The Incredibles is at the top of my list of favorite animated movies, but on reflecting on the film – the animation has very little to do with it. Anyone who knows anything about my interests know that I am fascinated with the idea of what superheroes do in their off time – or more to the point – when they are not being “super.”
The story begins with a very humanizing reel that immediately has you identifying with the Supers as people and not just the larger than life figures. We learn that they have lives outside of saving the day and that they think about things like life, love and family. We also learn that they are not immune to the monotonies of life – like having to do the grocery shopping. On the surface this seems like just a nostalgic look on the lives of the supers. The reality is that this sets up the entire tone of the story – and it is a really great story.
We then switch gears to the golden days of the supers where we see them in their prime, saving the day, catching the bad guys – but they do this in between the course of their normal days activities, again underscoring the idea that these heroes are people first. In my opinion, what makes this story great is the fact that it is about the people and not about the powers.
This is shown when a civilian sees an opportunity to take advantage of the Supers heroic acts and sues Mr. Incredible for saving his life. The character spits the phrase “You didn’t save my life you ruined my death!” – highlighting the selfish and darker side of human nature.
“You didn’t save my life you ruined my death!”
The Pixar animators constructed a universe where if the Supers were real, these scenarios would not only plausible but likely. Director Brad Bird and his production staff gave us characters, stories, visuals and dialog which are nothing short of – well, Incredible! (Insert theme music here)
For an interview with Crave Online, Derrick son and Cargill spend a lot of time talking about their upcoming Deus Ex film, taking every opportunity possible to reaffirm their chief philosophy: “We’re not making a video game movie; we’re making a cyberpunk movie.” Their take on the game’s third entry Deux Ex: Human Revolution is “moving like a rocket,” but the duo continually stress that their approach was not to rehash the entire game, but to flesh it out to include elements unavailable within the gaming world, all while keeping it grounded in reality. A cyberpunk reality.
Wisely avoiding films like Johnny Mnemonic and New Rose Hotel, Derrickson and Cargill namecheck films like District 9, Looper and Inception as inspirations for how to cloak extremely high-concept science fiction in every day realism. Derrickson calls them “all movies that took certain familiar science fiction methodologies and turned them upside-down…Those are all things you’ve seen a dozen bad versions of, and a dozen decent versions of that.” They want to break free from the Blade Runner and Matrix curses that “aren’t really cyberpunk films but they are so iconic and so insurmountable.” With Deus Ex, even though they aren’t able to showcase the vast open world of the game, the duo are confident that their non-traditional storytelling and aesthetics will win people over.
Admittedly, while cyberpunk is an amazingly original genre, it’s a term that might not strike film fans of all ages as the most approachable. But then most of science fiction appears that way at first, and a film’s quality will often bring in the audiences no matter what the subject matter. Considering Derrickson and Cargill combined on the spooky-but-empty horror film Sinister, while Derrickson was behind the mostly awful The Day the Earth Stood Still and The Exorcism of Emily Rose, maybe we should keep our skepticism at close hand. Possessions and evil monsters hidden in celluloid don’t make the easiest transition to secret societies and biotechnological warfare.
Image via PerezHilton.com
Last fall it was revealed that Mark Millar, the writer behind comic books like “The Ultimates,” “Kick-Ass” and “Superman: Red Son,” had been hired by Twentieth Century Fox as a consultant on the studio’s upcoming Marvel Comics adaptations. Today, Millar himself has revealed another new development that could pave the way for a shared cinematic universe.
“Just off the phone with Fox and some excellent news,” Millar just posted on Twitter. “Matthew Vaughn is producing Josh Trank’s Fantastic Four reboot!”
To be directed by Chronicle’s Josh Trank, Fantastic Four is targeted for release on March 6, 2015. Vaughn, who directed 2011’s X-Men: First Class, is producing the upcoming X-Men: Days of Future Past as well and, while nothing has been confirmed as of yet, it has been speculated that Fox could develop their Marvel properties for the same kind of crossover potential shown with Marvel’s The Avengers.
Originally posted at E! Online by Sierra Marquina.
Awards season doesn’t leave any award uncovered—including rewarding the worst. And this year’s 33rd Annual Raspberry Awards, aka the Razzies, awarded The Twilight Saga: Breaking Dawn Part 2, the fifth and final installment in Stephenie Meyer’s Twilight saga, not only worst picture, but six more offenses as well! Twilight actress Kristen Stewart was awarded worst actress, with fellow costar Taylor Lautner taking worst supporting actor.
Lautner was also half of the worst screen couple, a distinction he shared with 12-year-old Mackenzie Foy. But they weren’t the only targets. The entire cast, yes, even Robert Pattinson, scored worst screen ensemble. And to top it off, Bill Condon got worst director with the movie also taking worst sequel.
Twilight wasn’t the only victim, Razzie record-maker Adam Sandler (he took home 10 Razzies last year) was awarded for worst actor of the year and worst screenplay for That’s My Boy. And Rihanna took home worst supporting actress for Battleship.
Originally posted at SuperHeroHype by Spencer Perry
The Wolverine director James Mangold is taking up the trend of X-Men: Days of Future Past director Bryan Singer and The Amazing Spider-Man 2’s Marc Webb and teasing us with new images for the film via his Twitter account. A few days ago , he posted a new still from the film and today he’s released a new behind-the-scenes shot captioned with “A production snap from shooting a wood chopping scene in Omishima. We found an eight inch caterpillar that morning.”
Opening in theaters on July 26, the action adventure stars Hugh Jackman, Will Yun Lee, Svetlana Khodchenkova, Hiroyuki Sanada, Hal Yamanouchi, Tao Okamoto, Rila Fukushima and Brian Tee.
Based on the celebrated comic book arc, The Wolverine finds Logan, the eternal warrior and outsider, in Japan. There, samurai steel will clash with adamantium claw as Logan confronts a mysterious figure from his past in an epic battle that will leave him forever changed.
Former BBC designer Ray Cusick died of heart failure in his sleep on Thursday, Claire Heawood added.
The Daleks became the iconic villains in cult science fiction series Doctor Who, which is due to mark its 50th anniversary with events this year.
Mr Cusick, from Horsham, West Sussex, leaves two daughters and seven grandchildren, his family said.
Desson Howe of the Washington Post said, “Much of ‘Clerks’ is extremely funny and dead-on—in terms of its intentionally satirical, Gen-X-istential gloom”. Marc Savlov of the Austin Chronicle described the look of the film as “resolutely low- budget, full of shaky camera work, the occasional less-than-perfect edit, and a few sound glitches. Conveniently, though, all this shoestring filmmaking technique only adds to the film’s desperate charm”. Dante and Randal are both adults still working at the Quick Stop and showing no signs of improving or changing their situations. Dante complains repeatedly about his life, highlighted by the films mantra – “I’m not even supposed to be here today!” without doing much about it. Randal however, is content with his situation and simply deals with what every day brings. The focus is on their personalities and overall attitudes which Smith uses to presents a message of getting on with life, regardless of the life situation.
Clerks’ structure doesn’t possess a plot, but rather shows events throughout the course of the day. It plays more like a series of occurrences that ultimately tie together the day depicted and the film itself. Smith uses a director’s interpretive point of view. Some scenes are merely conversations about Star Wars, stupid customers, and porn, while most of them progress the relationships of the characters. But they all add perspective to the characters’ personalities. Smith communicates two problems of the slacker culture: those who are satisfied with their life and those complain but don’t do anything about it as Randal says – those who “need to shit or get off the pot.”
Today we pay homage to the classic scifi
Today we pay homage to the classic scifi movie and TV cliche: Make Out Point, Lover’s Lane, or any secluded place where a pack of teens circle their station wagons and fog up the windows. It might be tired, but we love this silly old trope. So we’ve found the best spots for fantastical smoochfests — or meeting monsters. We’ve also helpfully included a danger level scale and get lucky rating for each location. Enjoy you crazy kids!
13. Attack of the Eye Creatures
The whole movie is centered on the teens and their lustful fumblings at the local make out point. A place the military pervs keep under constant surveillance when they’re bored with protecting our country. An alien spaceship crash lands near this make out lane and it’s the teens themselves that use their headlights to kill off the nefarious invader.
Chances of Getting Lucky: High, based on body count alone. This is make out heaven.
Danger Level: Low, the kids in this town are smarter than the cops. So if something goes wrong, at least you’ll be surrounded by smarties.
12. Giant Gila Monster
Views of hideous ponds work as an aphrodisiac for teens and Giant Gila Monsters.
Chances of Getting Lucky: Low, unless you’re into some hot 1959 cheek touching action.
Danger Level: High. The Giant Gila Monster strikes fast and hard.
11. SpongeBob SquarePants