With great power, comes great responsibility, John Watts. It’s one thing to have Spidey somewhat back in the hands of Marvel Studios, it’s a whole other thing to deliver a portrayal of Peter Parker’s alter ego that can wipe the slate clean from sins passed. Watts has come from ultra low budget horror, Clown, to helming what is hands down the greatest Spider-Man film to date.
Sam Raimi and Marc Webb both tried and–to certain degrees–failed to deliver crowd pleasing adventures for everyone’s favorite web-slinger. While these were not the first efforts to bring the character to the screen in one way or another, of the most modern attempts it would seem the third time (third iteration anyway) was the charm. Tom Holland’s first appearance in Captain America: Civil War gave legions of fans hope for the impending reboot as it certainly appeared that finally the tone and personality of Peter Parker and his arachnid alias had been captured. Spider-Man: Homecoming extends that and more with nearly the entire high school setting. (more…)
I can only assume that anyone who has used their spare time to review movies for any number of reasons has run into a problem. That problem being that (one) they’ve seen so many movies they forgot to block out time to write about them, or (two) you’re just too busy. The latter has driven me to the latest TGoF brainchild “TGoF Hangover.” What this will be is a time for me to give some brief thoughts on some movies I saw and give them the grade I would have given them as with any full review. Essentially, like trying to remember all the stupid things you did after a night of drinking too much. To clarify, these will not be full reviews but just a few sentences, maybe a paragraph or two about a movie that got lost in the shuffle of reviews. Enjoy.
Fantastic Four: By now everyone has had a chance to soak up all the vial hatred that’s drenched Fantastic Four since it was vomited out into theaters weeks ago. I’m now here to at least tell you that the hatred is not entirely undeserving. Josh Trank it seems has fallen victim to the phenomena of an inexperienced director handed a high profile property and was chewed up and spit out by the Hollywood machine. Fantastic Four isn’t memorable, it isn’t exciting, and perhaps most offensive….it doesn’t justify it’s existence when compared to the previous two iterations. (more…)
I’m not even going to dance around this one. LEPRECHAUN: ORIGINS is an embarrassing mess of a movie. It’s not a reboot- I mean everyone involved will apparently tell you it is, but it’s not. Aside from the poor reuse of a cheesy one-liner this movie should not be lumped in with the original franchise whatsoever. I don’t know what the writer of this film was on while sitting at his computer, but I want no part of it. In fact the, “I want no part in it,” half of that last sentence I wish I had told myself before making the mistake of watching this film.
This don’t-you-dare-call-it-a-reboot follows a two couples as they are backpacking through Ireland. The history buff of the group decides to take a local stranger up on an offer to visit the oldest part of their village, but first have to spend the night at a cabin that’s on the way to the destination. What the couples don’t know is things are not as they seem as the locals are harboring a pretty terrible secret, one that has no intention of letting them out of the area alive. (more…)
The original ROBOCOP is one of the few older movies I held dear enough that the idea of a remake truly made me shudder. I’m normally not all that against remakes or reboots because I can usually understand or at least see an angle that updating would be beneficial, but I couldn’t here. Now that I’ve said that, I will now say that I still don’t see it, but color me shocked that I didn’t completely hate it.
This ROBOCOP reboot places the story in a world where robotic police are already the norm overseas in the war torn areas of the world. That’s not to say the locals are 100% thrilled with the idea, but at least there’s a sense of order for a change. The head of the operation, Raymond Sellars (Michael Keaton) wants to bring his robotics stateside but is met with resistance at every turn. So Sellars decides to try something new, to ease the public’s unease about a fully programmed robot policing them. The new idea is to make a robot that’s also part human, that can process human emotion and not execute solely as a robot. That’s where Alex Murphy (Joel Kinnaman) comes in. Murphy is a cop that ends up on the wrong end of a crime boss’ hit list and is reborn as RoboCop.
The things this reboot does right, is introduce some of the moral injustices of the programming of RoboCop. At first he has the ability to use his emotions, but as that proves to be less effective at getting things done quickly, the forces that be decide to change the programming- effectively making the robot act as a robot but appear as though it is still part human and giving Alex the idea that he is carrying out the tasks. It’s only in the final acts that things really don’t fully compute. (more…)