J. Cobb, Martin Balsalm, E.G. Marshall, Jack Klugman, Jack Warden, Ed Begley, and John Fiedler to name just a few. The film was a critical triumph, and was nominated for 3 Oscars.

From there, Lumet returned to television, and also began directing feature films in earnest. He was incredibly prolific, completing a film per year throughout the 1960s. Not all of them were successful, but during this time Lumet made several classic films such as Long Day's Journey into Night, The Pawnbroker, Fail-Safe, and The Hill.

But it was the 1970s where Lumet had his greatest successes, both commercially and artistically. He started the decade with some minor successes in the form of The Anderson Tapes and The Offense. But, in 1973, he directed Serpico, a film that was a huge success in every way, and helped secure Al Pacino as a major box office draw. Lumet capitalized on that success with a remarkable run of films that were both commercial hits, as well as some of the best films of the decade; Murder on the Orient Express, Dog Day Afternoon, Network, and Equus.

Lumet began the 1980s with strong, challenging work. He released Prince of the City, Deathrap and The Verdict, all of which were successes. But the rest of the decade proved mixed for Lumet. He made some flawed films with moments of greatness, such as Power, Running on Empty, and Q&A, but there were more weak films than he ever had previously.

In the 1990s, he continued to make films, but they were smaller in scale. Some remain hidden gems well worth checking out, such as Night Falls on Manhattan. In the last decade, he seemed to find his footing once again, releasing two films that rank among his best, Find Me Guilty and the stunning Before the Devil Knows You're Dead. The latter would be his final film.

Lumet was a director who favoured a naturalistic or realistic style, preferring a technique that didn't call too much attention to itself. He was a master of combining social commentary into films without making them preachy or distracting from the story. He was highly regarded for his speed, as well as for his versatility in taking on all kinds of genres. He was also renowned for his ability to collaborate without ego, as well as his genuine love for, and rapport with, actors. This explains why so many actors he worked with went on to be nominated for or win major awards for their work in his films.

Sidney Lumet surely must be counted among the greats of American film making, even if his modest ego never permitted him to blow his own horn too loudly. He was nominated for an Oscar five times, four for directing (12 Angry Men, Dog Day Afternoon, Network and The Verdict) and once for writing (Prince of the City), but he didn't win an Oscar until 2005, when he was presented with an Honorary Award. But it's his body of work that is the true measure of his skill, and few filmmakers can boast the sheer amount of classic work that Sidney Lumet produced. He will be missed.

Beastie Boys FTW!

2011-04-08T11:30:00.000-07:00

Below you'll find the truly awesome and star-studded trailer for the Beastie Boys' upcoming album, Hot Sauce Committee Pt. 2. I'm not a huge Beastie Boys fan, but I have loved their stuff in the past. And this is awesome. Let's play count the celebrities!

He Said/He Said - Source Code

2011-04-06T12:10:00.000-07:00

Welcome to a new recurring feature here at The Nerd Report. This one is going to be called He Said/He Said, and it features a co-writer; none other than the man called Scofe.

He Said/He Said is basically going to be duelling reviews of movies and anything else that comes into our collective head. What separates us from other similar reviews, you may ask? Well, a superfluity of awesome, first of all. Also the fact that, spelling corrections aside, we'll do it live in chat form. We'll try to bring the funny, but the conversation goes where it goes, and if we devolve into a screaming match, it will usually be because Scofe just won't do the sensible thing and agree with me.

We begin with each of us writing a short bio for the other. Here's Scofe's bio for me:

The first thing that comes to mind when I think of Nerdlinger is his fear of heights. “He must be terrified”, I find myself thinking, “or why else would he be so short?” I don’t know how many times when looking for him, I’ve had to turn my gaze down. It’s really sad, and I feel sorry for him, much like we all feel for the little people of the world.

Fortunately, I can’t think of anything else pathetic to say about him. What most impresses me is Nerdlinger's fount of knowledge about movies, comics, and the history of soft-core porn. In the words of Morgan O’Mally, “my boy’s wicked smart.” Pick anything showing on Turner Classic Movies and Jeremy can immediately name the actors. Mention any comic book writer or artist and he’ll list their previous works. Show him a picture of Shannon Tweed or Krista Allen, and he’ll convince you that penetration is overrated.

We’ve known each other for over ten years, and even spent a few of them as roommates. I can honestly say that I drove him nuts. Simply put, I was not the easiest person to live with. Nerdlinger has always been one to keep his cool. The man never gets upset. Even when his stubby little legs fail to clear the curb, and he crashes to the sidewalk like a floundering child. He always cracks me up when he does this. The poor little bastard.

Anyways, he’s my best friend and always will be. My BFF, or if I may, my BFUOD (Best Friend Until One of Us is Dead). I look forward to our discussions of movies we see each week, both good and bad, and find comfort in knowing that despite how angry I get due to that asshole behind me in the theatre who won’t shut the fuck up, Nerdlinger will be there to calm me down and keep me out of the emergency room.

And here's my bio for Scofe:

No one knows exactly where Scofe came from. There are rumours, of course. Some say he is some sort of android loaded with pop culture knowledge and a bizarre sense of humour. Some say he was sent to us as the only interesting man from a boring future. Some say he is the product of the forbidden love between a ninja and a unicorn. Some even say he's just an ordinary guy with an incredible brain and a walloping set of neuroses.

All I know is that he is taller than me, and if he thinks he can get away with that sort of shit, he is sadly mistaken. I've known him for over a decade, and while he has always knocked me out with his jokes, his warped view of the world, and his brilliant observations, he still insists on being taller than me. He also, even though he is only slightly older than me, can be described as a curmudgeon. If he had a yard, and a hose, he would spray that hose at kids who came too close while shaking his fist and grumbling.

Misanthropy aside, he is a loyal man, and he's been a great friend to me. When it comes to movies, or music, or TV, he's the guy whose views I completely respect, even when they're fucking retarded. But he should really knock off that tall shit.

Now, without further ado, here's our first He Said/He Said, this one dealing with sci-fi magnum opus Source Code. Be aware, major spoilers follow. You were warned.

Nerdlinger: Hey. So, you just want to leap into it?

Scofe: Only if we can Quantum Leap.

Nerdlinger: Which is weird, because I kept thinking of that show as I watched Source Code. Every time he looked in the mirror and saw that dude's face, I thought Dean Stockwell was going to show up.

Scofe: Ziggy!

Nerdlinger: Ohhhhhhhh boy.

Scofe: Ha ha!

Nerdlinger: So, what did you think?

Scofe: Overall, I really liked it. It delivered all that I was hoping. I was never disappointed, I was kept guessing what would happen next (for the most part, as I never like to try and figure a movie out as I'm watching it), and it made me think.

Nerdlinger: Interesting, because I was slightly disappointed. Maybe because I figured out a big twist early on, maybe because I thought the romantic subplot didn't quite add up for me. Still enjoyed it for the most part, though.

Scofe: I agree with the romantic sub plot. I get that she had a crush on him, but I have no idea why he fell for her.

Nerdlinger: She may have been captivated, as I was, by Jake's impeccably groomed facial hair. Seriously, does he have some sort of attachment on a special razor?

Scofe: It's too bad she didn't see his facial hair, she was always seeing Sean or whatever his name was.

Nerdlinger: I thought that the concept was well done. It was really refreshing to see an original concept. Living in an age of comic book films and novel adaptations and remakes as fodder for blockbusters, it's almost rare to see a fresh idea.

Scofe: Agreed. One thing that bothered me, was how he was in the tank with his guts hanging out. How can his body survive in that state?

Nerdlinger: It's technology....we don't have to explain that? Also, he saved everybody on the train.....except Sean, right? I mean he let that guy die and took over his life. So, Colter was kind of a douche in that regard.

Scofe: Ha! But, how was he to save Sean? That wasn't possible. Plus, it felt to me that he was continuing living in a dream reality that he could interact with, but it wasn't really "real".

Nerdlinger: See, I thought, with that phone call he made to Goodwin, he was proving that they did create an alternate reality, one where the train didn't explode. That's why he was still alive in the tank in that reality.

Scofe: Yeah, I guess he did create an alternate reality, but you could also say he created an alternate reality every time he jumped back into Sean's body. So, he created like 10 alternate realities and continued to exist in the last one. And his original reality remained unaffected, other than he helped prevent the dirty bomb from exploding.

Nerdlinger: And in every alternate one he created, that Sean guy stayed dead.....so that's kind of a dick move.

Scofe: I didn't find that at all. He used Sean's body to save everyone on the train. A small sacrifice in the grand scheme of things. Anyways, I really liked Vera Farmiga, although I wasn't convinced that she would disobey orders. And I liked Jeffrey Wright's choice to play the Dr. as kinda eccentric.

Nerdlinger: I liked Wright too, and I thought his character choices were good, but I did think making him so uncaring was a tad clichéd. In a movie this smart, they could have kept him as an obstacle without making him so unfeeling.

Scofe: I guess you could say it was the easy way to go.

Nerdlinger: As for Farmiga, I completely bought into her choice; she was a soldier, and there's a code fellow soldiers have to each other.

Scofe: Yeah, but to risk being court-martialed or something? To risk her career. She had no problem doing it until he actually complained, so she only had a problem with it because he did. Boom!

Nerdlinger: Yeah, I guess if you have no problem hooking up a half-man to a half-assed time machine, then why a few hours of whining would matter is sort of questionable.

Scofe: Anything else to add?

Nerdlinger: Just that director Duncan Jones has a very strong career ahead of him; with Moon and now this, he's a big talent….And he was originally named Zowie Bowie.

Scofe: Moon was a much better movie though, so it will be interesting to see what he does next. Ooh, I also remember reacting to the music during the opening credits. It reminded me of a 60's suspense movie.

Nerdlinger: Like a Hitchcock film....I thought that too!

Scofe: Totally. Is the 60's the right period?

Nerdlinger: Sure. It really reminded me of later 50's Hitch, but close enough.

Scofe: Clichéd "bomber" too. "The world is a bad place and I need to teach it a lesson".

Nerdlinger: Yeah, but I did like how nerdy he looked. It would have been easy to cast someone with a little edge, but he had no edge to his look at all. Anyway, wanna do Hanna next week?

Scofe: Don't be gross.

Nerdlinger: Ha!

Reaction to Season Debut of "Doctor Who" Pours In

2011-04-05T13:22:00.000-07:00

The first two episodes of the new season of Doctor Who had its first press screening last night, and reaction has started to pour in.

Patrick Mulkern of the Radio Times had this to say:

We sat pinned to our seats for 90 minutes or so of electrifying, bamboozling television, which might just be also the most unsettling since the series came back in 2005...The chills are leavened with laughs (the Doctor flits through history, upstages a timeless comedy duo, and dubs his chums "the Legs, the Nose and Mrs Robinson"). River makes two spectacular entrances. There's a new use for dwarf star alloy (conceived 30 years ago in Warriors' Gate, it enchained one of The Family of Blood in 2007). And the number 1,103 may be significant.

(Show Runner Steven) Moffat ladles mystery upon mystery, so that by the end we're gagging for answers. The second instalment concludes with a mouthwatering cliffhanger.

Tom Phillips of Metro wrote this:

It’s about five minutes into the first episode, The Impossible Astronaut, when the first jaw-dropping thing happens - and before the second episode, Day Of The Moon, is over, we’ve had at least two more series-changing revelations and a dizzyingly twisty, tightly-packed story that contains so many future plot threads, red herrings, teases and unsolved puzzles that there’s a chance its broadcast will actually make the internet catch fire...Make no mistake, this isn’t easy, switch-your-faculties-off entertainment - it’s big, dark, impressively ambitious, dazzlingly executed entertainment that demands and repays your full attention.

And finally, here's what the Guardian had to say:

In truth the opening episode of the two-parter took a while to warm up, but a fiendishly complicated plot – it is probably not a spoiler to suggest it involves time-travelling – required no end of exposition. But by the end of the first episode it had drawn gasps and applause in almost equal measure...

It looks like Moffat and company have delivered a fantastic opener that could lead to one amazing season. I can't wait for April 23rd.

Ok, This is......Better?

2011-03-30T11:24:00.000-07:00

Earlier in the month, I posted an official shot of Adrianne Palicki in her Wonder Woman costume for the upcoming David E Kelley-produced series. It was, if you'll recall, a fucking debacle.

Now we get some shots of WW in action, and while they have toned down the chintzy shininess of the previous costume, it's still not really all that great. Here's a shot:

Better, for sure, but still kind of ridiculous. Here's another shot:

Okay, how are her boobs staying that top? Seriously, that will be a great special effect on that show. But yeah, terrible, terrible stuff.

Trailer for Upcoming Season of "Doctor Who" is so Boss.

2011-03-30T11:09:00.000-07:00

Below you'll find the latest trailer for the new season of Doctor Who. There's not much to say aside from that it kicks....fucking.......ass.

How cool does that look? I think that last season the show stumbled a bit, even though I think Matt Smith, Karen Gillan and Arthur Darvill have been great. But they had a big job to do last year, what with both David Tennant and Russell Davies having left. Now I think they'll be more confident and more bold. I for one can't wait to see what happens.

The new season debuts in Canada on the SPACE Channel on Saturday, April 23rd at 8:00pm ET.

Not Only Will Lois be in Superman, she'll be a Ginger.

2011-03-27T15:00:00.000-07:00

Breaking news from Hero Complex today, as Zack Snyder has confirmed he's found his Lois Lane, and it's 36 year old recent Oscar nominee Amy Adams.

This is somewhat surprising news, given that last we heard, it was in no way certain that Lois was even going to be in the movie. I stand by what I said then, that the whole Lois/Superman thing has been pretty well covered, but I also get the view that it may just be too central to the mythos to leave out.

So, Henry Cavill will be playing Superman/Clark Kent, with Amy Adams as Lois. The only other cast members or characters confirmed so far have been Diane Lane and Kevin Costner as Ma and Pa Kent. There's a pretty persistent rumour flying around out there that the main baddie is going to be General Zod, and that Snyder is pursuing Viggo Mortensen pretty relentlessly for the role.

I don't know. I'm of the opinion that if you can cast Viggo in your movie, do it, because that guy is seriously amazing, but Zod? Again? Superman actually has a pretty great rogue's gallery, and they've been woefully underused. We've had Lex Luthor (in four out of the five films, for god's sake) and Zod and the Kryptonian criminals, and, I guess, Richard Pryor and the Man from U.N.C.L.E? Lame showing for Supes, really.

What about Brainiac? Or Darkseid? Parasite? Metallo? Raid a few other DC villains, even? Can we switch it up a little? Anyway, Amy Adams is Lois, and she's a great choice. Let's just see where they go from here.

Okay.....No......Just....No

2011-03-18T13:24:00.000-07:00

So, Entertainment Weekly is running an official shot of Adrianne Palicki as Wonder Woman. in case you don't know, this is from the pilot for a possible NBC series headed by David E. Kelley.

Anyone got some singles?

Yeah.....that's fucking awful. It looks like those picutres of adult halloween costumes that are always vaguely stripper-rific. It looks chaep, and I don't know this Palicki woman from a hole in the ground, but she isn't exactly projecting powerful, enlightened super-woman. More like pissed-off stripper.

Seriously? We've advanced so far in adapting comic book super-hero suits to film, and this crappy early 1990s latex/PVC suit is just terrible. I didn't have high hopes, because David E Kelley isn't the guy I would have picked. Boston Legal, Boston Public, Picket Fences, Ally McBeal. Any of those shows scream super-hero to you? Yes, I'll admit he can write interesting women. And he can often be funny in a quirky sort of way. But this smells like a debacle in the offing to me.

There's a way to make a Wonder Woman project work. I'm not sure what that way is, but a flashy, cheap looking costume is not going to help.

"X-Men First Class".......God, Really?

2011-03-17T09:38:00.000-07:00

Also, that's a terrible fucking poster.

So, I cover a lot of comic book related things on this site. I mean, like, 90 % of articles on this site are about comics and comic book films. Marvel Studios should be paying me, with all the love I've rained down on Captain America, Thor and The Avengers, etc. I even posted on the new Spider-Man film, even if every shot of that costume looks more and more awful; it's like Spidey went to Vegas and wore a fat old Elvis jumpsuit version of his classic duds.

But there's been no love for the upcoming X-Men flick. Why? Because I really can't wrap my head around the whole concept. First off, there's the fact it takes place during the Cuban Missile Crisis. That's actually a pretty cool idea, but the mathematical gymnastics you have to go through is insane.

Okay, so the first X-Men film was released in 2000, and supposedly took place "in the near future". Let's be conservative and say it took place five years in the future, so that's 2005. Now, when that movie starts, it shows Magneto in a concentration camp in WWII. Let's say that he was thirteen at the time, and that the year was 1944. That makes Magneto 74 when X-Men starts! Some of you may argue my using 13 as his age during the concentration camps scene, but mutant powers, we are told, typically manifest during puberty. Even taking three years off still means Mags is 71 when X-Men takes place. Following this logic, in X-Men First Class, Magneto should be 28 years old, but he's being played by Michael Fassbender, who's 34.

Now let's take Professor X. In X-Men First Class, he's played by James McAvoy, who is 32. I'll shave a couple years off and say Charles Xavier is supposed to be 30 years old in 1962. This means by 2005 he would be 73 years old. That's older than Patrick Stewart is right now.

Okay, now here comes some issues that I really don't get at all. According to all the material I've seen or read, three of the students in this first class are Mystique, Beast and Havok. Mystique and Beast both appeared in previous X-Men films. Let's say they are 16 at the time of this film, high school age. This means that by 2005, they would both be 59 years old. Beast I could buy that being the case, but did Mystique look 59 to anyone in any of those films?

And let's take Havok, or Alex Summers. Wait, some of you may be saying, wasn't Cyclops from the first three films called Scott Summers? Yep, and Alex is supposed to be his brother. So, I guess, he's an older brother. Like a 39 year older brother.

Maybe they'll explain all this. Maybe they'll state that mutants somehow age slower, though I don't think this has been mentioned anywhere at any point. Maybe Alex will be Scott's dad or something. But this is my big problem with the way 20th Century Fox has handled the X-Men franchise. That Wolverine film stuck all sorts of X-characters into it with little rhyme or reason. Emma Frost was a teen in that film, but a grown up January Jones plays her in First Class, and the Wolverine film certainly seemed to take place after 1962 to me.

I wouldn't have a problem if they indicated that X-Men First Class is a sort of one-off film with no connection to the other films, but watch the trailer, look at the poster:

Yeah, that's pretty connected.

So, what it seems to me is that someone thought it would look cool to set this film during the 1960s, and while normally I don't get my panties in a twist over continuity, this is just a defiance of basic biology! It seems arbitrary, as if Fox wanted to put out a movie in order to hold on to the franchise rights, and didn't want to pony up the dough for the original cast. It seems ill-considered. I'm hoping I'm wrong, but I'm not seeing anything to change my mind.

Soderbergh Ready to Move to Florida; Start Complaining About Weather Incessantly

2011-03-15T15:05:00.000-07:00

According to a recent articles out there on the Interwebs, Oscar-winning filmmaker Steven Soderbergh has announced that he is retiring from directing films. According to Soderbergh, he is simply done with making films, and he wants to get out and make way for others who still have the passion.

Soderbergh is probably known to most people as the director of the films in the Ocean's Eleven franchise, as well as the guy who, in one year, directed both Traffic and Erin Brokovich. Both were nominated for Best Picture. But he leaves behind a much larger legacy as one of the most successful and innovative independant filmmakers and as a champion of "little films".

He burst onto the American film scene with his first feature film sex, lies and videotape. It caused a sensation when it was shown at the Sundance Film Festival, and pretty much put that fest on the map. It also sparked a massive interest independant film. Its success paved the way for Clerks, Reservoir Dogs, Metropolitan and other indie films that revolutionized American movies throughout the next decade.

Soberbergh had trouble connecting with audiences during this time. His follow up films, Kafka and King of the Hill, were not well-recieved. He began making more complex and idiosyncratic films, the best example of which is Schizopolis. But in 1998, he made a film, and found a collaborator, that would help catapault him to the top of the film world. That film was Out of Sight, and while it wasn't a big hit, it had a couple things going for it. First, it showed Soderbergh could make a mainstream film without sacrificing the qualities that made him unique. second, he worked with George Clooney, then a TV actor struggling to make his mark in the movies.

Out of Sight was well-recieved by critics, and it began to grow on audiences on video as well. His next film, The Limey was even more well-recieved, and it was clear that Soderbergh had found his groove working in the system. He was great at making mainstream films feel fresh and innovative. It seemed like he was ready to go to the next level, and craft a film that could be both a big hit and an artistic success.

In 2000, he directed two films. Erin Brokovich was pure Hollywood; a well-told story of an underdog beating corporate fatcats on behalf of sick kids and their poor parents. Traffic was an examination of the drug trade, from its manufacture in Mexico to its consumption by American youth, and was based on a British miniseries. Both were two of the best reviewed films of the year. Julia Roberts won an oscar for playing Brokovich, and Benicio Del Toro won an Oscar for his role in Traffic. More importantly, Soderbergh won Best Director. Now, he truly had a freedom that few directors achieve.

He followed this run with another Hollywood film, and reunited with Clooney in the process. It was a remake of the Rat Pack classic, Ocean's Eleven, this time with a ton of current stars (Clooney, Brad Pitt, Matt Damon, Julia Roberts, Don Cheadle), some legends (Andy Garcia, Carl Reiner, Elliot Gould) and some up and comers (Ben Affleck, Scott Caan, Bernie Mac). It was cool, it was fun, it was a massive hit.

He had set up a production company with Clooney, and began producing a number of significant films; Insomnia, Confessions of A Dangerous Mind, Far From Heaven, Keane, Syriana, Good Night and Good Luck, A Scanner Darkly, and Michael Clayton.

But, he seemed to view all this success as what he needed to achieve in order to do the bizarre, small, challenging work he truly loved. He followed up his Oscar year with Full Frontal, an experiment in no-frills filmmaking that flopped. Solaris was a big budget sci-fi film, but was more concerned with inner life than outer space. It didn't set any box office records, and wasn't tremendously well-recieved, but has since been rexamined, and is now far more well-regarded.

The sequel Ocean's Twelve was a hit, but made little sense. It seemed like an obligation more than anything else. But it allowed him to do Bubble, another small, innovative, esoteric film. Bubble was released simultaneously on DVD, on cable, and in theatres. It was an experiment that did not work, but no one could accuse him of being too mainstream. The Good German was an attempt at a throwback to Classic Hollywood that didn't work, and while Ocean's Thirteen successfully purged to bad taste left by the previous installment, it was clear that the latest film would be the franchise's last.

From here, Soderbergh evidently felt he had nothing left to prove, and so he seemed content to make films about subjects that interested him, in the way he wanted, without any compromise. He made a two-part film, in Spanish, about Che Guevara. It was heralded as a masterpiece by some, called flawed by others. But it was certainly an achievement. He followed up that opulent project with The Girlfriend Experience, a film about a prostitute starring Sasha Grey, a former porn star.

There was an indication he was returning to a more mainstream subject with The Informant!, a film that seemed to be a wacky comedy starring Matt Damon. But the film wound up being more sad than wacky, even though it was darkly funny. It was around this time that Damon began intimating that he believed that Soderbergh might retire soon. The production company that he ran with George Clooney was closing down, and there were more and more rumours that Soderbergh was simply tired by the mechanics of directing a film.

He's got two upcoming movies already in the can; Haywire and Contagion, both action thrillers. Then, he's committed to film Liberace, a biopic of the pianist starring Michael Douglas and Matt Damon. After that, he'll complete a film version of The Man from UNCLE starring frequent collaborator George Clooney, and then, he says, he's done.

Soderbergh had this to say:

When you reach the point where you're, like, 'if I have to get into a van to do anther scout I'm just going to shoot myself,' it's time to let somebody else who's still excited about getting in the van, get in the van...And so it's just time. For the last three years, I've been turning down everything that comes my way, so you're not going to have Steven Soderbergh to kick around anymore.

Soderbergh must be exhausted. There's a reason why so many film makers get accused of seeling out, of making inpersonal commercial films instead of complex passion projects. And that reason is that it's really, really hard to do. Directing any film is a massive undertaking, I don't care if it's Breathless or Max Payne. This is why alot of film directors turn out formulaic stuff in their later years. It's simply too hard to keep going at that level day in, day out. And most of the time, something you slaved over will get dismissed out of hand, or altered, or reviled.

So, I can appreciate why he's leaving. And I can admire his integrity in saying, "I'm not going to just cash a cheque." But I'll miss both Steven Soderberghs. The Commercial Soderbergh brough a deeper sense of complexity and style to standard Hollywood fare. The Outsider Soderbergh wasn't afriad to try anything or take on any subject. I hope whoever comes next from the indie world has even a little bit of his talent.

First Look at The Red Skull

2011-03-03T12:07:00.000-08:00

Over at Entertainment Weekly, they've unveiled the first official look at Hugo Weaving as the full-on, totally bad-ass and freaky Red Skull in Captain America: The First Avenger. They did not wuss out on his look at all. Check it out:

That is not a drawing or a rendering. That is full on, live action Skull. Awesome.

Yeah, I'm sure some people will complain that he's not dressed up in full Nazi regalia, and I kind of get that. But I think it's been made pretty clear that the HYDRA organization are Nazis. My take on this? Well, this flick will most likely end with Steve Rogers being revived in the modern day. The Avengers will carry on from there. And if another Cap movie is made, it will involve Steve finding out, to his horror, that while the Nazis are gone, HYDRA is still alive and kicking in the 21st Century.

Thor is looking better each time I see it, and I'm really stoked for Captain America. The interview EW has with director Joe Johnston makes it clear that he truly understands the character. Marvel could really take super hero flicks to a whole new level with these films.

I'd Like to Punch the Academy

2011-02-28T10:44:00.000-08:00

Hello, Oscar. It's me, Nerdlinger. You know, the guy who has watched every single Oscar telecast, live, since 1989? The Oscars are like the Superbowl: It's something I look forward to every year, I care about who wins and loses, the musical acts suck balls and occasionally someone gets hurt in a spectacular fashion. But there can also be moments of startling grace up there.

We've had our ups and downs, haven't we, Oscar? Remember when Shakespeare in Love beat Saving Private Ryan? What happened there? And Crash? Seriously, Crash? And we've disagreed at times. I liked David Letterman as host for instance. But I've stuck by you. That's what you do when you're a devotee. Even back in the mid 1990s, when the shows were like, 19 1/2 hours long.

But last night, you tested me. The telecast was only a little over three hours, but it felt longer than any of those bloated affairs from the past. It was by far the least enjoyable show I've watched in my memory of the telecast. Why, you may ask? Well, let me give you some reasons:

1 - The Hosts - I like James Franco. And I like Anne Hathaway. But they were clearly not up for hosting that show. And it's not because they're actors. That wasn't the thing. Hugh Jackman did a great job when he hosted. Jack Lemmon did it 1984. Alan Alda and Jane Fonda hosted (with Robin Williams) the following year, and Goldie Hawn and Paul Hogan did it (with Chevy Chase) the year after that. Actors can host the show successfully. And I get that you're trying to skew a little hipper and younger. But you can't just stick anybody in there. And Franco looked bored or stoned or both. Hathaway had to go on some sort of insane overdrive to compensate, hooting and giggling. None of their jokes worked. Not one. That's almost impressive. To host this show, you need someone who is completely at home up there, knows their audience and can react to it, and is a born entertainer. It helps if they're naturally funny, but it's not vital. One of the reasons why we've cycled through so many hosts since Billy Crystal is that everyone treats as a room you have to absolutely kill in. It's not. The host has to be secure enough to not care about whether it's the greatest performance of their life, but has to be such a born entertainer that they will be worried and concerned with making sure the show is fun. And Franco and Hathaway's talents do not lie in that direction.

2 - The Writing - But not all the blame can lay there. Listen, no one had a solid joke the whole night, really. If anyone did, it was an off the cuff thing. The jokes were bad. They didn't work. This is why a comedian is usually used, because their style directs the material, and their skill can help punch it up when the scripted stuff flops. But when you're using two hosts who aren't comedians, then you don't have that added focus, and it showed last night. You know when you get Robert Downey and Jude Law to come out, two charming and funny guys with great chemistry, and even they can't make a joke land, you need some fresh blood in the writing room.

3 - If It Ain't Broke - The Memoriam segment was always a highlight in times past. It was a classy, affecting part of the show where everyone stopped and took a moment to appreciate the life's work of some people in their community who were lost the year before. It was always one of my favourite moments. But now they seem to think that it's an opportunity for someone to come out and sing a song. It's distracting. No one knows what they should be paying attention to. Last night, you guys even cut back to Celine Dion right in the middle of it. Lame. Also , a couple short films or lifetime achievement awards aren't going to kill the night. It should get out of hand, but just handing out award after award can drag, especially when you get to the middle of the show, and it's all the technical stuff. Punch it up. NOT with musical numbers.

So, here's my suggestion for next year. Step 1, hire Tina Fey or The Daily Show writers or whoever helps Ricky Gervais write the Globes. Step 2, hire Neil Patrick Harris to host. He can sing, he can dance, he's funny and he has the right combination of youth and showstopping desire. Also, he probably ain't going to be up for an Oscar. Seriously, that was awkward last night. Step 3 - Make it more of a show, but really think about ways to do that. We don't need Stomp or Blue Man Group or public school kids. We need the guys from Funny or Die to make little vignettes.

I say it with love, Oscar. Tough love.

RIP - Nicholas Courtney

2011-02-23T10:04:00.000-08:00

More sad news, this time from the world of Doctor Who. Nicholas Courtney, the actor who played fan favourite character Brigadier Alistair Gordon Lethbridge-Stewart, has died at the age of 81 following a long battle with cancer.

Courtney first played Lethbridge-Stewart in 1968, appearing opposite Patrick Troughton's Second Doctor in The Web of Fear. He was a regular army Colonel then, but he returned later that season in The Invasion, newly promoted to Brigadier and heading up an international organization called the United Nations Intelligence Task Force, or UNIT.

When Troughton left the series and the Doctor regenerated into his third incarnation, played by Jon Pertwee, it was decided that the character would be Earth-bound for a time, and would work with UNIT. Courtney became a series regular during this era, his formal and somewhat pompous military bearing creating a good contrast to the Doctor's eccentricities. Over time, he would be brought back again and again, to fan delight. He appeared opposite all of the classic series Doctors, with the exception of Colin Baker's sixth Doctor (although he did appear opposite the Sixth Doctor in audio productions and a charity special).

Oddly enough, The Web of Fear was not his first appearance in Doctor Who. He had first appeared on the series in The Daleks' Master Plan, a 1965 serial starring William Hartnell as the Doctor.

Courtney was born in Egypt in 1929, the son of a British diplomat. As his father was a member of the foreign service, he moved around quite a lot growing up, and he would spend time in France and Kenya. After his National Service, he attended drama school, and by the mid 1960s he would be making appearances in numerous television series and acting in repertory theatre all over the country.

Director Douglas Camfield cast Courtney as Security Agent Bret Vyon in The Daleks' Master Plan, and liked the actor. Three years alter, when casting The Web of Fear, he remembered Courtney and cast him as Captain Knight. however, when the original actor cast as Colonel Lethbridge-Stewart had to drop out, Camfield asked Courtney to take over the role.

Courtney and Jon Pertwee

In 1970, when Courtney became a regular, his instant chemistry with Jon Pertwee made him an effective and enjoyable foil, and his witty and fun repartee with the Doctor, combined with his action heroics, created the beloved Brigadier that all fans embraced. His figure still looms large over the series. The Brigadier has often been mentioned in the series since the revival, and Courtney finally reprised the role in 2008, forty years after the Brigadier debuted.

He appeared in two episodes of the spinoff series The Sarah Jane Adventures, as Sir Alistair Lethbridge-Stewart. In the story, he aided former comrade Sarah Jane Smith in her battles against her enemies.

Courtney was also a favourite on the convention circuit. He was renowned for his approachability, and genuinely kind and open nature. He would often tell legendary stories with wit and warmth, and was universally beloved by colleagues with whom he worked, even decades after they worked with him.

Courtney in his final appearance as Lethbridge-Stewart

Fourth Doctor Tom Baker had this to say about his longtime friend:

Of all the characters in Doctor Who there is no doubt he was the most loved by the fans for his wonderful portrayal of the rather pompous Brigadier...

Actor and Doctor Who writer Mark Gatiss called him a childhood hero and the sweetest of gentlemen.

Married twice, Courtney leaves two children from his first marriage, Philip and Bella. A true legend in the fan community, he will be very much missed.

RIP - Dwayne McDuffie

2011-02-22T16:04:00.000-08:00

Shocking news hit the world of comics today, as it has been reported that comic book and animation writer and icon Dwayne McDuffie had died. Although the exact cause of death has yet to be confirmed, it is being suggested that he passed away during a medical procedure he underwent on Monday.

McDuffie got his start in the comics industry as an assistant to an editor at Marvel Comics. His first major work as a comics writer was Damage Control, a satirical and irreverent book about a construction company that specializes in cleaning up after destructive battles between superheroes and their foes. He became a freelance writer in 1990, contributing stories to Marvel, DC, Archie and Harvey Comics.

During his time at Marvel, McDuffie had been frustrated at the stereotypical way African-American characters had been depicted and created by the company. Reacting to the overtly "hip" and "urban" characters, McDuffie fired off a pitch for a new series called Teenage Negro Ninja Thrashers, in which, among other things, all of the characters would ride skateboards, sport hairstyles and clothing from 1974, speak in bizarre speech patterns, and have smart white friends. The sarcastic pitch is now legendary in fandom.

In 1992, McDuffie finally was able to take a huge leap for multi-culturalism in comics when he founded Milestone Media. It was a comic book company. It featured new super heroes. It was owned and run by African-Americans. Although it featured heroes such as Hardware and Icon, the most popular and enduring hero created under Milestone was Static. Though Milestone's comic line eventually folded by 1996, Static lived on through the popular and award-winning animated series Static Shock. In 2008, DC Comics announced that it would be folding the Milestone characters into the DC Universe proper, and severely heroes have shown up in various DC titles.

During the late 1990s, McDuffie was a story editor and writer for Static Shock, which led to his other career, that of animation writer. While he worked on Teen Titans, Scooby Doo, and Ben 10, he was most lauded as one of the guiding lights of the Justice League and Justice League Unlimited series.

After Justice League ended, he returned to comics, writing Beyond! and Fantastic Four for Marvel, and Firestorm and Justice League for DC. Although Justice League seemed like a perfect fit, based on his experience with the popular animated series, his take struggled to connect with fans. He was fired from the book after airing his creative differences with DC regarding its direction during an online interview.

Even with this fracas, McDuffie enjoyed a stellar, almost beloved, reputation within the industry. His shocking passing, much too soon, will leave a large hole in comics. He was a unique voice in an industry that could always use more uniqueness, and even though he would surely argue that more work needed to be done to create true diversity in comics, we can thank him for much of the strides that have been made.

Production Roundup: "Thor" Has New Trailer, Black Confirmed for "Iron Man"

2011-02-18T11:16:00.000-08:00

So, Thor has a new trailer, and the more I see, the more I like. I guess the vibe out there on the Webs is not a s strong for Thor as it is for Captain America. Or maybe I've got it backwards. Who fucking knows. It changes every other day, and people on forums are borderline insane.

But this trailer really kicks ass, as far as I'm concerned. It's a little odd that a taser knocks Thor out. Hopefully they explain that tiny detail. But other than that, the Destroyer looks great, the Asgard stuff looks great, the Frost Giant stuff looks great. The Earth stuff looks a little goofy, but it feels okay to me. Check it out:

And it looks like Shane Black is confirmed as the director of Iron Man 3, which is good news. Hopefully, this means everyone will now go check out Kiss Kiss Bang Bang, for the first time Downey and Black teamed up.

So very, very awesome.

Arcade Fire Wins Album of the Year

2011-02-14T09:35:00.000-08:00

The Grammys continue to be full of surprises, though this year, it's a good surprise. Usually, when one gets knocked by a surprise win at the Grammys, it's because a ton of relevant and amazing albums lose to, say, the latest retread by the Doobie Brothers or something.

Well, last night, Arcade Fire won Album of the Year, beating such megastars and front runners as Lady Gaga, Katy Perry and Eminem. It's one of the biggest upsets in years, though oddly, the band didn't win the category everyone though they would. They lost in the Alternative Album category to the Black Keys.

It's sort of an upset, but in truth, not really. Arcade Fire's The Suburbs was one of the best reviewed albums of the year. And though it is not a commercial success on the scale of the other nominees, it did mange to sell half a million copies, so it's far from a failure. It actually reminds me of another nominee for Album of the Year, Radiohead's Ok Computer. That album didn't win, but it had a similar critical vibe. The real groundbreaking aspect is that The Suburbs was released as an independent, not on a major label.

Anyway, I echo Arcade Fire's lead singer's response when he won, "What the hell?" But it's great. It's an amazing album. However, most of the people out there on the Interwebs are treating the win like it's some totally obscure band that somehow managed to undeservedly topple some music greats. But their previous two albums were nominated for Grammys, so that doesn't really make sense. The fact is that, whether you like Arcade Fire or have never heard of Arcade Fire or love Arcade Fire, the real question is was their album a legitimate contender based on the material alone? The answer is yes; and maybe we should be happy that the Grammy voters listened to all the nominees and voted the way they felt rather than bowing to marketing or press. Kind of cool.

Here's Arcade Fire in action:

Production Roundup: Visnjic joins "Tattoo", Black may forge new "Iron Man"

2011-02-10T10:13:00.000-08:00

According to Deadline, Goran Visnjic has joined the cast of David Fincher's adaptation of The Girl With the Dragon Tattoo. Visnjic, a handsome actor whose name I cannot possibly pronounce properly, is best known for playing Dr. Luka Kovac on ER.

He has been cast as Dragan Armansky, the CEO of the security/private investigation firm that employs Lisbeth Salander. In the novels, Armansky is a pretty major supporting character, appearing all three books and one of Salander and Blomkvist's main allies. However, in the Swedish films, the role was reduced to basically a one scene cameo.

Visnjic joins a cast that already includes Rooney Mara as Salander, Daniel Craig as Blomkvist, and Robin Wright, Stellan Skarsgard, Christopher Plummer and Joely Richardson. Given the pedigree of the director, the popularity of the book, and the casting, this is already one of the most anticipated films out there.

Meanwhile, Shane Black is being rumoured as one of the front-runners to take over the Iron Man franchise from departing director Jon Favreau. Black was one of the most successful screenwriters of the 1980s, with his script for Lethal Weapon pretty much defining the buddy cop movie. He was also one of the most controversial, as he helped elevate the fees top screenwriters were paid to epic proportions. He would flame out in the 1990s with several costly screenplays that didn't connect with audiences, notably Last Action Hero and The Long Kiss Goodnight.

After those flops, he virtually disappeared from Hollywood for almost a decade. He returned in 2005 with Kiss Kiss Bang Bang, a frenetic and witty reinterpretation of the buddy cop genre he helped create. Starring Robert Downey Junior and Val Kilmer, the film was well-received critically, and helped re-ignite Downey's career. It also brought Black back into the limelight, and gave him plenty of plaudits for the film, his directorial debut.

I think he could really be a great fit for Iron Man. He can really write for Downey's style, and he has absolutely no trouble with action. Kiss Kiss Bang Bang was one of my favourite action movies of the last few years, and I'd love to see him reinvigorate the franchise after the disappointing second film.

Superbowl Movie Trailers...

2011-02-07T10:34:00.000-08:00

I love the Interweb age. It used to be that if you wanted to see the ads that ran during the Superbowl, you had to actually, you know, watch the Superbowl. As I have explained, I'm most assuredly not a sports guy. My obsessions are comics, movies, TV, and robophobia, I don't have time to get invested in sports. I'm barely involved in my real life as it is.

Except baseball. Baseball's cool.

Anyway, now that we live in an instant gratification society combined with the most advanced information sharing technology in the history of mankind, I no longer have to slog through a three hour sporting event to see cool commercials. There were a boatload of cool movie spots during the game, and I have compiled the best ones for your enjoyment. All except Transformers: Dark of the Moon. Why? because Transformers fucking sucks. The first one was awful and the second one (which I only saw a few weeks ago because I was able to see it for free) was abysmally, diabolically bad. If things keep progressing the way they have been, this one should induce seizures and vomiting. So, this is the last time I'm going to mention it.

Anyway, here are the best of the movie spots:

4 - Pirates of the Caribbean: On Stranger Tides

Yeah, this one I'm not sure about. I mean the first film was great, and Johnny Depp was amazing in it. Odd, charming and delightful. A really cool performance that you just knew was going to be iconic. The second and third ones seemed rushed to capitalize on the popularity of the first one; the stories grew less and less involving, though there will still flashes of greatness, notably by Depp and Geoffrey rush. Now comes number 4, and it really seems like they may be going through the motions. Still, Depp could save it.

3 - Thor

Thor was always going to be the riskiest of Marvel's properties. He's one of the few big name characters they have that doesn't fit in to the whole sci-fi, urban, modern vibe they have going on. It seemed to be the one that could most easily tip headlong into rampant silliness. Marvel seemed to recognize this, and wisely hired Kenneth Branagh to direct, a man skilled in Shakespeare and outrageous costumes. Best of all, he's skilled in connecting those qualities with modern sensibilities. Still, the initial trailers looked a little uneven, but this one, even though it's the shortest one, communicates how the movie is going to feel, and how big the scope of the adventure will be.

2 - Super 8

JJ Abrams has always had a similar vibe to early Spielberg. He's a big concept guy, who can inject an authentic sense of mystery and thrills into a project, whether it's for TV or film. His Mission Impossible III was probably the best one of that series, and his Star Trek was incredible. His TV projects, from Felicity to Alias to Lost to Fringe, proved he was a deft hand at creating bold and original concepts. But he hadn't really done that for one of his own films yet. Super 8 is the first one that looks like it's entirely his. And yet it looks like the type of film Spielberg used to make in the 1970s and 80s. It looks intriguing, and this spot is a vast improvement from the ho-hum earlier teaser.

1 - Captain America: The First Avenger

This one was definitely the biggest mystery. Cap is not a very well-known property,frankly, and the idea of a patriotic superhero really could have rubbed people the wrong way if done badly. But this little spot successfully brings across the serious tone, without ditching any of the kicky retro feel. The skinny Steve Rogers looks great, and the transformation stuff seems to work. Nice to see the Red Skull pop up and, all in all, it looks like this summer may belong to Marvel.

Cap Teaser Poster Revealed

2011-02-04T12:35:00.000-08:00

Marvel has released their teaser poster for Captain America: The First Avenger. And it looks pretty damn cool. I'm sure fan boys will jump all over the fact that he's not wearing his helmet, or that there's too many straps, or that the shield shouldn't be scarred or pitted. I've even heard people criticize Chris Evans' face and performance. Okay, let's be clear; no one has seen one frame of this flick yet. We've seen pictures. And as for Evans being pretty, it's not like Steve Rogers was Steve Buscemi or anything. The guy is a blond haired, blue eyed man in perfect physical condition. Everyone needs to relax.

Instead, look at the tone they've been exhibiting overall. Through all the pics I've seen it's been one that is suitably dark, but pulpy enough to still be fun. Above all, it's being shown to take the period seriously, as well as combining some of the darker, more thriller based takes of recent years with the sci-fi gee-whizzery of past years. Footage is really the only thing that will give us any sense of an idea of what the film will actually be like. So, keep your eyes peeled during the Superbowl, because the first trailer is supposed to debut during the game.

Hmm, where have I seen this before?

So, yeah, the movie does pay attention to the source material. This is one of the more iconic images of Cap in the last decade or so.

Superman Still Looking For a Female Lead - But It's NOT Lois Lane

2011-02-04T09:26:00.000-08:00

Here's a scoop! No one reads Newspapers.

According to a recent article posted on Variety, Warner Bros. and director Zack Snyder have not yet found their female lead. But, the big news is that the lead character will not by traditional Superman love interest Lois Lane.

Alice Eve, Rosamund Pike and Diane Kruger are apparently all being considered for the role, whatever it may be. Before the news that Lois Lane wouldn't appear, speculation was running high as to who would be cast, with Rachel McAdams being one of the front-runners (But if I were casting the role? Rashida Jones, all the way)

I really don't quite know what to make of this news. Is it just Lois who's out? Or are they giving a miss to the whole Daily Planet crew? Because having Clark Kent walking around the Daily Planet without Lois would definitely feel awkward. Will the story even be set in Metropolis at all? That's a pretty major part of the whole mythology, and to lose it may make some people (okay, insane Interwebs fanboys) cry that they have strayed too far.

On the one hand, I can see why they made this call. If there's one aspect that we have covered pretty much fully in the Superman films it is the whole relationship with Lois and the Daily Planet setting. That and Lex Luthor and land schemes. Sidebar: isn't it insane that in Superman The Movie Lex steals nuclear missiles for a real estate swindle? I mean, he could sell the fricking missiles and make an assload of money and not have to irradiate his real estate.

Anyway, perhaps this opens up great possibilities for the film. Maybe it puts Superman in some other setting? Perhaps a New Gods storyline? A major criticism of Superman Returns was that, with all the improvements in visual and special effects, they still had him going up against Lex Luthor. It would really have to pull out all the stops to have Superman go up against Darkseid, that's for sure. But with Christopher Nolan behind things, I had assumed they would be taking a similar approach to the Batman films, namely creating a realistic world to ground the fantastic elements.

Who knows? But the possibility is intriguing.

RIP - Maria Schneider

2011-02-03T09:52:00.000-08:00

Some sad news today, as word comes that Maria Schneider, who starred as Jeanne in the classic and controversial film Last Tango in Paris, has died. She was just 58 years old.

Schneider had started acting in films as early as 1969, but it wasn't until she co-starred with Marlon Brando in Bernardo Bertolucci's Last Tango in Paris that she became famous internationally. The story of Paul (Brando), who, after his wife's suicide, enters into an anonymous affair with a young French woman (Schneider) who is about to be married. It was immensely controversial for its frank and explicit sex scenes between Brando and the then 20 year old Schneider. It was loudly decried, and released with an X-rating. However, Brando's performance was celebrated for its brutal vulnerability and honesty.

While Brando, and even Bertolucci to some degree, escaped relatively unscathed, Schneider took the brunt of a lot of the outrage. This situation was exacerbated once she revealed she was openly bisexual and that she was a user of cocaine, heroin, and marijuana. At the time, she spoke warmly of the experience of making the film, and of her relationship with Brando and Bertolucci. However, in the years that followed, she revealed that she felt manipulated and humiliated during the making of the film, and she said she considered Bertolucci to be "a gangster and a pimp". She remained friends with Brando for the rest of his life, but did comment that on set he wasn't terribly sensitive to how she felt at the time.

The experience and the furor surrounding it did lead to her gaining larger stardom. In 1975 she starred opposite Jack Nicholson in The Passenger, directed by Michelangelo Antonioni. In 1976, she was slated to star in the ill-fated Caligula, but walked off the set after she refused to do nudity. She checked herself into an institution in Rome. The years since Last Tango in Paris had taken their toll, and her drug addiction, combined with a suicide attempt, left her in a dangerous state.

By 1980, she had recovered, and she began working steadily in European films once again. She starred in films like A Woman Like Eve, Savage Nights and Jane Eyre throughout the 1980s and 1990s. Though she never reached the heights of stardom she achieved in the 1970s, she did seem to be happy with both her work and life.

Sadly, she had battled an unknown illness for some time, which eventually claimed her life.

Gordon-Levitt Joining Dark Knight Rises

2011-02-02T16:18:00.000-08:00

Word's coming out that the cast for The Dark Knight Rises is getting effing ri-donk-ulous with the news that Joseph Gordon-Levitt has joined the cast. No one has revealed what role he's going to play, but speculation is running from Hugo Strange to the Riddler to some sort of copy-cat version of the Joker.

So, just to confirm, here's the cast for this flick: Christian Bale, Michael Caine, Gary Oldman, Morgan Freeman, Anne Hathaway, Tom Hardy and now Joseph Gordon-Levitt. You just know Nolan's going to stick Cillian Murphy in there too.

Still, I love Gordon-Levitt, he's consistently amazing. Nolan really has a magic touch when it comes to casting, and no matter what role he plays, he'll probably be great.

Superman Fights for Truth, Justice and Steak and Kidney Pie

2011-01-31T10:08:00.000-08:00

I'm comfortably heterosexual, but that man is hunky.

Word around the playground is that British actor Henry Cavill will be the new Superman. Warner Bros. and Zack Snyder have confirmed that the 27 year actor will be the next Man of Steel in Warner's upcoming reboot.

Cavill is mostly know for his role on The Tudors, where he plays Henry's confidant Charles Brandon, but he has also appeared in films such as Stardust and Tristan + Isolde. However, he's almost more famous for the roles he has been up for, and close to, but didn't quite land. He was strongly considered for the role of Batman that eventually went to Christian Bale. He also was one of the front-runners for James Bond before Craig landed the role. To top it off, this is not his first kick at Superman either, as he was one of the front-runners for that role before it went to Brandon Routh.

Oddly, this means that three of the biggest super-hero characters around are now being played by people whose background comes from the UK. Bale as Batman, Andrew Garfield as Spider-Man, and now Cavill as Superman. Hell, even Ryan Reynolds is a Canuck, and he's playing Green Lantern. Thank God for Robert Downey to show people a true-blue, red blooded American super hero, goddammit!

HBO Takes Sorkin's Latest Idea to Pilot...

2011-01-29T15:53:00.000-08:00

Soon after his snagging an Oscar nomination for the script for The Social Network, HBO has announced it will take Aaron Sorkin's latest television idea to the pilot stage, heralding the scribe's return to TV after the spectacular failure of Studio 60 on the Sunset Strip.

The pilot focuses on the behind the scenes at a cable news network. This had long been rumoured to be his next project, especially after he revealed he had been hanging around the set of Keith Olbermann's MSNBC series (from which Olbermann was recently, and publicly, forced to depart).

Sorkin, who had a cult success with the short-lived Sports Night before creating and running the massive hit The West Wing, has not had a television series on the air since Studio 60... and expensive and hugely anticipated series that barely lasted a season before being cancelled. Opinion of that show still sharply divides fans.

I think this news is good news, and news that more closely fits in with Sorkin's style than Studio 60... ever did. While I thought the show was well-cast and well-shot, it was clear that Sorkin had no flair for writing the sketches that were supposed to appear on the show, leaving one with the impression that the show within the show wasn't actually any good. Also, Sorkin likes to tackle real-world issues, and it rang a little false to have them tackled by comedy stars and Hollywood execs.

But a news show? With both the cynicism and the idealism and the possibilities for the patented Sorkin dialogue? Coupled with no-holds-barred HBO? Sounds like a great match to me.

The APC Net

2011-01-27T12:05:00.000-08:00

Hi, folks!

Well, as if I didn't have enough trouble keeping up with The Nerd Report, I have decided to launch a new blog - this one dedicated to an analysis of Doctor Who.

It's called The APC Net (after a computer network in the episode The Deadly Assassin). If you're a fan of the show, or are mildly interested in seeing what all the hubbub is about, then head on over and take a look.

Not to worry, I'll still be making it a priority to post here and enthrall you all with shallow observations, thinly veiled sarcasm, overpowering nerdery, and barely concealed contempt.

The 83rd Annual Academy Award Nominations...

2011-01-25T08:47:00.000-08:00

The Oscar nominations were announced today and there were a number of surprises that caught more than a few people off guard. No Best Director nom for Christopher Nolan. Andrew Garfield being left off the Best Supporting list, and Ryan Gosling being left off the Best Actor list, as well. But, while some may disagree with who was left off, the question then becomes who would you kick off that is currently on there? Look at the Best Actor category. Hard to deny any of the men who are on there already. Personally, while I admired Tom Hooper's work on The King's Speech, when you compare it to the virtuosity and vision of Nolan, I do feel that he should have taken Hooper's spot. But it's hard to exclude the director of the front-runner, I guess. In any case, the nominees all look deserving, which is a good thing.

BEST PICTURE
127 Hours
Black Swan
The Fighter
Inception
The Kids Are All Right
The King’s Speech
The Social Network
Toy Story 3
True Grit
Winter’s Bone

BEST ACTOR
Javier Bardem, Biutiful
Jeff Bridges, True Grit
Jesse Eisenberg, The Social Network
Colin Firth, The King’s Speech
James Franco, 127 Hours

BEST SUPPORTING ACTOR
Christian Bale, The Fighter
John Hawkes, Winter’s Bone
Jeremy Renner, The Town
Mark Ruffalo, The Kids Are All Right
Geoffrey Rush, The King’s Speech

BEST ACTRESS
Annette Bening, The Kids Are All Right
Nicole Kidman, Rabbit Hole
Jennifer Lawrence, Winter’s Bone
Natalie Portman, Black Swan
Michelle Williams, Blue Valentine

BEST SUPPORTING ACTRESS
Amy Adams, The Fighter
Helena Bonham Carter, The King’s Speech
Melissa Leo, The Fighter
Hailee Steinfeld, True Grit
Jacki Weaver, Animal Kingdom

BEST ANIMATED FILM
How to Train Your Dragon
The Illusionist
Toy Story 3

BEST DIRECTOR
Darren Aronofsky, Black Swan
Joel & Ethan Coen, True Grit
David Fincher, The Social Network
Tom Hooper, The King’s Speech
David O. Russell, The Fighter

BEST FOREIGN LANGUAGE FILM
Hors la Loi (Outside the Law) (Algeria)
Incendies (Canada)
In a Better World (Denmark)
Dogtooth (Greece)
Biutiful (Mexico)

BEST ORIGINAL SCREENPLAY
Another Year, written by Mike Leigh
The Fighter, Screenplay by Scott Silver and Paul Tamasy & Eric Johnson;  Story by Keith Dorrington & Paul Tamasy & Eric Johnson
Inception, written by Christopher Nolan
The Kids Are All Right, written by Lisa Cholodenko & Stuart Blumberg
The King’s Speech, Screenplay by David Seidler

BEST ADAPTED SCREENPLAY
127 Hours, Screenplay by Danny Boyle & Simon Beaufoy
The Social Network, Screenplay by Aaron Sorkin
Toy Story 3, Screenplay by Michael Arndt; Story by John Lasseter, Andrew Stanton and Lee Unkrich
True Grit, written for the screen by Joel Coen & Ethan Coen
Winter’s Bone, adapted for the screen by Debra Granik & Anne Rosellini

Dark Knight Rises Against Catwoman and Bane

2011-01-19T15:41:00.000-08:00

After years of speculation as to who exactly would be the antagonists of Christopher Nolan's next Batman film, it has been revealed that the Caped Crusdaer will face off against Bane and Catwoman in The Dark Knight Rises.

Anne Hathaway will play Selina Kyle, otherwise known as Catwoman. Tom Hardy will play Bane, a criminal given abnormal strength through a powerful and addictive cocktail of drugs.

Below is the press release from Warner Bros. and Nolan:

BURBANK, CA, January 19, 2011 – Warner Bros. Pictures announced today that Anne Hathaway has been cast as Selina Kyle in Christopher Nolan’s The Dark Knight Rises. She will be starring alongside Christian Bale, who returns in the title role of Bruce Wayne/Batman.

Christopher Nolan stated, “I am thrilled to have the opportunity to work with Anne Hathaway, who will be a fantastic addition to our ensemble as we complete our story.”

In addition, Tom Hardy has been set to play Bane. Nolan said, “I am delighted to be working with Tom again and excited to watch him bring to life our new interpretation of one of Batman’s most formidable enemies.”

Nolan will direct the film from a screenplay he wrote with Jonathan Nolan, from a story by Christopher Nolan and David S. Goyer. Nolan will also produce the film with his longtime producing partner, Emma Thomas, and Charles Roven.

The Dark Knight Rises is slated for release on July 20, 2012. The film will be distributed worldwide by Warner Bros. Pictures, a Warner Bros. Entertainment Company.

Great choices, here. First off, Tom Hardy is great. Watch Inception again, and see how good he is in that flick. And Anne Hathway is perfect for Catwoman. She's sexy, which is a must for that role, but she's a gifted and smart actress, which is a must for working with the calibre of people she's going to be working with. Let's face it, Christian Bale can blow most actors off the screen (am I right, Mark Wahlberg?) and whoever has to face off against him better be able to hold their own. These two fit the bill.

As for the choice of villains, I think it's smart. Frankly, the Penguin or the Riddler are a little too out there to really work in the world Nolan has created. At least not without serious re-imagining that might take away whatever charm they have in the first place. But Bane and Catwoman could work extremely well, mostly due to their more reality-based abilities. Personally, I can't wait to see how they realise these two character for the screen.

Okay...Maybe I'm Officially Old...

2011-01-19T08:48:00.000-08:00

So, there are many shows that I watch regularly. Either live or via PVR. and most of them make sense: Doctor Who, The Walking Dead, The Venture Brothers, Glee, Boardwalk Empire, Fringe. I've given Mad Men a try twice, and can't seem to make it past the middle of the first season before giving up. Why? I just don't care about a single character. Odd, I know, because The Wire was filled with unlikable characters and that's one of my favourite shows ever. I still like House, but that's mainly because Hugh Laurie is so great. The show itself is incredibly predictable.

Anyway, all those shows make sense to me. They're firmly in my wheelhouse. They're either a genre show, or a superb drama, or in the best cases a mixture of both. But there's a show that I'm coming to realize that I enjoy more and more every time I watch it, and it really surprises me. That show is Parenthood.

My wife and I have been big fans of Peter Krause ever since Sports Night and Six Feet Under, so that was what initially led to us giving the show a try. At its heart, it's a fairly conventional show; a family drama about the trials and tribulations of raising a family. Normally, I avoid stuff like this for fear of it being nothing but "very special episodes" or unadulterated sudsy melodrama (how's it going, Brothers & Sisters?).

But Parenthood avoids too much of over-the-top soap operatic hysteria. The show is really about raising kids, and most of the conflict comes not from obvious melodramatic issues, but fairly family real-life problems. It skirts the line occasionally, but is saved by smart dialogue, a style of using over-lapping delivery that creates a sense of realism, and absolutely across the board stellar performances. Seriously, it's even made me like Dax Shepard, and I did not think that was in any way possible. There are some real standouts here, particularly from the kids and especially the superb Mae Whitman.

It's rare that a show ends, and you spend ten minutes talking about the choices made by the characters to your co-viewer, and it's in a good way. That happens in Parenthood after every episode. Maybe it's because I'm a dad now, but mostly I think it's just because it's a really well-done show. So, hopefully more people jump on board and give it a shot.

Marvel Is Going Insane With the Photos

2011-01-14T08:43:00.000-08:00

So, over at Entertainment Weekly, Marvel has released yet more photos of their upcoming films, this time a new shot of Chris Hemsworth in the title role of Thor, and a crisp and clear version of the previously posted Captain America shot.

Here's the Mighty Thor:

And here's a better look at Cap:

How long before people start photo shopping Avengers team shots now?

Andrew Garfield Spins A Web, Any Size...

2011-01-13T16:18:00.000-08:00

...catches thieves, just like flies. Hey, there, there goes the Spider-Mannnnnnnnnn. Ahem.

Anyhoo, there's pictures a-poppin' on the Interwebs today, as Ain't It Cool posted the first official pic of new Peter Parker Andrew Garfield all Spideyed-up. Check it out below:

Looks pretty good. First off, it's nice to see they're going with a lean, lithe body on Spidey. That's way more in the spirit of character as envisioned in the comic (and also the gayest sentence I've written on this blog). It is, of course, a little jazzed up, but I don't mind anything they've done, though that huge Spider on the front may prove distracting. Still, the guy looks solidly like Peter, and that's a good thing.

Next, the site also posted a shot of Chris Evans in full Captain America costume:

While this is a shitty scanned photo from a copy of Entertainment Weekly, it's still a somewhat official look at the full costume, and it looks great. It's bright, which is what it would be in WWII, but it looks functional. The shield looks awesome, Evans gives off a good vibe, and I don't even think there are too many belts. Can't have too many belts.

Rooney Mara as Lisbeth Salander - Official Shots

2011-01-13T10:54:00.001-08:00

As part of a recent stellar article in W magazine that focuses on director David Fincher, the first official shots of Rooney Mara in the role of Lisbeth Salander have been released. Any doubts that the American version wouldn't go as hard core as the Swedish films have been pretty much shelved by these.

The article goes into detail on Fincher himself, who sounds like both an unqualified master film maker, and a sort of a dick. But that's okay. Being an obsessive compulsive dick that makes movies as good as Se7en, Fight Club, Zodiac, ...Benjamin Button, and The Social Network is okay by me. I mean, I think working with the guy would be hard, no question, but it would be the good kind of hard. He's so exacting and meticulous that it would make you want to nail it as perfectly as he does.

Here's what the article says about Fincher's version:

The script, which captures the novel’s bleak tone (its original Swedish title was Men Who Hate Women), was written by Academy Award winner Steven Zaillian, who wrote Schindler’s List, and it departs rather dramatically from the book. Blomkvist is less promiscuous, Salander is more aggressive, and, most notably, the ending—the resolution of the drama—has been completely changed. This may be sacrilege to some, but Zaillian has improved on Larsson—the script’s ending is more interesting.

Anyway, the article also goes into detail on the lengths actress Rooney Mara had to go to just to land the role and the further lengths she went to get Salander's look right. I know a lot of people think Noomi Rapace captured her perfectly for the Swedish films, but I always thought that she seemed a little too formidable and mature, and dare I say, mainstream to me.

When I read the book, the picture of Lisbeth that I got was of a young woman with a very non-mainstream look and a deceptively slight build. It is her individuality and her slightness, combined with her intense mistrust of anyone, that allows most of the men in the book to completely underestimate her. To me, Mara looks pretty much exactly the way I pictured her.

Also, I wasn't all that impressed by the Swedish films. While I thought they were entertaining, there was something a little uninspired about them. Rapace's performance was great, even if I felt she didn't quite embody the character, but aside form that I felt they were a little workmanlike rather than thrilling. So, I'm excited to see a truly world class director like Fincher take this on. Even if he makes changes to the story, I feel he will successfully capture the "feel" of the characters and the books, which may result in a more thrilling film.

It all boils down, I guess, to what you want out of a filmed adaptation of a work from another medium. I'm all for fidelity, but if that fidelity is done strictly for the sake of fidelity, without an eye to what makes a movie work (I'm looking at you, Watchmen) that's not great. To me, the film is the film, and the book is the book, and they are two different beasts. As long as the spirit, the heart, the themes, are there, then who cares if Tom Bombadil shows up?

First Look at the Red Skull

2011-01-11T09:51:00.001-08:00

Over at Ain't It Cool, they've put up a couple Art Department renderings of what the Red Skull (played by Hugo Weaving) is probably going to look like in the new Captain America film, and he looks pretty bad-ass. Now, we've seen some shots of Weaving in the role prior to this, notably in the shot below, where we see Weaving's Johann Schmidt in a Nazi-esque costume and with Toby Jones as Professor Arnim Zola. I'm a little disappointed they seem, given the patch on Weaving's shoulder, to be going with more of a HYDRA vibe than a Nazi one, but still, looks cool.

This next shot shows what long has been assumed to be the Cosmic Cube, a Marvel artifact rumoured to be first glimpsed in the upcoming Thor film, and in the comics a long time obsession of the Skull's.

Finally, here's the Art Department renderings. The Skull looks awesome. And based on how close the Captain America renderings were to the actual costume, I imagine we'll be seeing something that looks relatively close to this in the final film.

Phoenix Jones - Seattle's Champion

2011-01-06T12:08:00.000-08:00

Okay, so apparently, I am not as connected to the world of super-heroics as a comic book nut should be. This is because I am just now learning about a large group of people across North America who dress up in costumes and, well, fight crime.

Here's the story from a recent news broadcast that clued me in on one Phoenix Jones, a crime fighter in Lynwood, Washington:

Now my first thought after viewing this was that Mr. Jones was soon to be the subject of a major fucking beat-down. But I also thought that this was sort of cool, albeit in a completely deranged and misguided way.

But a little research revealed that not only is Phoenix Jones not the only person to do this, he isn't even the only person in the Seattle area. There's a blog called Heroes in the Night that actually follows the activities of some of these people. And it's a little unsettling.

Look, most of these people seem to be motivated by some pretty noble intentions; a sense of civic duty and concern for their community, a deep moral conviction, a proactive response to apathy. But they are using a set of guidelines that are based wholly in a fantasy world, and that may not be entirely healthy. I don't mean that they're mentally unwell, though some may certainly be. I mean that intervening in criminal activity with nothing more that a mask, some martial arts classes and a taser will probably get you fucked up. This is why cops have guns, body armor and training, because a crack addict breaking into a car will absolutely slash your face with a razor.

Anyway, here's an interview with Phoenix Jones that is both insane and strangely inspiring.

Fringe's Next Episode gets a Movie Style Trailer

2010-11-30T13:13:00.001-08:00

This season of Fringe has been consistently blowing my mind. And, due to Fox somehow thinking scheduling it on the uber-crowded Thursday night was a good idea, it's also been consistently slipping in the ratings. Seriously, it was cleaning up in its previous Tuesday time slot, and now it's sucking hind teat. Why not move it back?

Anyhoo, the season has been incredible. And now Fox has released this kick-ass movie style trailer to hopefully entice some new viewers. If you haven't given this show a shot, why don;t you tune in on Thursday. I think you'll be glad you did. This is one of the smartest, most thrilling pure sci-fi shows around right now.

Giant Fist Alert! Green Lantern Trailer Debuts

2010-11-17T10:12:00.001-08:00

As I've reported before when Entertainment Weekly released a picture of Ryan Reynolds in the suit, I'm a little nervous about Green Lantern. And this recently released trailer is most definitely not reassuring me, sad to say. Take a look and see.

Look, I love the whole GL mythos. I'm a comic book geek, and this is basically superheroes meets Star Trek, which is very cool. There's a great central character; Hal Jordan, a womanizing test pilot whose fearless quality is what gets him the job as a GL, but that same quality can also make him come off as a cocky jerk at times. The concept of space cops with magic rings that can basically create anything you will them to is great and hugely visual.

So what doesn't work for me in this trailer? Well, first of all, the costumes still look silly. The effect is nice, I guess, but they look.....wrong. Off. The mask looks terrible, and the whole thing looks, well, dainty. Like he should be doing a dance recital, not facing the extremes of space travel and cosmic battle. I thought the idea of a suit created by CG was novel, but the result as far as I can see so far is that they look flimsy. Only one guy has ever pulled off a skin tight body stocking super-suit and that guy is Christopher Reeve. I don't know exactly how he did it, but he did. No one else. And Reynolds is the most fit human being on the planet right now.

Next are the effect themselves. Nothing here blew me away, with the possible exception of the giant green fist, and even that didn't look as cool as it could have. The effects all looked a little too CGI. You all know what I mean. Great CG can create a reality that feels totally authentic and yet still fantastic and unbelievable, resulting in audiences seeing things they had never thought they could see. Cheap or unimaginative CG makes everything look like a video game or a cartoon, and therefore robs the film of any suspense or feeling that these things are happening in areal world. Sad to say, and I hope I'm wrong, but this trailer feels more like the latter to me.

Finally, Blake Lively should get a an award for worst single line reading in a trailer for 2010. She was great in The Town, so I'm not writing her off yet, but man that was godawful.

What did I like? Well, Reynolds seems to have captured Hal's spirit, his attitude and his swagger. He's a guy who's incapable of not being charming, even in the truly awful movies he sometimes does. He also got across some of Hal's awe at being introduced to a larger universe, which is hard to communicate in a trailer. Also, Peter Sarsgaard looks great as Hector Hammond.

So, hopefully I'm wrong. Hopefully, the effects aren't entirely finished, and I'm not getting the whole shebang. Maybe on a big screen that costume will work. I hope all that is true, because it could really be a great franchise.

And Tron: Legacy Just Keeps Looking Better and Better

2010-11-09T12:45:00.000-08:00

I've written before about how nuts I am for Tron. Me and Mrs. Nerdlinger watched the original not so long ago, and even though it treats computers like they are magic boxes inside which anything could be going on, it's still a blast to watch.

Below you'll find the latest Tron: Legacy trailer. And holy shit, it looks incredibly beautiful to behold. Yeah, young Jeff Bridges is still a little off, but it's so damn close that it's actually spooky. Anyway, this could be the best popcorn movie of the year.

Feast Your Eyes on This:

First View of Evans in Cap Costume

2010-10-28T09:16:00.000-07:00

Entertainment Weekly's web site has posted the first image of Chris Evans in costume as Captain America, along with a preview of their upcoming article on the film. You can spy the pic below:

While Evans is a dead ringer for Steve rogers, the costume is a little modified from the comic book version, but in my opinion in a good way. It would be nice to see the head piece, but that may be in the article itself. All in all, the suit looks a lot more practical than the comic version ever has, and the shield looks like it has real heft and the scratches make it seem like it's really deflected machine gun fire.

With the solid comic-con trailer for Thor not too long ago, combined with how Cap looks to be shaping up, the next few years could be something truly exciting for comic fans. A live-action Marvel Universe. I'm jazzed.

Galifianakis Gets Ferned

2010-10-22T11:34:00.000-07:00

In an awesome display of bravado, a Texas entertainment reporter named Gordon Keith went to a press junket for Zach Galifianakis' new film It's Kind of a Funny Story and did his interview in the same style of Galifianakis' hugely funny and uncomfortable series of shorts called Between Two Ferns.

What's awesome is watching it slowly dawn on Zach that this is what the guy is doing, and willingly going along. Watch the vid below.

Rooney Mara as Lisbeth Salander

2010-10-12T14:36:00.000-07:00

The first pics of Rooney Mara in the role of Lisbeth Salander in David Fincher's upcoming adaptation of The Girl With the Dragon Tattoo have been released. Now, for those of you who recall Mara in her small, but really solid turn in The Social Network, she looked like so:

And in the recently released pics, she looks like this:

So.....yeah. She looks pretty much exactly like the character. Here's a picture of Daniel Craig as Blomkvist, as well:

All of them look appropriate to the book. And while I have only watched the first one of the Swedish films, I have to say that I liked, but didn't love them. Noomi Rapace was very good, but I still think looked a little too old for the role. Mara's look seems to fit more with my idea of a solidly true outsider. Also, I thought some of the changes made to the story didn't make sense, or weren't as intriguing at the novel. So, I'm all for taking another stab at the story, and David Fincher is awesome, so I'll have faith he can pull it off.

The Doctor Visits the Colonies...

2010-10-12T09:45:00.000-07:00

After decades of attempts to film an episode of Doctor Who in the US, it looks as if it is finally going to happen in this upcoming season. The classic series set a story or two in the US, but always filmed at the BBC. The show rather famously attempted to shoot on location in New Orleans in the 1980s, but never managed to make it happen. They did however, shoot in locales such as Paris, Lanzarote, Amsterdam and Spain. Then, the 1996 TV Movie filmed in Vancouver, BC, but was set in San Francisco. Since the series returned in 2005, episodes have been set in Utah and New York, but once again were filmed in the UK. The new series has gone on location in Rome, as well as other locales, but never the US.

Now the Beeb has announced that the two-part premiere of the new season will go on location in the US, for a story set in America in the 1960s. From their press release:

In the special two-parter co-produced with BBC AMERICA, key scenes will be filmed in Utah for a story set in the late '60s in which the Doctor, Amy and Rory find themselves on a secret summons that takes them on an adventure from the desert in Utah - right to the Oval Office itself.

The premiere will also feature the return of Alex Kingston as River Song, and will be written by show runner Steven Moffat.

Snyder Will Direct Superman

2010-10-05T08:40:00.000-07:00

According to, well, pretty much everywhere, Zack Snyder has been confirmed as Warner Bros.' choice to direct their upcoming Superman film. It's been pretty much confirmed as well that the new Superman film will not follow on the latest movie, Superman Returns, but will instead be basically a reboot a la Batman Begins.

As previously reported, Christopher Nolan, the director and co-writer behind Batman Begins and The Dark Knight will act as producer and "creative overseer" of the Superman franchise. He is working on the story with his frequent collaborator David Goyer. Snyder is the director of such hits as Dawn of the Dead and 300, as well as the comic adaptation Watchmen. His next film is Sucker Punch.

While some people will meet this news with joy, other will react with dismay. My response is one of puzzlement, truthfully. If this decision was one made solely by the studio, it makes complete sense. Warner's was famously disappointed with Bryan Singer's more thoughtful take on the character, and Snyder is definitely much more visceral and confident with action. Watchmen is already legendary for how it divided fans. I myself thought it was probably the most faithful and effective a film version could be, while also finally admitting the material really doesn't work as a movie.

However, if Nolan was the final word on who would direct, then I'm really scratching my head, as I wouldn't have thought that Snyder was the type of the director Nolan would connect with. Nolan has always been about precision, both in his film making and his story telling. He's been concerned with giving audiences a complex, intricate experience. Say what you want about Snyder, but you could not call his film making intricate. But, maybe this is what the Superman franchise needs in order to kick it off. So, I'll wait. I've got lots of faith in Nolan and Goyer's abilities, and while Snyder seems to me to be a pretty shallow film maker, I can't say I've out and out hated anything he's done.

There better not be any slow motion or "ramping" fights. Seriously, that's getting old.

RIP - Stephen J. Cannell

2010-10-01T12:35:00.001-07:00

Stephen Cannell, the prolific writer and television producer whose greatest successes became part of a generation's pop cultural memory, has passed away from melanoma. He was 69.

In his early years, Cannell struggled with dyslexia, and eventually overcame the disorder well enough to become a sought after television writer in the late 1960s. After stints writing for Ironside and Columbo, he became the story editor for Jack Webb's police procedural series Adam-12.

While he had been working steadily, in 1974 he co-created what would be only the first of many mega-successful television series when The Rockford Files debuted. A charming series about affable if long-suffering ex-con turned PI Jim Rockford (James Garner), the series was a critical and popular favourite, buoyed by a central character that seemed to be the antithesis of the cliched hard-boiled cool PI. Rockford had the tried and true noble code, and he was definitely world weary, but he took far more punches than he gave, and lived in a trailer on the beach and was constantly getting a raw deal. The series became a beloved classic for its wit and reliably artifice-free style, combined with Garner's immense charm.

But it was by no means Cannell's sole hit, nor was it his sole hit big enough to indelibly leave its mark on pop culture. The Greatest American Hero was another successful series, less so during its original run, but in the year since it has acquired a powerful cult status, and is fondly remembered by people who watched the series in reruns as kids.

The A-Team was a phenomenon, becoming one of the signature series of the 1980s, and running for five seasons. Following the adventures of four Vietnam war vets falsely accused of a crime they didn't commit, the series was juvenile and campy, but its high action quotient and infectious sense of fun connected with a generation of kids, quickly becoming a classic. It made a super-star of Mr. T and reignited the somewhat stagnant careers of George Peppard and Dirk Benedict. A recent big-screen remake tried but failed to capture the spirit of the original.

Following the end of The A-Team in 1987, Cannell began his long association with the Vancouver film community by shooting his next two projects there. One, Wiseguy, was a dark and complex series following an FBI agent's (Ken Wahl) journey as an undercover operative. The series was not a huge hit, but its dark theme of the loss of identity, and its adult approach to the subject matter was miles away from his previous, campier fare, and it was a major critical success. The other series debuting in 1987 was 21 Jump Street, and once again, Cannell successfully captured lightning in a bottle. The show was a huge hit, and launched the career of a young actor named Johnny Depp. Although Jump Street was more light-hearted than Wiseguy, it also dealt with more serious subject matter and experimented with longer story arcs.

Throughout the 1980s, Cannell created show after show that resonated in some way; Hunter, Hardcastle and McCormick, Stingray and Riptide. He also created some series, that although they were not successful, are now seen as years ahead of their time; Unsub, Tenspeed and Brown Shoe and Profit. In the 1990s, Cannell moved away from network television and embraced syndication, with one of his series, Renegade, becoming the most watched syndicated series of its time after Baywatch. But Cannell moved away from television now, choosing to focus on another type of writing.

Cannell began to write mystery novels, many featuring detective Shane Scully. He found great success as a mystery writer, and even returned to television as an actor in Castle, playing himself as one of the eponymous character's poker buddies, all of whom were famous writers. Cannell is survived by his wife of 46 years, Marcia, and their three children and three grandchildren.

RIP - Tony Curtis

2010-09-30T10:07:00.000-07:00

A Hollywood icon has passed away; Tony Curtis is dead at the age of 85. Curtis was one of the most vibrant leading men of the late 1950s and early 1960s, giving indelible performances in such classic films as The Defiant Ones, Sweet Smell of Success, Some Like it Hot, Spartacus, and The Boston Strangler.

He was born Bernard Schwartz in the Bronx in 1925, to poverty-stricken Hungarian immigrants. His father operated a tailor shop, and his mother was a schizophrenic that regularly beat her children. The Depression hit the Schwartz' so hard that Bernard and one brother were made wards of the state. They lived a hard-scrabble, tough existence, and Bernard Schwartz' escape only came with WWII, where he served aboard a navy submarine in Japan, witnessing their eventual surrender.

After the war, Schwartz returned to New York, where he studied acting and performed in the Catskills before eventually signing a contract with Universal Studios in 1948. His name change to Tony Curtis, and his incredible good lucks, marked him as an up and comer, and by 1951, he was headlining a film called The Prince Who Was a Thief. That same year, he married an actress whose career was also on the rise and whose beauty rivaled his own; Janet Leigh. The marriage made them media darlings, and the press followed them everywhere.

In 1953, Curtis headlined his first major hit, portraying legendary magician Houdini. The film, and his high-profile marriage, cemented his status as an A-list movie star. He would spend the next few years making schlocky costume pictures that the thoroughly modern and urban Curtis seemed ill suited for.

It wasn't until 1957, and his magnificent turn as sleazy press agent Sidney Falco in Sweet Smell of Success, that Curtis began to be recognized as a gifted and powerful dramatic actor. The following year, he appeared opposite Kirk Douglas in The Vikings and co-starred in Stanley Kramer's The Defiant Ones, playing a racist fugitive manacled to fellow escapee Sidney Poitier. Curtis received an Oscar nomination for his performance in the film.

He followed this up with some very successful comedies, Mister Cory, The Perfect Furlough and Operation Petticoat, all directed by Blake Edwards. He followed this with a film that many consider to be the best American comedy film or all time, Some Like it Hot. During this creatively successful period, he would appear in Spartacus, The Outsider and The Great Imposter.

But in 1962, he and Leigh divorced after an affair with a 17 year old co-star came to light. The break-up and affair severely damaged his reputation, and although he had a hit with Blake Edwards' The Great Race, his career never really recovered. In 1968, he gave a final great performance as The Boston Strangler. But the film was years ahead of its time, and was seen by the critics and public of the day as tacky and garish.

The 1970s were spent in minor film roles and marginally successful TV shows, and he went through multiple marriages as well. The 1980s did not begin well, either, with a stint in rehab. However, during this time he discovered a love for painting and his work sold well, inspired by Matisse and buoyed by his celebrity. But it brought him a measure of peace and it would remain his primary love for the rest of life.

And with his passing, there is the feeling that an era of old time glamour has come finally to an end. His career was full of peaks and valleys, but few had peaks that rose as high.

This.....Looks......Great.

2010-09-27T15:46:00.000-07:00

No other comment to make, really. Coens, Bridges, Damon, Brolin. A great novel. Some amazing cinematography. I can't wait.

Are You Talking to Me?

2010-09-27T13:31:00.001-07:00

News has been leaked today that literally dozens of celebs in New York have been licensed to carry a concealed weapon. According to several stories, the list includes Marc Anthony, Donald Trump, Howard Stern, and Robert De Niro. The NYPD have been issuing these permits, and they are famously rather tough to get. you have to prove either that you are under some increased level of threat or regularly carry large amounts of cash or valuables.

What this means is that you may experience the following scene for reals, if you get up in Bobby D's grill looking for him to autograph your DVD of Showtime:

Now, I really can't make fun of Donald Trump's hair should I ever run into him. Cross one more dream off the list, cruel world.

First Look at Chris Evans as Steve Rogers

2010-09-24T11:51:00.000-07:00

Recently there has been a whole ton of Captain America stuff leaking to the net. There has been some set walk throughs from over in England:

and a video of scene being filmed:

By the way, I love the gasps from the people watching who obviously weren't expecting that last bit!

Until now though, no one had gotten the big matzo ball; a shot of Chris Evans in the role. And while the photo below doesn't show him in costume, it does show that anyone worried about whether or not Evans could get fit enough to carry off the role of the peak human physical perfection, this puts all doubts firmly to rest.

Holy jeez, look at that guy. Now, that is absolutely how Steve Rogers should look. And for those of you wondering why his clothes are so tight, I would bet that this scene takes place just after he goes from skinny Steve to Super-Soldier. Also, his weird feet? Those are prosthetics they give to actors when they have to run barefoot over rough terrain in scenes. Steve Rogers is not a hobbit.

Why Ben Affleck Should Be Given Some Slack

2010-09-22T11:23:00.001-07:00

So, I saw The Town. It's a really good movie. Is it a masterpiece? No. Is it as good as Gone Baby Gone, Affleck's directorial debut? No, but then I'm not sure it's trying to be as emotionally complex as that film, so it's not really a fair comparison. What The Town is is a solid, entertaining, satisfying heist film, with characters and dialogue that are richer than usual for the genre. But when I talk to some people about the film, they give me this look. This look that says, "Waitaminute, Ben Affleck made a good movie? Really?" and I really can't figure out why it's been so fucking hard for this guy to get any respect at all.

Let's go back to the beginning. Not the very beginning, because I don't think anyone who saw him as a child in Voyage of the Mimi thought, "That pre-teen is a major douchebag."

That kid? Major prick.

Really the first time anyone took any notice of him was in two films; School Ties and Dazed and Confused. Neither was a huge role, but in Dazed...he was supposed to be a prick, and you know what? He did his job. He was a colossal prick. He hooked up with Kevin Smith around this time, appearing as another colossal prick in Mallrats. and once again, he was good. But maybe this is where it started. Maybe he had made enough of an impression as a prick to irrevocably imprint him as one in the public eye. But I don't really buy into that, because it's not like any of these films were huge enough to make that big an impact on anyone's career. They may be cult faves (okay, not School Ties) but the appeal they have today has come over years.

Next came Chasing Amy. I like Kevin Smith, but it's fair to call him.....limited. He's not a terribly sophisticated writer, and he certainly has no visual flair, but he does have an earthy realism to his writing, and some skill at examining certain relationships. Chasing Amy is by far his most complex, funny, and all around successful film. And you know what? Affleck is fucking great in it. He's vulnerable, he's relatable, he convincingly portrays a guy who falls in love with a woman he is absolutely in no way prepared to handle, and he rather touchingly depicts all the confusion that comes with that. It's what made him, well, not a star certainly, but at least an actor you knew you would see more of.

You named your kid Pilot Inspektor, and I'M the one they ridicule?

Then came Good Will Hunting. Huge. Mega-Huge. Made Matt Damon and Ben Affleck stars. It was a labour of love that they wrote over years. And yeah, there have been rumours about this. Rumours that William Goldman or Kevin Smith or the film's director Gus Van Sant wrote it. Rumours that it was originally a spy movie about the genius Will Hunting being recruited by the CIA until someone else turned it into a drama. It's all bullshit. Goldman and Smith have denied it, and even if it was once another type of flick, what matters it what's on the screen, folks. And the movie is a drama, and it's written by Damon and Affleck.

The nastiest rumour has always been that Damon did all the writing, and Affleck basically changed paper in the printer when it ran out. And I remember that rumour starting pretty much immediately. Why did people immediately jump to that conclusion? Was it because Damon was the public face of the flick? Was it because Affleck played the dimmer best buddy to Will Hunting? Maybe. But here's the thing, Affleck is one of the best things in the movie. He's extremely funny, and very authentic. It's clear he knows guys like this. Also, one of the most original things in the film is how Affleck's Chuckie knows that Will has to outgrow their friendship to reach his potential. There's no jealousy there, there's love and a real fear that his best friend may waste a pretty amazing gift. Affleck earned my loyalty in that film, and I've stuck by him.

Suck on these, William Goldman.

He's made it hard. He was 25 years old when he really hit it big. It's really hard to avoid letting that stuff go to your head. Around this time, he began dating Gywneth Paltrow, while Damon started seeing Winona Ryder. Typical movie star stuff. He took a supporting role in Shakespeare in Love, and considering the part was well outside his wheelhouse, he did a good job. But he followed it up with Armageddon, and though I'm only slightly ashamed to admit that his final scene with Bruce Willis made me tear up, it must also be said that it was a pretty schlocky piece of dreck.

And now, he was seen as a leading man. And for the next few years, he tried to be a traditional leading man. But it seemed like he was running away from the indie-style films that made him big in the first place. Bounce, Reindeer Games, Pearl Harbor, The Sum of All Fears, Daredevil. All films trying to position him as a Movie Star like Tom Cruise. And while some were better than others, they all felt calculated, as if his manager were picking them. Sure, he made some indie films during this period, notably with Kevin Smith, and he made one good studio flick (Changing Lanes), but all he accomplish was to reinforce his image as a guy who stars in pretty mediocre flicks. And the Movie Star roles didn't seem to fit him. He seemed uncomfortable, unable to connect, but not sure what else to do.

Then he began dating Jennifer Lopez, and all hell broke loose. They were everywhere. Lopez was busily trying to set herself up as some sort of pop culture polymath a la Madonna. She was an actress, a pop star, a producer, a trend setter, a diva. Affleck and Lopez became known as Bennifer. Verrrrrry quickly, they became overexposed and surrounded by scandal and seemingly jerky behaviour. Then came Gigli, a movie so bad that Satan sent out a press release saying he had nothing to do with it, for fear being associated with it would give him a bad name.

After that, he made a couple of more movies, all of which tanked, and then he took two whole years off where he and J-Lo broke up, and he began dating Jennifer Garner. Basically, he went into hiding. At this point he was only 31 years old. It seemed as if his career as a major movie star was over, now relegated to a joke.

But after his exile he returned to the screen in Hollywoodland, a understated film that centered on the mystery that surrounds the death of George Reeves, TV's Superman. The film wasn't perfect, but it was a damn sight better than Jersey Girl, and Affleck reminded people he could act with a subtle, sad turn as Reeves. Still, reviews drew parallels between the typecast Reeves and Affleck, as if their lives were so similar not much acting was involved.

In 2007, he directed his first film, Gone Baby Gone. He adapted the novel by Dennis Lehane. The film was very well-received, garnering pretty much universal praise. Even still, there was some incredulity to the praise, as if no one ever suspected he had it in him. Here was an Academy Award winning writer and everyone still seemed to think he was basically an idiot. Maybe he hadn't quite ever delivered on the promise of Good Will Hunting, but what was the last great film Matt Damon wrote or directed?

Then out came State of Play, a neat thriller that had him more than holding his own in dramatic scenes with Russell Crowe. He followed that with another supporting role in Extract, a lackluster comedy whose stoner bartender played by Affleck was the only good thing.

Now comes The Town, which contains, as far as I'm concerned, his best performance since Chasing Amy and Good Will Hunting. It's a solid piece of work. You root for a guy you really have no business rooting for, and Affleck is extremely low-key, underplaying things and rooting his performance in a haunted quality. He co-wrote the adaptation of Chuck Hogan's novel here, but it's his direction that really confirms him as someone to watch. Like Gone Baby Gone, it's not self-conscious or too earnest, the way other actor's directorial forays can be. He clearly grasps the most important quality a director can have; a solid instinct for casting, as both films have extremely good performances throughout. He feels like a director, not like an actor moonlighting. His two films may not reinvent the wheel or announce a startling new talent, but they are both exceptionally well done pieces of entertainment.

So, let's stop being surprised. Ben Affleck is back. He's good. Get used to it.

Trailer and Buzz Comes in for Trigger

2010-09-14T09:56:00.000-07:00

If you were a fan of recent Canadian film, chances are you have seen the work of Tracy Wright. Wright appeared in such films as Monkey Warfare, Highway 61, Last Night, Blindness and Me and You and Everyone We Know. She was a fixture in groundbreaking Toronto theatre, and made appearances in sketches for The Kids in the Hall, as well as the classic Twitch City. Wright and Canadian icon Don McKellar were probably the most beloved husband/wife team in the country's art world, and her list of collaborators and admirers include Daniel MacIvor, Bruce McDonald, Molly Parker, Callum Keith Rennie, and many others.

So it was a huge loss when she passed away in June after a battle with pancreatic cancer. Shortly after her diagnosis, celebrated playwright and screenwriter MacIvor wrote a film for Wright and Molly Parker called Trigger, with Bruce McDonald coming on board to direct. According to Parker, Wright's husband McKellar told them to hurry if they wanted this film to be Wright's final performance.

Parker had this to say at a recent press conference: Don said the only way to do it was if you do it right now. Like, right now.

A recent article in the Vancouver Sun documents the making of the film, which got started after longtime friend Callum Keith Rennie donated some start-up money. After a very quick shoot, in which many Toronto pros donated their time, the film is now being shown at the Toronto Film Festival. Shot incredibly quickly, and with obviously real emotion behind it, it's already generating buzz as perhaps the Canadian film of the year. Here's the trailer:

Wright, who had given a lot to our country's arts over the years, certainly deserves a swan song as good as this one appears to be.

First Photos of Cap Costume Leak!

2010-09-09T09:06:00.000-07:00

Below you'll see the first photos of the Captain America costume from Marvel's upcoming Captain America: The First Avenger. Before you get too excited, it should be noted these pics are of the stunt double, not Chris Evans' himself. Also, for those of you who may get too nit picky, these photos are taken in the harsh light of day, without the proper lighting and effects they'll use to really make it look great on film, so let's not be too hard on it here. Still, I think it looks really great. Oh, and the Red Skull's soldiers look appropriately kick-ass, too.

Pretty cool, no? I love that Cap carries his sidearm. And the Shield looks great.

Hey Now! Complete Larry Sanders Show Coming to DVD!

2010-09-08T15:16:00.000-07:00

Garry Shandling's HBO series The Larry Sanders Show was a classic. The show ran on the cable network from 1992 - 1998, and it starred Shandling as Sanders, the host of a long-running late-night talk show a la Carson, Leno and Letterman. The show also starred Rip Torn as Sanders' foul-mouthed but loyal producer Artie, and Jeffrey Tambor as his sidekick, an insecure and buffoonish pitch-man named Hank Kingsley. It was amazing. It was satirical and hilarious and misanthropic. Sanders was riddled with neuroses and angst and as a result was occasionally completely unlikable.

And real stars came on the show and lampooned themselves or got in on the profane, sometimes brutal comedy of the show. People like David Duchovny, Ellen DeGeneres, Tom Petty, Carol Burnett, Alec Baldwin and Jon Stewart all made cameos. Shandling headed the writing team that featured future comedy lights such as Judd Apatow and Peter Tolan. And the show was a proving ground for future stars in roles as the production team; Janeane Garofalo, Bob Odenkirk, Jeremy Piven, Wallace Langham, Sarah Silverman, Scott Thompson and Mary Lynn Rajskub.

The first season was released on DVD in 2002. Then nothing until 2007, when a "Best of" DVD set was released. But on November 2, 2010, all 89 episodes will be released in a Complete Series set by Shout! Factory. Here's a look at the packaging:

Here's a summary of the extras from the press release:

THE LARRY SANDERS SHOW: THE COMPLETE SERIES DVD BOX SET EXTENSIVE BONUS CONTENT:
60-page collector's book - The Larry Sanders Show The Complete Guide
Video introduction by Garry Shandling
All-new deleted scenes
All-new outtakes
Garry Shandling lectures at University of Southern California (40 min.)
Audio commentaries with Garry Shandling, Todd Holland, Judd Apatow and Peter Tolan.
The Making Of The Larry Sanders Show feature-length documentary
Garry Shandling and Judd Apatow on "The Writer's Process"
Interviews with cast and crew - Garry Shandling, Jeremy Piven, Bob Odenkirk, Linda Doucett, Penny Johnson, Janeane Garofalo, Scott Thompson, Wallace Langham, Sarah Silverman, and Mary Lynn Rajskub.
Garry Shandling's personal visits with guest stars: Alec Baldwin, Sharon Stone, David Duchovny, Tom Petty, Jon Stewart, Ellen DeGeneres, Jerry Seinfeld, Carol Burnett and more.
Rip and Jeffrey visit with Garry in his living room
EMMY print campaign gallery (Season 6)
The Journey Continues...

I can't wait to watch it all over again.

Double Features: Gritty Crimes & Tarnished Badges

2010-09-08T14:05:00.000-07:00

Here's another Double Feature programmed on a theme by your friendly neighbourhood Nerdlinger. It's a recurring column I began a little while ago to help some of you come up with some interesting options at the video store, along with a tasty beverage and snack to accompany your evening.

Double Feature: To Live and Die in LA & Narc

This time out we're diving into the seedy side of law enforcement with a couple of particularly nasty cop films that examine the blurred line between cops and criminals. Yeah, yeah, it's cliched subject matter, but it's also kick-ass, intense subject matter, so enjoy some car chases, bad language and truly bad muthafuckas.

To Live and Die in LA is first up, and it was looked upon as one of director William Friedkin's many comebacks. Friedkin shot to the absolute top of the directorial pile with the incredible one-two punch of The French Connection and The Exorcist before flaming out in spectacular fashion with Sorcerer and Cruising. He would continue to direct, and every once in a while, he'd have a film come out that seemed poised to return him to the A-list. To Live and Die in LA is the one that came a closest; a lean, brutal and joyously over the top movie about federal agents so obsessed with taking down a counterfeiter that they will cross absolutely any line to do so. William Petersen and John Pankow plays the cops and Willem Dafoe is the crook. There's a killer car chase, and an equally killer twist in the final act, and while the film is almost a museum piece of the 1980s and the dialogue can get a little obvious, the film still packs a vicious punch.

Before Joe Carnahan disappeared up his own ass with overly stylized, empty-headed excess like Smokin' Aces and The A-Team he made Narc, an intense and brilliant study of two cops seemingly completely destroyed by the war on drugs. Jason Patric is heartbreaking as a cop traumatized by an awful experience who has been paired up with Ray Liotta's veteran detective. Liotta has skated completely over the edge in his pursuit of the two dealers who he thinks killed his partner, and the crux of the film is whether Liotta has lost it, and whether Patric will follow him down the rabbit hole. It's a depressing, but captivating, film, and it makes one wish this was the type of film Carnahan continued to make.

Drink: As an ironic counter-point to the cops in these films, I offer you the Pink Police:

Pink Police Recipe

12 oz Beer
12 oz Vodka
12 oz Frozen Pink Lemonade

Pour one can of beer into a pitcher. Add one can of frozen pink lemonade. Add vodka (in place of the water), stir and serve.

Snack: What better snack for a double feature about cops is there than this:

Old-Fashioned Cake Donut Recipe

If you would like to make traditional donuts you will need to buy a simple donut maker machine. They are inexpensive (often less than $10) and can be found in brick and mortar specialty cooking stores or can be easily purchased online at a kitchen supply store. While waiting to receive your donut maker, you can start by making donut holes. Simply drop small balls of dough into the hot oil.

Ingredients:
• 2 1/2 c. flour
• 2 tsp. baking powder
• 1 tsp. salt
• 1/2 tsp. cinnamon
• 1/4 tsp. nutmeg
• 1 c. sugar
• 2 beaten eggs
• 1 Tbsp. softened unsalted butter
• 1 tsp. vanilla
• 1 c. milk

Directions:

1. In a large bowl combine the flour, baking powder, salt, cinnamon, and nutmeg. Set aside.
2. In a separate bowl beat the eggs and sugar with a mixer.
3. Add the softened butter, vanilla, and milk and mix until well-incorporated.
4. Slowly add the dry ingredients and beat until smooth. Do not overmix.
5. Lightly coat the inside of the donut maker with nonstick cooking spray and fill with batter.
6. Hold the machine just over the hot oil and lightly press on the lever to release the batter. Then gently release the lever and allow the donut to fall into the pan.
7. Fry the donut batter in hot vegetable oil, turning halfway through to ensure even browning. Fry approximately one minute per side, although that time can vary depending on how hot the oil is.
8. Remove golden-brown donuts and allow them to cool on paper towels.

Makes about 1 dozen donuts.

Enjoy the show!

Comic Observations: Waid, Aragones & Comic Book Piracy

2010-09-01T14:39:00.000-07:00

This past Saturday, comic book writer and BOOM! Studios Chief Creative Officer Mark Waid delivered the keynote speech at the Harvey awards, one of the industry's leading awards ceremony.

It was controversial, to say the least.

Waid's speech was about file sharing. Basically, it was about illegal downloading of comics, a practice which conventional wisdom has put forward as the possible death of comics publishing. Creators and the companies they work for have consistently decried the practice as outright theft.

So why was Waid's speech considered to be so controversial? Well, it appears that some industry people, including beloved Sergio Aragones, thought that Waid was basically endorsing piracy and giving a big middle finger to all those hard-working vets who get screwed out of royalties by thieving scuzzy Internet nerds.

Here's a copy of Waid's speech. I've taken out a few sections to highlight what I think his actual position is. First, here's his views on copyrights:

What most people don’t realize about copyright is that it was originally conceived to protect not artists but the public domain--to ensure that artists and writers and their heirs couldn’t have perpetual ownership of their work until the end of time because, at some point, the sentiment went, you ought to have to give back to culture the same way you, I, and all artists draw from it. Certainly, you should benefit from your work, and you should have legal protection, but I find it interesting that the original intent was to deliver ides back into the public domain.

He goes on to say that "Culture is more important than copyright", meaning that sooner or later he feels that the industry should relax its stranglehold on makling money, and make it easier for society to enjoy the works they provided.

Then he had this to say on file sharing:

Like it or not, downloading is here. Torrents and filesharing are here. That's not going away. I'm not here to attack it or defend it--I'm not going to change anyone's mind either way, and everyone in America at this point has anecdotal evidence "proving" how it hurts or helps the medium--but I am here to say it isn’t going away--and fear of it, fear of filesharing, fear of illegal downloading, fear of how the internet changes publishing in the 21st century, that’s a legitimate fear, because we’re all worried about putting food on the table and leaving a legacy for our children, but we’re using our energy on something we can’t stop, because filesharing is not going away.

And there's more:

We are the smartest, most creative medium in America. We put out ideas on a periodical basis bam, bam, bam. We don’t put out a screenplay every three years. We don’t invent a TV show every ten years. There are more ideas in one Wednesday in one comic shop than in three years of Hollywood. We're notoriously bad businessmen, but we are unmatched for creativity and inventiveness, and there are ways to make filesharing work for us rather than cower in fear that it’s going to destroy us.

Naturally, a lot of people in the industry missed Waid's overall message: that they have to find a way to make this reality work for them rather than simply ignore and villify it. He's right, it's not going away, and trying to stamp it out is simply impossible. I've talked before about how I consider it to be stealing. And I still do, but I have also relaxed on the issue when it comes to comics. Currently, I have downloaded every single appearance of Spider-Man, in chronological order, from his debut until about 1977. Trying to do so through purchase would be simply cost prohibitive. I would have loved to have done this through Marvel's digital service, but they don't currently have all the issues online.

Waid is right. The industry needs to get cracking and start thinking of ways to embrace the digital medium in a smart, cheap way. Marvel is close. You can join their digital library for about $60 per year. But there are no new issues there, and the runs of their series are patch work and not complete. How can joe blow hacker find the time to do this, but Marvel can't? Give us a system that is way less virus-plagued, more effecient and with better quality control than the illegal guys, and you'll see things improve. iTunes ain't going anywhere, from what I hear.

In ten years, I bet Waid will be seen as a forerunner.

Thom Yorke Performs New Radiohead song

2010-08-31T15:45:00.000-07:00

So, recently, Thom Yorke has been playing a few solo gigs here and there, performing music off of his brilliant The Eraser album, as well as some Radiohead songs.

The cool thing is that he also performed a new song, making a point to identify it as "a new Radiohead song". Give Up the Ghost is the first new song attributed to the band since August 2009, when they released Harry Patch (In Memory Of) and These Are My Twisted Words, both of which were available for download.

Below you'll find the incredibly shaggy (and is that grey in his beard? Man, I'm getting old) Yorke performing the new song at the Big Chill Festival in Eastnor, England a few weeks ago.

Arty!

Sci-Fi Tech That Will Kill Us All (11) : The BEAR

2010-08-31T09:10:00.000-07:00

Meet Vecna Robotics' Battlefield Extraction-Assist Robot, or BEAR. I'm going to let the video speak for itself, but as an intro, here's what BEAR's severely misguided creators have to say about their flagship product:

Designed to locate, lift and rescue people in harm's way, the humanoid BEAR can do what humans can't: lift heavy loads and carry them long distances. Whether on a battlefield, in a mine shaft, near a toxic chemical spill, or inside a structurally-compromised building after an earthquake, the BEAR can rescue those in need without risking additional human life.

The BEAR combines the versatility of tank-like tracks, and powerful hydraulics to do all sorts of pretty terrifying things, as seen below:

Yeah, watching it smash through glass, lift barbells and drag clearly unconscious human bodies is creepy enough, but then, HOLY FUCK, DID IT JUST TRANSFORM? It clearly transformed and rolled out there at 0:33. I think we just found the leader of the robot army that society has foolishly been building.

Comic Observations: Batman, Inc.

2010-08-30T10:04:00.000-07:00

So, as I have mentioned elsewhere, I have pretty much left DC Comics in favour of Marvel, with a few exceptions. I'm still reading Green Lantern (though I really don't know why as I haven't been excited about it for months now), I still collect the trades for 100 Bullets (though I'm a little behind), and I'm still reading Batman & Robin, which remains a joy largely thanks to writer Grant Morrison's amazing talent.

In the past, I've written about how his stories tend to confuse the fuck out of me, but upon reflection (and a few more reads) I usually begin to regard them as utterly brilliant. He just has a completely masterful way of telling modern stories that recall the flavour of earlier eras while still containing some of the most innovative, bizarre, and fresh concepts. I've gone so far as to completely reverse my initial reaction to Batman RIP and now call it the best Batman story in a decade. Here's a cool interview that describes his stance on Batman.

He's been behind the Batman franchise for a few years now, and he's doen some incredible things. Since Bruce Wayne's "death" in Final Crisis, former Robin Dick Grayson has taken on the mantle. In the series The Return of Bruce Wayne, it's been revealed that Bruce was in fact zapped by Darkseid back in time and is now bouncing back towards the present through his family history. Amensiac, and yet still driven to survive against all odds, other heroes such as Superman have become aware that Darkseid has turned Wayne into some sort of living weapon, and when he finally figures out who he is and returns to the present, he might destroy the world. In effect, Wayne's indominatble spirit, his greatest asset, is now being used against the world. Cool, huh?

Meanwhile, fans have been sort of loving Grayson as Batman, and his partnership with Wayne's abrasive uber-assassin son Damian, who has become Robin. So, you've got two popular characters trying to fill the same role. But there can be only one, right? Well, not according to Morrison and DC.

Morrison is leaving Batman & Robin to create a new title, Batman Inc, which finds Bruce Wayne returning to the role of Batman and taking a more global stance on his mission. He is basically sertting up Batman as a worldwide organization. Grayson will continue as Gotham's protector, but Wayne, in a slightly different costume, will focus on "franchising" Batman, going so far as to have numerous others take on the role throughout the world.

Personally, I think this could be an amazing idea, or a complete disaster. On the one hand, it's bold and certainly innovative to have Wayne take on a global view, it also runs the risk of weakening the brand through diffusion. Still, it does allow fans of either Batman to have their cake and eat it too, while opening up the adventures of the Caped Crusader to other locales and new frontiers.

Trust a complete wacko like Morrison to take such a tried and true icon in a totally new direction.

New Look For the Nerd!

2010-08-26T09:30:00.000-07:00

As everyone can see, the site has a new look. I think it's a sleeker, more modern kind of style. Anyone have an opinion? Like it? Hate it? Let me know.......and I probably won't do much about it, but you can't say I don't ask!

Michael Ian Black Goes All "Network" On a Dude

2010-08-26T08:52:00.000-07:00

Michael Ian Black, who is a funny, funny man (even if I don't love Stella as much as my best friend Scofe does) went completely berserk on a heckler the other night. This wasn't in a Michael Richards offensive insanity way, in fact, it was sort of the direct opposite of that.

He blogged about it in a typically funny and honest way. Read all about it. Done?

Okay, his response, while perhaps a little extreme and embarassing to him personally, was right on the money. Say what you want about Obama (and I would say he's only guilty of naively taking advantage of people's ignorance of how their political system works and how hard it can be to actually accomplish major change), I think it's fair to say that there are people out there who don't like the guy, and don't think he's a good leader and what have you.

He's not Hitler.

And here is the major problem with the Internet age, it makes morons think their opinion matters, and the more contrary the opinion, the more it feeds their ego. Here are some popular Internet phrases that should be banned unless strictly warranted:

Insert Name Here raped my childhood, dreams...basically any inappropriate use of the term "rape". Look, George Lucas made some shitty movies. That's all he's guilty of. Rape is something that happens a lot of people. It's horrible and ugly and has no comparison to the creation of Jar Jar Binks.

Calling anyone a fascist who isn't actually a fascist. You can insert Communist, Socialist, and/or Terrorist here, too. No matter what you believe, the people who attach themselves to those "ism"s are usually not too shy about doing so. It's an ethos they want to be a part of. Very, very, very few people in North American society can muster the energy to vote, let alone join a fringe ideology. There are some people that are followers of these systems, but you can usually spot them coming.

Comparing non-genocidal maniacs to Hitler, Stalin or Mao. If you have a body count less than a hundred thousand people, you're simply not in their class, folks. As Obama has not ordered the systematic murder of any one group of people that I know of, I think we can hold off from comparing him to one of history's greatest monsters. Calling him Hitler is vastly ignorant of both Obama and Hitler. I'm not saying you can't be inappropriate about these guys; I for one find Stalin hilarious for some reason. But these comparisons aren't meant to be funny, or to ridicule a frankly horrible historical figure, but to demonize someone for a "crime" that is in no way equal to the travesties committed by those they're being compared to.

So, Mr. Black, while you may be a little sheepish that you resorted to such fury in retort, I think the douchebag deserved to be roundly ridiculed, and I hope he learned something. Here's an excerpt from an article where Black expounds on why he thinks he may have gone a little too far in his outrage:

Here's the thing: I honestly believe that the vast majority of Americans want the same things; peace, opportunity, a fair shake, and the freedom to pursue their version of happiness. Democrats want that. Republicans want that. Oprah wants that. Ted Nugent wants that. Everybody. The arguments arise about how we get there. I just think we'd all be better served if we gave each other the benefit of the doubt instead of automatically demonizing the other guy. Here's the thing I am trying to keep in mind: the other guy isn't automatically the asshole. Whenever I start to think that he is, I have to remind myself, "The asshole, perhaps, is I."

Words of wisdom.

Nerdlinger's Most Anticipated Films of Fall 2010 (Part 2)

2010-08-17T12:55:00.000-07:00

Here's Part 2 of my look at the films I'm looking forward to the most this coming fall/winter.

5 - True Grit - Now, this is an odd one. The Coen Brothers are almost impossible to pigeonhole. They can make the best dark crime films tinged with black comedy (Blood Simple, Miller's Crossing, Fargo, No Country For Old Men), they can make bizarrely heightened comedies (Raising Arizona, The Big Lebowski, O Brother Where Art Thou?), totally unique and obscure art films (Barton Fink, The Man Who Wasn't There, A Serious Man) and attempts at more broad hi jinks that are interesting misfires (The Hudsucker Proxy, The Ladykillers, Burn After Reading). With this film they're making their first full-fledged western (though No Country...was close) and they're tackling a role that won John Wayne his sole Oscar. Granted it's Jeff Bridges, but still, that is daunting. I for one am really quite excited to see their take. It could fall into their misfire category, but the Coens are never boring. (Dec. 25)

4 - The Fighter - I'm of mixed feelings about David O. Russell. His films Flirting With Disaster and Three Kings are amazing. I Heart Huckabees has its fans, but I'm not one of them. His actions on-set border on the utterly reprehensible and unbalanced. He seems to have generated no shortage of ill will but he is still regarded (justifiably so) as talented. So, when you hear he's just made a boxing movie with frequent collaborator Mark Wahlberg and Christian Bale, maybe he's met two actors who either won't take or can handle his technique of mental cruelty. Wahlberg plays a welterweight fighter on the road to a comeback, who is helped by his recovering Crack Addict brother (Bale). If done well, you've got a lean, powerful and crowd-pleasing Oscar contender. (Dec. 10)

3 - Biutiful - Alejandro Gonzalez Inarritu’s latest film stars the incredible Javier Bardem as Uxbal, a lonely man involved in criminal enterprises and who, Bardem won Best Actor at Cannes, and Inarritu is getting praise for this film, which, like his previous films (Amores Perros, 21 Grams and Babel) is dark, but unlike them follows a more linear story. Bardem seems incapable of being anything other than captivating (he was even amazing in a terrible film like Love in the Time of Cholera), so at the very least, you'll be blown away by his performance. (Dec. 17)

2 - The Social Network - Aaron Sorkin wrote the screenplay. It's about the creation of Facebook and the subsequent legal battles, and friendships that ended, in the aftermath. The cast is full of young actors on their way to the top, and has David Fincher ever made a bad film (Okay, let's not count Alien3)? What more is there to say? (Oct. 1)

1 - Blue Valentine - The story of a married couple's life together, told in a non-linear style, this film directed by Derek Cianfrance took Sundance by storm this year, and apparently, both stars Ryan Gosling and Michelle Williams are amazing. I'm excited to see a grown-up look at the realities of a truly adult relationship. Both of the stars have shown real potential in the past, and could possibly mature in two of the best actors of their generation. One not to miss. (Dec. 31)

Honourable Mentions:

You Will Meet a Tall Dark Stranger - I love Woody Allen, but he can miss as often as he hits these days.

Hereafter - Clint Eastwood dives into the metaphysical and the supernatural? I'm intrigued, but as a film maker he's never been interested in the fantastic.

Howl - James Franco as Allen Ginsberg. Could be brilliant. Could be beyond irritating.

The American - George Clooney as an assassin is intriguing, but it otherwise looks familiar.

The Tree of Life - Brad Pitt and Sean Penn star in a film directed by the legendary Terrence Malick, which will certainly look beautiful, but could also be ponderous to the point of dullness.

Nerdlinger's Most Anticipated Films of Fall 2010 (Part 1)

2010-08-17T10:52:00.000-07:00

It's that time again, when the leaves turn, kids go back to school, and Hollywood attempts to prove they're capable of producing more quality films than All About Steve and The A-Team. Oddly enough, so far this year, I can't see any clear-cut Oscar-favourites coming down the pike. In fact,t here looks to be more than a few smaller, riskier films poised to step up to the plate, which is a welcome change from bloated prestige pictures that don't deliver.

Without further ado, here's part one of my list the ten films I'm most looking forward to this fall/winter, with a "honorable mention" section of films that might surprise me. Let's get the show on the road!

10 - Waiting For "Superman" - Davis Guggenheim (An Inconvenient Truth, It Might Get Loud) directs this documentary that examines the American public school system, how it is broken, what opportunities are available for the average student, and what steps could be taken to fix the myriad problems faced by today's kids and educators. The film follows a selection of promising kids as they struggle to gain the best chance for a quality education. Should be powerful, engrossing, and most all, a great generator for serious discussion of reform. (Sept. 24)

9 - Miral - Julian Schnabel (Basquiat, Before Night Falls, The Diving Bell and the Butterfly) directs this film about Hind Husseini's attempt to found an orphanage in Jerusalem following the creation of the state of Israel. The story is told through the eyes of Miral, a young women in the late 1970s who leaves the shelter of the orphanage and falls for a politically active Palestinian man, leading to her becoming embroiled in the Palestinian/Israeli conflict. Schnabel is major league film maker of singular vision, so this may not be two hours of fun, but it should be affecting and bold. (Dec. 3)

8 - Black Swan - Natalie Portman, Mila Kunis, Winona Ryder and Vincent Cassel star in this thriller about two young ballerinas (Portman & Kunis) who find themselves in competition for the lead role in Swan Lake. Portman's Nina is an innocent, devoted to dance, but Kunis' Lily is more sensual and dark. Their rivalry warps into a twisted friendship, and then into something darker. Darren Aronofsky has long been poised to become one of the most gifted film makers of our generation, with some critical successes (Pi, The Wrestler), and some divisive films (Requiem for A Dream, The Fountain) under his belt. Here's hoping Black Swan is the one that truly confirms his promise. (Dec. 1)

7 - The Town - Ben Affleck directs and stars in this Boston-set crime film as a local bank robber who finds himself increasingly frustrated by the life he's chosen and aware that it doesn't have many positive end points. He sees his opportunity to change in his growing attraction to a former hostage (Rebecca Hall) who may or may not be able to finger him to a relentless FBI agent (Jon Hamm), while their relationship puts him at odds with his partner in crime (Jeremy Renner) and may endanger his life. Affleck proved with Gone Baby, Gone that he was more than a beefy pretty-boy who fluked into writing an Oscar-winning film. He has a real eye for this kind of gritty crime film, the cast is exciting, and the trailer looks great. (Sept. 10)

6 - Tron: Legacy - The first Tron didn't set the world on fire at the time of its release, but has since become recognized as one of the innovators in computer generated images and has achieved a cult following. That was enough to get Disney to green light this update, which follows the son (Garret Hedlund) of the first film's protagonist (Jeff Bridges) into the computer world, where Bridges has been lost for years. The footage and trailers that have been released look absolutely spectacular, and the story is still intriguing, if a little goofy. Still, could be a blast. (Dec. 17)

See you soon for Part 2!

Mara Cast as The Girl With the Dragon Tattoo

2010-08-16T12:13:00.001-07:00

In the big casting news of the day, Rooney Mara has won one of the most coveted roles for an actress in years; that of Lisbeth Salander in David Fincher's adaptation of The Girl With the Dragon Tattoo.

Mara, who just finished working with director Fincher on his soon to be released The Social Network, has been considered the favourite for the role for some time, although many fan sites held out hope for bigger names such as Natalie Portman or Ellen Page.

Mara, who also appeared in the recent remake of A Nightmare on Elm Street, joins Daniel Craig in the cast, who will play journalist Mikael Blomkvist. Robin Wright and Stellan Skarsgard have been in discussion for supporting roles.

I have never seen Mara in anything that I can recall other than Youth in Revolt, which she was good in, but she seems to be the right age and body type of the role, and if Fincher has confidence, I can go along. Craig is a really good choice to top-line the film.

It's Not the End of Civilization.. But We Can See it From Here.

2010-08-16T11:42:00.000-07:00

Justin Bieber has a biopic in the works. What......the......fuck? Now, I am not in the core audience for Justin Bieber, being neither a tween, nor in possession of a vagina, so I do not track the level of relevance this kid exerts, but he's just another pop star right? I mean, we're talking less Ray Charles or John Lennon, more Frankie Avalaon or Bobby Sherman, yeah?

The recently announced direct (who won the job after helming recent masterpiece Step Up 3D) actually said the following:

This is the story of a new voice continuing the tradition of musicians that defined their generation.

Oddly enough, his pants were not actually on fire while he said this.

So, Justin Bieber now has a biopic. For those playing at home, here's a list of musicians that don't have a biopic:

Smokey Robinson

Jimi Hendrix

The Ramones

The Velvet Underground

Bob Marley

N.W.A

Sam Cooke

Iggy Pop

The MC5

Marvin Gaye

Kurt Cobain

Frank Zappa

James Brown

Elliot Smith

David Bowie

Bob......fucking........Dylan

But, we've got Bieber all taken care of. We've locked that down. I hear Daniel Day Lewis is in talks to play him.

Belle & Sebastian Release Album Name

2010-08-12T09:34:00.000-07:00

One of my favourite bands, Belle & Sebastian, has just released the album art and name for their upcoming album. Here it is below:

That's pretty much the look of every single one of their albums. They don't have a release date yet, which is annoying. but they do have a cool sort of contest going on right now. Band front man Stuart Murdoch has set up a Flickr album where people can post their own photos of your town with the album's title Write About Love scrawled on a public space (non-permanently, of course).

I'm excited to hear some new B&S, as it's been a while since The Life Pursuit. There's a nice NY Times article on Murdoch from last year, which paints him in a complicated light, but it's a fascinating read. Also, here's a link to the band's tour page, which doesn't show any Canadia dates.

Finally, here's a video of the band playing one of their new songs, I Didn't See It Coming below:

Not the best quality, but it does make me eager to hear the song for reals!

Imagine if Scarlet O'Hara Were a Tattooed Hacker With A Social Disorder

2010-07-28T09:19:00.000-07:00

The search for the actress who was going to play Scarlet O'Hara in Gone With the Wind was so highly scrutinized that it has become the benchmark for scouring the earth for that perfect actor. Everyone wanted that role. Thousands of women auditioned.

Now, there's a role that's shaping up to be almost as sought after. The role of Lisabeth Salander in David Fincher's upcoming adaptation of Stieg Larsson's mega-selling Millennium series of novels. Fincher is directing the film version of The Girl With the Dragoon Tattoo. Salander has been widely praised as one of the most original and compelling central characters in recent literature. The three novels have already been filmed in their native Sweden, with Noomi Rapace taking on the role to great acclaim.

Now, for the American version, director David Fincher and the studio have already confirmed Daniel Craig in the lead role of Mikael Blomkvist, but Salander is the flashy role. Everyone from Ellen Page to Keira Knightley to Carey Mulligan to Kirsten Stewart were rumoured to be considered and/or actively pursuing the coveted part. Pretty much every young actress even remotely in the age range were hungry for it. Fincher reportedly offered the role to Natalie Portman, who turned it down.

Now, according to EW, the main contenders seem to be four largely unknown young actresses, who we'll look at below:

Sophie Lowe is an Australian actress that has done a number of high-profile roles down under but is pretty much completely unknown here in North America. She seems a little soft to me, but make-up and a haircut would probably take care of that.

Sarah Snook is also Australian, and has even less experience than Sophie Lowe, mainly on the stage. She's definitely got an edge to her, which whoever plays Salander would need in spades.

Rooney Mara is the sole American on this list, and the one probably most known to American audiences, with roles in Youth in Revolt and the recent remake of A Nightmare on Elm Street. She's also recently worked with Fincher, with a role in his upcoming film The Social Network. That could be a plus or a minus depending on how he feels about working with actors back to back.

Finally, there's French actress Lea Seydoux, who most recently appeared in Ridley Scott's terrible film Robin Hood (but she was quite good) and in Tarantino's Inglourious Basterds. She's got a good look for the role, as well, but that could just be because she's French.

I'm glad that Fincher seems to be leaning more towards an unknown for the role. I think that's kind of vital, as Salander is largely a mystery, and a movie star brings all sorts of baggage to roles that can be hard to ditch. It's an extreme role, and one that, done well, will make a big star out of the actress who plays her. Fincher is absolutely the right choice for the role, and his recent announcement to retain the Swedish setting shows an understanding of a major component of the books. Fincher said of the setting while at Comic-Con:

Stockholm. Uppsala. In the north. You have to. What, are you going to put it in Seattle?

I'm in the midst of reading the books right now, and they're some of the most fascinating detective fiction I've read since James Ellroy came on the scene. Check them out!

Avengers Assembled!

2010-07-25T07:28:00.000-07:00

Below you'll find a picture shot at San Diego's Comic -Con showing the entire cast for Marvel Studios' upcoming Avengers film, assembled for the first time!

From Left to Right:

Robert Downey Jr (Iron Man), Clark Gregg (SHIELD Agent Coulson), Scarlett Johansson (Black Widow), Chris Hemsworth (Thor), Chris Evans (Captain America), Samuel L. Jackson (Nick Fury), Jeremy Renner (Hawkeye), Mark Ruffalo (Bruce Banner), Joss Whedon (Writer/Director), Keven Fiege (Head of Marvel Studios).

Well, it looks pretty cool! Let's see how it all comes together!

Sci-fi Tech that Will Kill Us All (10): Quadricopters

2010-07-20T13:30:00.000-07:00

In my continuing series of warnings about technology that will lead to a dystopian nightmare of a future, may I present the quadricopter? At first glance, these little guys don't seem all that menacing. I mean, they're just little remote-controlled helicopters, right? yeah, little helicopters that can sneak through your window and stab you in your sleep! Look below:

What? That's not terrifying enough? Okay, this shows them cooperating to pick up objects and carry them off. Things like bodies:

So, how long before we see these pop up in a movie as a deadly little killing machines? Maybe Gene Simmons will use them to kill people, forcing us to rely only on Tom Selleck, and possibly a thin, hot, Kirstie Alley.

Sometimes, I wish the Interwebs Was All a Dream...

2010-07-19T15:46:00.000-07:00

So, I saw Inception this weekend. I thought it was amazing. End of review.

The reason why my review of this film won't get any more specific is that I've been reading some of the Internet comments out there on the movie, and it's really made me come to realize that some people have really no idea of what intelligent criticism and analysis means.

In the days before Internet forums and blogs (yes, I know, hello, Mr. Kettle, have you noticed we're black?) criticism was practiced by people who, in some way, had some degree of expertise and/or standards to guide them. You can say what you want about whether you think Roger Ebert or Gene Siskel or Pauline Kael were good critics, but you can't say they weren't qualified. And part of these qualifications meant adhering to a series of standards and a level of objectivity that had to be met.

Along comes the Internet and now everyone can comment on films as they come out. You can put up a blog or post a comment in a forum and all of a sudden you are one step closer to being exactly like the arbiters of taste that previously had to get a college degree, work in film, or you know, get a job with a publication. And I don't have a problem with that (obviously).

But, when no one is out there moderating things, some pretty arrogant and insane and downright stupid things get said. I'm not saying you aren't entitled to your opinion, but if a film like Citizen Kane or Star Wars or Seven Samurai came out today, there would be people on the Internet that would take a contrary position to the masses who love it just to feel all self-important and edgy, and most of all, unique.

It's okay to say you didn't like Inception. I did. I thought it was original, and executed with panache. But you could say it didn't do it for you. You could, and should, feel free to argue about why. But I see online talk about it being overrated or unoriginal or how Christopher Nolan is a hack, and the movie is sloppy. Look, just say you didn't like it and what you didn't like about it and leave it there. Look at what is actually going on inside the frame and ignore what other people say, or what the hype is, or how cool it would be to be the lone person who doesn't like the hit.

Going against the grain for the sake of going against the grain doesn't make you hip. It just makes you a douchebag. And loving something that a bunch of other people also loved doesn't make you a sheep or an idiot either. Sometimes it means that the artist in question made something really brilliant, or at the very least, accessible. I have no respect for someone who makes fun of people who like Casablanca but has no problem saying that Krull is one of their favourite movies. Love Krull all you want, but don't snicker at me for liking Iron Man, please.

Some of you may think that I'm as guilty of this kind of behaviour as anyone. But I hope my posts have been, by and large, funny and/or positive. I really love what I write about, even when I'm taking the piss. I'm just tired of people who seemingly don't contribute anything running down people who bust their ass to try and entertain us.

Sorkin to Make Directorial Debut

2010-07-16T09:44:00.001-07:00

According to the Hollywood Reporter, Aaron Sorkin has acquired the film rights to Andrew Young's expose of his time working as one of John Edwards' closest confidants, and will make the project his directorial debut.

The Politician focused on the ethical dilemmas Young found himself in once Edwards began asking him to help cover up his extramarital affair and the child that was born as a result of the affair.

Sorkin commented:

This is a first-hand account of an extraordinary story filled with motivations, decisions and consequences that would have lit Shakespeare up. There's much more to Andrew's book than what has been reported, and I'm grateful that he's trusting me with it.

Sorkin, the writer of A Few Good Men, The American President, Charlie Wilson's War, and the upcoming David Fincher film The Social Experiment, is also the mind behind such television shows as The West Wing and Sports Night.

This material sounds like a very good fit for Sorkin, but I'm not sure that he'll make the best director. He often works with Thomas Schlamme, a gifted TV director who should get back to doing films, and I can't help but think this would make a good project for the pair.

The Social Network Unveils a Full Trailer

2010-07-15T12:25:00.000-07:00

After unveiling a pretty engrossing, and starkly simple, teaser trailer, and after releasing this very cool poster, the full trailer for the upcoming film about the founding of Facebook, entitled The Social Network was released.

Now two things made me excited about this flick early on. First, the screenplay is being written by Aaron Sorkin, and I think he's one of the best screenwriters working right now. He's got his own style, and some people don't like it, but I find him to be smart and funny and I'm always blown away by how writes for adults, not teenagers like a lot of American screen writers out there.

Then I found out it was being directed by David Fincher. To my mind, Fincher may just be the best director working in America. After a disastrous debut with Alien3 (which was not his fault at all), he made Se7en, The Game, Fight Club, Panic Room, Zodiac and The Curious Case of Benjamin Button. That right there is one pretty interesting body of work.

With the new, full trailer below, The Social Network might be the perfect film to capitalize on the success of ...Button and finally plant him firmly in the A-List where he belongs. It might also nab a Sorkin an Oscar nod. Check it out:

Pretty cool, yeah?

Comic Observations: Gaze Upon the Visage of Odin.....and the creepy mask of Green Lantern

2010-07-15T11:23:00.000-07:00

Here's a new photo from Marvel's upcoming Thor film. It depicts Anthony Hopkins as Odin, flanked by his sons Thor (Chris Hemsworth) and Loki (Tom Hiddleston).

Well, first off, I like the Jack Kirby-esque design of the costumes, even if they look sort of, plasticy. But I really hope that the lighting here is a little more bright than what we'll see in the finished film. Hopkins is a great choice for the role of Odin, and Hemsworth certainly looks the part of the Mighty Thor.

But, out of all the Marvel properties, Thor has the biggest chance of plunging headlong into silliness, so we'll see.

And speaking of silliness, below you'll find the first released photo of Ryan Reynolds as Green Lantern, and, um..........wow.........that looks fucking ridiculous. I still don't know why they went with a CGI mask. What, is spirit gum too expensive?

Oy.

Norton Out, Ruffalo In?

2010-07-14T13:25:00.000-07:00

As most of the geek world knows, Edward Norton was recently, and rather publicly, fired by Marvel Studios from reprising the role of Bruce Banner. The character, and his green-skinned alter-ego the Hulk, is scheduled to appear in Marvel's Avengers film. The film was always been planned to showcase the Marvel super-team and the stars of its franchises; Iron Man, the Hulk, Thor and Captain America. The film is seen as the culmination of the fledgling studio's bold attempt to recreate their comic book universe on film, and will be directed by Joss Whedon.

Marvel's head of production, Kevin Feige, released a statement that strongly inferred that Norton was being dropped due to an unwillingness to collaborate and share the spotlight. The statement included the following:

Our decision is definitely not one based on monetary factors, but instead rooted in the need for an actor who embodies the creativity and collaborative spirit of our other talented cast members.

Ouch. That is public relations speak for, "We'd like to hire someone who isn't such a dick."

Norton's rep was understandably upset, saying it was an offensive, purposefully misleading, inappropriate attempt to paint our client in a negative light, adding counter to what Kevin implies here, Edward was looking forward to the opportunity to work with Joss and the other actors in the Avengers cast, many of whom are personal friends of his. Feige's statement is unprofessional, disingenuous and clearly defamatory. Mr Norton's talent, tireless work ethic and professional integrity deserve more respect, and so do Marvel's fans.

For his part, Norton responded pretty damn classily. The weird thing is that while what Marvel charges isn't exactly out of character for Norton, neither is Norton's camps that Marvel is unreasonably cheap.

Norton has had a history of somewhat fractious professional relationships. Tony Kaye, the director of American History X, famously has huge clashes with his star, as Kaye hilariously wrote about in an article for the Guardian. Here's a few choice excerpts:

The first screening of my cut had been a success. Then the studio gave me pages and pages of notes, as did Norton...Their first reaction after I bawled them out was to ban me from the cutting room. Eventually they let me in, and I worked with them on re-edits for a year. In that time, I found a whole new film, one that they never allowed me to finish. At one point, they even let Norton work on the editing. I was so staggered by what he was doing to my film, and by the fact that New Line approved, that I punched the wall and broke my hand.

Whenever I argued with Norton, I didn't have a leg to stand on. He could wipe the floor with me because he's a great articulator...Of course, if you actually listened to what Norton was saying, you could hear that none of it made sense in film-making terms: that's not his forte, as you'll know if you saw the movie that he directed, Keeping the Faith. "Pretty fucking awful" hardly covers that one.

Marvel has also had its share of difficulties, most famously falling out with original Iron Man co-star Terrence Howard and replacing him for Iron Man 2 with Don Cheadle, purportedly over salary demands.

So, who knows? Norton has never been the easiest guy to work with. Look at how many times he's worked with anybody twice. That's your biggest indicator in Hollywood if some one's a massive pain in the ass. Still, the usual (well, polite, really) thing to do is to refer to some sort of nebulous "creative differences". What you don't tend to do is come right out and say, "That guy over there? Major asshole!"

But word has just come out that they are in talks with Mark Ruffalo to take over the role. And I think Ruffalo might wind up being a better fit than even Norton. Ruffalo is a bit more off-kilter than Norton; less of a leading-man, more of a character, but still charismatic enough. Could be interesting.

Double Features : 70s Thrillers

2010-07-04T08:44:00.000-07:00

As I said in my previous post, I've come up with a couple new features here at The Nerd Report, and the first one I want to share with you is my new Double Features series. Ever been at the video store, looking for some good flicks for a solid night at the movies, but you can't find anything to tickle your fancy? Well, hopefully this feature will help. I'll pair up some movies that will be connected by theme, stars, directors or some wacky connecter. What hopefully will make this different will be that I'll also be giving you a drink and a snack to go along with it!

To get us going, let's pull out our neckerchiefs and flared pants, enjoy the sexual liberation and the doses of the clap that accompany it, and relentless presence of countless shitty songs by the Eagles. That's right, we're heading back to the 1970s with a couple top notch thrillers.

Double Feature: Three Days of the Condor & Marathon Man

These two films recall the halcyon days when the Paramount logo meant quality as opposed to today, when I can't remember the last time I saw anything made by Paramount that actually wasn't a piece of crap.

Three Days of the Condor stars Robert Redford as an inexplicably hunky researcher who works for the CIA reading and analyzing various books. When his entire office is massacred for reasons unknown, Redford escapes and soon realizes that he can't trust anyone; not his friends, not his bosses, not even his own ideas about his country. Basically, it's a perfect representation of the paranoia that was rampant in those times. Redford is excellent, and the rest of the cast, featuring Faye Dunaway, Max von Sydow and Cliff Robertson, is top notch. There's a love story that is unrealistic, but is mitigated by a sad undercurrent. The spy stuff is very cool here, mostly because it's so completely re-

alistic.

Marathon Man is the more famous of the two, and certainly the more chilling. Dustin Hoffman stars as a graduate student and marathon runner who, through his brother's shadowy life as a secret agent, becomes the target of a brutal Nazi war criminal played by Laurence Olivier. Beset on all sides by pretty much everyone all around him, Hoffman has to, through sheer endurance, stay alive and try to figure out exactly what is going on. Notable for its absolutely horrifying interrogation scene involving Hoffman's hero, Olivier's Nazi dentist, and one

question repeated over and over; "Is it safe?" Chilling and engrossing.

Drink: Our drink for the movie is that champion of the era: Harvey Wallbanger! You'll need 1.5 oz of Vodka, 3 oz of fresh Orange Juice, and a 1/2 oz of Galliano. Shake vodka and orange juice briefly over ice. Pour into a Collins glass. Top with ice if necessary. Float Galliano on top.

Snack: What better 1970s choice than some nice Fondue? Get some nice cheese, throw it in your fondue pot, and heat it up. Then dip in some nice meat, bread cubes and veggies and you're almost ready for a key party. Don't have the hardware? Then get yourself a snack plate that is segmented, preferably with a faux wood finish, and throw in some potato chips, bridge mix and roasted peanuts.

Enjoy the show!

Many Apologies.....

2010-07-04T08:32:00.000-07:00

Hello, all!

So, I guess you may be wondering where the hell I've been for the last month. Well, June was absolutely insane for me as I started a new job and found myself with very little downtime to research subject matter, let alone post anything. I apologize most heartily, and promise that I won't let as much time go between posts again.

The good news is that I've come up with a few new features that I think people will enjoy.

So, let's carry on!

RIP - Dennis Hopper

2010-05-31T10:29:00.000-07:00

Over the weekend, Hollywood rebel, iconoclast and sometime pariah Dennis Hopper died after a battle with cancer. He was 74. In 1969, he directed the film Easy Rider, one of counterculture's signature artistic works and one of the sparks that led to one of American film's most successful and artistically important periods.

Hopper was born in Dodge City, Kansas in 1936, though he and his family moved to San Diego in 1940. He began acting while in high school, and soon became a contract player with Warner Bros. His earliest work came in the early days of television, though it was his small role opposite James Dean in the classic Rebel Without a Cause that brought him to the attention of the higher-ups at Warners. He soon was cast in a co-starring role in another Dean film, this time as the son of Rock Hudson and Elizabeth Taylor in George Stevens' classic melodrama Giant.

Now part of the Hollywood young crowd, he dated Natalie Wood and Joanne Woodward and was seen to be a rising star. Then he began filming From Hell to Texas. He clashed epically with director Henry Hathaway, causing so much friction that his Hollywood career was effectively finished. He left for New York, to study with Lee Strasberg and continue working in television.

By the mid 1960s, Hopper began to make a gradual return to Hollywood films via small roles in such pictures as The Sons of Katie Elder, Cool Hand Luke and Hang 'Em High. He had become friendly with Peter Fonda, who was then starring in a series of motorcycle B-pictures. Together, they hatched an idea for a movie that followed traditional western archetypes while substituting outlaws for hippies and horses for motorcycles.

The rock n' roll soundtrack, counterculture themes, heavy drug use and completely anarchic style of Easy Rider was like a bomb going off in Hollywood. Hopper, along with Fonda and Terry Southern, wrote the screenplay. He and Fonda played the central characters and Hopper directed the whole thing. Not only was a huge success financially, but it was also a critical success and total game-changer, winning Best Picture at the 1969 Cannes film festival.

Easy Rider changed Hopper's career. Now he was seen as the chief auteur of the hippie generation. But he was also a committed drug addict and alcoholic by this point, which only served to heighten his already manic state of mind. When he and a relatively untrained hippie crew travelled to Peru to shoot his follow up, The Last Movie, things got quickly out of control. Though it won top prize at the Venice Film Festival in 1971, it was largely an indulgent, incoherent mess that flopped with critics and public alike.

His behaviour and addictions made him mostly unemployable during this time, but he did close out the 1970s with a supporting role in Apocalypse Now, though his addled behaviour would greatly contribute to the legendarily troubled production.

In the 1980s Hopper finally sobered up. The first film he shot after leaving rehab was David Lynch's Blue Velvet in 1986. His performance as the psychotic, terrifying Frank Booth was mesmerizing and served as Hopper's great comeback vehicle. His performance the same year as an alcoholic father in Hoosiers earned him an Academy Award nomination for best supporting actor.

Hopper also returned to directing, shooting the celebrated cop and gangsta film Colors. He had a meaty role as the villain in Speed, which introduced him to the world of big-budget blockbusters, and he followed it up with similar roles in films such as Waterworld.

In 2001, he returned to television, serving as the antagonist in the first season of 24. During this time, he also became an avid photographer and collector of artwork. He was working on the TV adaptation of Crash when he fell ill.

Tap Your Toes

2010-05-27T12:41:00.000-07:00

Every once in a while I like to throw some tunes on here to let the peeps know what's got my toes a' tappin'. Below you'll find some really great music from three artists that I'm digging right now.

This just makes me want to dance.

Yes, that is a woman singing the song. I know, from the voice you couldn't tell.

Mlle. Gainsbourg is French, if you couldn't tell.

Also, Wolf Parade has released the first single from their new album Expo 86, which will be released June 29th. Head over to their MySpace page to check it out. The new songs are What Did My Lover Say? and Ghost Pressure. They're awesome.

And this very day, The Arcade Fire has released their first single off their upcoming album The Suburbs. You can hear it at Stereogum.

Comic Observations: The King vs. the Mouse

2010-05-27T10:49:00.000-07:00

The legal battle between the heirs of Jack Kirby and Marvel Entertainment is heating up like crazy, as Marvel's new parent corporation, the Walt Disney Company, has recently filed a memo supporting Marvel's attempts to have the suit filed by the Kirby heirs dismissed.

For anyone not following comics or this legal fight in particular, Jack Kirby is perhaps the most influential illustrator in the history of the medium. He began working in the industry during its infancy, working alongside writer Joe Simon to create numerous classic characters such as Captain America, Manhunter and others.

In the 1950's, he began working as a freelancer pretty much full-time for Marvel Comics. Along with editor and writer Stan Lee, Kirby helped set the house style and co-created such legendary characters and concepts as The Fantastic Four, The Mighty Thor, The X-Men, The Incredible Hulk, Iron Man, Ant-Man, The Avengers, and more. His relationship with Lee and Marvel, like more than a few artists, grew fractious over time due to disputes about proper credit given, the return of original artwork, and royalty payments. He left Marvel in the late 1960s and would work notably for DC during this period. However, he returned to Marvel in the early 1970s, during which time he negotiated a better deal than he had worked under during his first stint.

However, a condition of his improved deal involved selling his rights, which he did. But under the agreement, any and all characters affected by the agreement would go into public domain by 2014. But the US Congress changed that law in 1978, and offered an escape clause to anyone who signed an agreement based on the old law. Basically the clause said that the original copyright holder, or their heirs, could terminate the rights transfer on the date of the original expiration, which in this case is 2014.

So, this is where we stand. The Kirby heirs claim that they are entitled to their father's fair percentage of ownership to the characters he created. They also name Spider-Man in the suit, but Kirby's claim to authorship there is pretty shaky and it's probably more a legal tactic than legitimate claim. Marvel (and by extension, Disney) quite understandably doesn't want to see any of these properties go into the public domain, but they don't want to lose any control either. The Kirby heirs have probably heard all their lives how Marvel screwed over their dad and many other artists (and Kirby and others have a very solid point there), and are probably justified in asking for fair compensation and recognition.

But there are a lot of comic book fans out there who side with Marvel on this. Presumably it's because they don't understand the law surrounding the case, and also because they see the outcome of this case as threatening the existence of beloved icons of the genre.

Well, first of all, it's important to note a couple of things. Jack Kirby was not on staff at Marvel. He has always insisted that he was not an employee, and that he never worked under a work-for-hire contract. According to Kirby, he was always a freelancer. Being a freelancer means that, even though you may be creating work for another company, you still retain your rights as a creator unless you willingly transfer them. As noted above, the law exists to allow his heirs to reclaim the rights. so, in the absence of an employment contract or a work-for-hire agreement, I don't see Marvel/Disney winning this.

As for the other concern by fans, namely that winning this case would allow the Kirby heirs to create another version of, say, The Fantastic Four over at DC, or that they could somehow bar publication or force changes, I don't see it happening. First of all, Stan Lee permanently transferred his rights to all of these characters to Marvel ages ago (and probably got a much sweeter deal for it than Kirby did), so Marvel will always own 50% of these characters forever. Also, the value of these characters lies in their legacies, so I can't see them jeopardizing that. No, this is about money and credit.

I can't say that Jack Kirby, a man who defined the style of an entire generation of comics, a man who co-created some of the most memorable characters in pop culture, a man so revered they called him "The King", doesn't deserve it. And if they couldn't give him what was fair while he was alive, there's still time to give his family what is fair today.

Here's a link to the original complaint, for those who enjoy reading legal documents!

Absolutely, Completely, Finally "Lost"

2010-05-26T09:43:00.001-07:00

I must be among the last people on Earth to blog about the ending of Lost. The interwebs have seemingly collapsed up their own collective asses spouting their opinions as to how the finale measured up, so what's one more voice, right? And I really wanted to think about before I voiced my opinion.

To say the reviews have been mixed would be an understatement. It seems that people are either dissatisfied with an ending that seemingly offered no answers, or they enjoyed the character-focused, overtly sentimental ending they were presented.

For my part, I found the finale to be a well-done, deeply felt, totally appropriate ending to the series, while somewhat agreeing with those who felt cheated of answers to series-long mysteries.

But, the reality is that they gave us all the answers we really needed. What was the island? Well, I believe it was some sort of repository of the collective human soul. The light at the bottom of the cave was the source of all the island's mystical mojo, and also connected to humanity in general. I would suppose that there has always been some sort of guardian on the island, which is what Mother's (Allison Janney) role was before it was assumed by Jacob. But if the light represents the positive side of humanity, then there must also be a force to represent the negative, and to me, that's the Smoke Monster. Jacob's role then changed to be not only protector, but also warden over this Monster that wore his brother's face, and the island by extension also became a prison of sorts. For centuries, each opposing force, Jacob for good, MIB for evil, manipulated and schemed to find ways to defeat the other.

Why were the castaways brought to the island? Well, they were candidates to replace Jacob, who suspected that MIB would eventually find a way to kill him and attempt escape and loose evil unchecked across the Earth. Some candidates opted out, some were disqualified by their actions, some died. But someone had to do it eventually, to protect what would appear to be the repository of humanity's inner spirit.

Did the writers answer every detail? No. We'll never know why Walt had crazy psychic powers. We'll never know for sure why the massive statue had only four toes. We'll never know who air-dropped those Dharma Initiative supplies. And the part that makes me agree somewhat with the detractors is that, to some extent, Lost had always been a show that promised at least some resolutions to their assorted mysteries. But I didn't want a exposition-laden lecture as a final episode that merely answered questions without involving me emotionally. It had to work as a piece of drama, too.

To me, I'm satisfied with the answers I got, and I'm also content to leave some things ambiguous, allowing each viewer to make up their own mind. The show, from the very first season, has been about embracing faith. And part of having faith is accepting things even without all the answers and therefore reaching your own conclusions. As a finale, it stayed true to the ultimate and constant spirit of the show that gave it its heart all along, even if they left some mysteries unsolved.

Li'l Golden Books Goes to the Movies....Inappropriately

2010-05-20T14:29:00.000-07:00

/Film has posted some excerpts from a book being worked on by Pixar storyboard artist Josh Cooley called Movies R Fun! in which the artist depicts moments from numerous R-rated films in the style of the classic Li'l Golden Books of all our childhoods.

They are pretty awesome. Let's look at some more, shall we?

Most....depressing....Pixar film....EVER.

I love that it says "suggested Billy Batts." Next up in the film, Tommy and Jimmy "suggest" that Billy stop breathing.

Ah, Fredo. you broke my heart.

Yep, that's pretty much the most quotable movie of the last 15 years, isn't it?