Simon Delaghetto has recently seen two movies in Asia. Simon is currently directing a top secret blockbuster there. Rumor is that the long-awaited Tashman Technologies movie has been green-lighted, but the storyline has changed after Sony would not approve the Empress Air character, and forced Tony Vahl to rewrite her into an amalgam of the original Empress Air and The Ugly Wolf. The message board mutants have protested the rumored change.
Anyway, without further ado:
saw 2 movies.clash of the titans and book of eli.of course,the original clash is better,so i pretended that the 80′s version never existed and watched the remake with an open mind.i can only give it 3 out of 5 stars.worthington was a bad choice for perseus.liam neeson as zeus was ok.
book of eli was better for me.3.8 out of 5 stars.a little too dark for me.blind man beating up all those people so easily,too over the top.but good story,denzel,gary oldham and mila kunis,jennifer beasley all did a good job in acting.well-casted.
The Hurt Locker review: It’s the best war movie you’ve never seen. After the Oscars made me aware of the movie (I’m not ashamed to admit stuff like that), I saw it with my wife after we watchedDistrict-9. In many ways, The Hurt Locker and District-9 have similar directing styles and cinematography: shaky camera, realistic, ground level, total chaos, and a lot of suspense.
The Hurt Locker is about the Iraq War TODAY, years after our nation was so gung-ho about overthrowing Saddam Hussein. It’s a war where our soldiers are acting as nation builders, police, and peacemakers. But the scope of this movie is about a the day-to-day Earth-Done missions of a bomb squad (USA Army Explosive Ordnance Disposal team). Why do I say “Earth-Done”? – because it’s urban warfare and our guys can’t tell civilians from insurgents, and therefore must treat every citizen like a terrorist. Old men, young girls- anyone can detonate a bomb via cell phone. We get a glimpse of around a month’s work there.
Director Kathryn Bigelow (ex-wife of Avatar director James Cameron) created a movie that rivals or exceeds all of the classic war movies that people like to name drop to feel important- without ANY Hollywood cliches. There are no long death scenes, where a character says goodbye to his buddies- people just just blown up unexpectedly, just like real life. Bigelow’s style is superior to the overindulgence of Quentin Tarantino’s distracting tone in Inglourious Basterds.
There’s no political message here, unlike those Vietnam War movies from the 1980′s (which I always felt were overrated anyway- sorry). Actors Jeremy Renner, Anthony Mackie, and Brian Geraghty turn out outstanding performances. It’s just a realistic look of the “post-war Iraq”.
The one critic that gave The Hurt Locker thumbs down on Rotten Tomatoes wanted to know what the point of the movie was, as I guess he was conditioned to war movies being anti-gov or full of dramatic cliches. Another critic who have it a 7/10 said he didn’t get the movie’s message either. It never ceases to amaze me how critics will rip a movie for dumbing everything down with cliches, but then turn against a movie that doesn’t spell everything out nice and easy.
Bottom line is that The Hurt Locker‘s message is about the type of mindset someone must have to work in an impossible environment. What motivates someone to be in Iraq in a bomb squad? How does his psyche hold up? How does he perceive reality? What type of effect does working in this nightmare world such as present-day Iraq have on our soldiers? What happens when they come back? Are they addicted to the rush? Does anyone really know how they put their lives on the line each and every day? Does anyone care anymore? The point of the movie was for you to get away from your day-to-day bullcrap and put yourself in Iraq for around 2 hours. See how you like it. Then you can go back to your regularly scheduled petty crap of your blessed life.
The Hurt Locker is politically neutral. Go and see it. Now. It’s a 10/10 movie, deserved to win the Academy’s 2009 Best Picture.
Back when I was around 11-12 years old, I saw one panel in Incredible Hulk, written by Peter David and drawn by Todd McFarlane that stayed with me until now. The main villain, The Leader, had a “To Do List” on a futuristic palm pilot tablet device (before they came out in real life). His “Things to Do List” had every step of his day planned out, and it was very evil, like “Lie to Rock and Redeemer” and culminated in him detonating a gamma bomb in the heart of a city.
But the truth is, our lives are very mundane. Here’s a cross section of some To Do Lists I have uncovered from ordinary people.
The Old Small Business Owner
Get up at 6:00AM and let the dogs out
Drive to work
Check out the woman by the bustop
Unlock office door and disarm alarm system
Put the lights on
Wait for phone to ring
Brew some coffee
The Unemployed Computer Guy
Get up at 12:45 PM
Turn monitor on to see if torrents finished downloading from last night
Play favorite porn and rub one off
Take whiz and dump
Eat cold pizza and grape soda for brunch
Surf web while listening to music
File for unemployment online three days late
Put pants on
Go to grocery store to buy lottery tickets
The Craigslist Escort
Call T-Ractor and ask that boy if he post my ad 20 times today
Go to Mom so she can watch Jen
Drive to the Econolodge near the casino and chill at the hotel until T-Ractor call
Stop at the corner store and buy condoms and KY Jelly
Watch Fresh Prince at hotel and wait fo T-Ractor call
Service old fat white dude
Service old fat white dude
Service old fat white dude
The Pot Head
Call Ian to see if he has any new sh–, bro
Call D to see if she has the new sh–, dude
Drive around looking for new sh–, man
Go to Blockbuster and return DVDs
Pay partial rent to f— up landlady
Call Ian to see if he has any new sh–, bro
Call D to see if she has the new sh–, dude
Drive around looking for new sh–, man
Taco Bell drive through
Get cash from ATM
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The Spirit’s tag-line is “My city screams.” After watching this movie, I SCREAMED.
You may not know who The Spirit is. I don’t expect you to. After all, I’m in my 50′s and my dad used to read The Spirit in the 1940′s newspaper strips. Only “mature” and “high brow” comic book readers have a taste for vintage crime pulp noir have been exposed to the various reboots and reprints from the 1960′s to today.
In fact, there was a 1970′s resurgence of comic book icon and innovator Will Eisner’s The Spirit when Kitchen Sink Press had rights to it. During the 70′s there was a lot of nostalgia considering the fact that comic book conventions and fanzines were popular, and Stan Lee was screwing Jack Kirby over at Marvel, and DC was so corporate. (I was one of the fanzine geeks back then, and I recall the liberal mentality of supporting Eisner and analyzing his technical skill, and my cohorts proclaimed him the best creator of all time. Eisner had no character flaws, like Lee and Kirby did.)
But I digress.
Frank Miller (Sin City, 300) tried to do a stylized film-noir Sin City-like tribute to The Spirit, wanted to pay respects to the late Will Eisner, and perhaps create a franchise. Instead, he put the final nail in the coffin of a character that never had any star quality to it anyway (let’s face it, he can’t hold a candle to Batman, and is more of the lines of The Shadow). Making a movie of The Spirit had to be a pet project, similar to the ill-fated Phantom movie years ago.
This movie is so bad, that you will long forWarren Beaty’s 1990 DICK TRACY. I’d rather read Full Disclosure 15 times a day than see this movie again (well…on second thought…). My first reaction to the movie was that it was made up of senseless, violent, and unfunny scenes. But it wasn’t supposed to be like that. It takes itself too seriously. It is dark, lame, confusing, sexist, racist, and the biggest bomb of 2008, worse than Speed Racer.
The black and white Frank Miller-style is now officially old hat. It no longer has any affect on me or audiences. There are movies like Pineapple Express, where one must smoke weed to enjoy the dumbness and stupidity of the film, and then there’s The Spirit, where one must probably lick acid tabs to follow this incoherent mess.
Everyone knows Frank Miller jumped the shark from the creative standpoint when he wrote and drew the comic book DK2 (Batman: The Dark Knight Strikes Again). Then it was revealed he no longer writes anything NEW. Miller had become fixated on fetishes, swastikas, Converse sneakers, dinosaurs, and dominatrix girls. His jump the shark over-the-top style doesn’t fit Will Eisner’s vision or meaning of The Spirit. Miller shows that he is IN OVER HIS HEAD when it comes to directing something new. This “homage movie” comes off as a hostile spoof of the great legacy of Will Eisner, who is turning in his grave, that his creation be reduced to…this, a bizarre, offensive, poorly acted, horribly narrated, parody of crime comic books.
There’s no fire, passion, or innovation here, the acting is worse than the new Star Wars trilogy, the extended scenes and running gags are boring, and it is the most disappointing (thus, worst) movie of the year. George Lucas would love it.
Samuel L. Jackson- remember he used to be a top actor? I almost pitied him, but then I realized that he’s been taking any half-baked idea for years now (see Unbreakable, Changing Lanes, Star Wars, etc.) God, Samuel, I used to think you had potential to be a serious actor like Morgan Freeman, but now thanks to your crazed attempt to take roles based on “cool scripts”, you have lost your star power.
Scarlett Johansson- throughout the whole movie she seems like she’s reading a script in front of a blue screen- oh, wait, she is. This up-and-coming starlet is worshiped by Frank Miller on visuals alone, and is too stiff here.
Eva Mendes- Looks like she signed up for another bomb. You know when your best movie is a character actor in Training Day, it may be time for posting your resume on Monster.
Jaime King- Another Miller obsession, and she’s signed up for Sin City II (bomb). Fanboys love this blonde chick, just because she doesn’t talk down to them.
Gabriel Macht- Who? You’d think they find a well-known actor to play the lead role of The Spirit!
Eric Balfour- You’d think a good-looking guy who had great runs on 24 and Six Feet Under would star in a movie one of these days.
Dan Lauria- From Wonder Years (the dad) fame and ESPN’s The Bronx is Burning- the only entertaining actor in the entire movie.
Perhaps-perhaps- if you are a 17-year old goth/punk teen who was never exposed to the first 10 minutes of Hellboy 1, and never saw or read Frank Miller’s work or Batman or any other super-hero movie, you’d love the absurd chaos in this movie. Perhaps-perhaps- you would say, “It wasn’t that bad.” That would be less than 1% of the population.
Frank Miller has succeeded in destroying The Spirit from having any mainstream significance.
It’s UNWATCHABLE. It is SOULLESS. It is a WRECK. It is UTTER CRAP. I just PUKED in my mouth a little bit.
The 1960′s truly is the Silver Age of sci-fi movies and TV shows. And then there’s Frankenstein Conquers the World, produced by Toho, the makers of Godzilla. Okay, it wasn’t that bad…or was it? I don’t know, I was watching this pretty late at night. Why don’t you find out with me during this review. First…
The prologue is set in World War II, circa 1945. Nazis break into the laboratory of Dr. Reisendorf and confiscate the heart of the Frankenstein Monster, on which he is busy experimenting. The Nazis travel by submarine to the Pacific. The Allied Forces then bomb their submarine, but not before the Nazis pass the heart (contained in a locked chest) to the Imperial Japanese Navy, who take it back to Hiroshima to be experimented on. But just as they are about to begin, Hiroshima is bombed by the Allied Forces, and the heart is lost.
Fifteen years later (1960), a savage boy runs rampant in the streets of Hiroshima, catching and devouring small animals such as dogs and rabbits. This comes to the attention of American scientist Dr. James Bowen and his assistants Sueko Togami and Ken’ichiro Kawaji. A year later (1961), they investigate and find the boy hiding in a cave on a beach, where a mob of outraged villagers has almost caught him. While the strange boy catches media attention and is taken care of by the scientists, another astounding event evades the public’s eye. Once the boy is taken to the hospital, it is discovered that he is caucasian and his body is building a strong resistance to radiation rather than getting sick from it.
The Former Naval Captain Kawai, who brought the Frankenstein heart to Japan in WWII, is working in an oil factory in Akita Prefecture, when a sudden earthquake shakes the factory and collapses a tower, beneath which he saw the ghastly face of a giant floppy-eared reptile with a glowing horn.
Meanwhile, Dr. Bowen and the scientists find that the strange boy is growing due to intake of protein. Afraid of his strength, the scientists lock and chain the boy in a jail cell, and Sueko, who really cares for him, feeds him some protein food to sustain him. Meanwhile, Dr. Bowen is visited by Kawai, who tells him that the boy could have been mutated from the heart of the Frankenstein Monster, as the boy was seen in Hiroshima more than once before. At Bowen’s advice, Dr. Kawaji confers with the aging Dr. Reisendorf in Frankfurt. Reisendorf tells Kawaji of the story of the Frankenstein Monster and its noted virtual immortality, due to the intake of protein. Reisendorf recommends cutting off the monster’s arm or leg, speculating that a new one will grow back. When relating this to his fellow scientists upon his return to Japan, Sueko strongly objects to this method, fearing that nothing may grow back. Even when Bowen suggests that they wait a little longer to think it over, Kawaji tenaciously attempts to sever one of the now-gigantic monster’s limbs. He is interrupted by a TV crew, whom Kawaji allows to film the monster, though they it enrage by shining bright studio lights at its face. The monster, heretofore known as “Frankenstein,” breaks loose and is on the run from the Japanese police. He even has a tender encounter with Sueko on the balcony of her apartment before he has to run away.
While Frankenstein is on the run, he travels to many places, from Okayama (where he eats more animals) to Mount Ibuki, where his primitive childlike activities (throwing trees at birds and trying to trap a wild boar) end in disaster.
But unbeknownst to Bowen and the scientists, Baragon, the monster Kawai saw earlier, goes on a rampage. Tunneling under the earth, he pops out and ravages villages, eating people and animals and leaving destruction in his wake. People believe this is Frankenstein’s doing, and the misunderstood monster is wrongly hunted down by the military, though narrowly escaping. Before Bowen and his assistants have no choice but to dismiss Frankenstein, Kawai returns to tell them that Frankenstein may not be responsible for the disasters; it could be the monster (Baragon) he saw in Akita! He tries to convince the authorities, but to no avail. Kawaji still wishes the scientists luck in finding Frankenstein.
Bowen, Sueko, and Kawaji then form a search party and venture into the forest in which they believe Frankenstein is hiding. But Kawaji, to the shock of Bowen and Sueko, then proceeds to attempt to kill him, believing that Frankenstein could be dangerous by his very nature, and not even Sueko could possibly tame him! He intends to blind him with chemical grenades and capture him to recover his heart and brain. Kawaji presses on to find Frankenstein, and instead finds Baragon! Kawaji and Bowen try in vain to stop the monster with the grenades, but it is about to eat Sueko, until Frankenstein comes to the rescue! The cataclysmic battle between the two giant monsters then begins.
Ending of course, with Frankenstein killing Baragon before being swallowed up by lava. However, since Frankenstein was revealed to be immortal, we know he’ll be back.
I give credit for Toho thinking up a way to get Frankenstein’s monster to become Toho-sized, and linking up the monster to the perils of the atomic bomb.
Toho actually tried something a bit different here (a giant monster without the rubber suit) and had a much deeper plot than the Godzilla movies of the same era. Toho’s production standards are a bit higher in this movie, also (not saying much, but it plays more like an American movie).
There are many creepy and gory scenes (we finally find out what Toho monsters eat: farm animals and people!)
The acting is good for a monster movie- the famous American Japanese actor Nick Adams and Kumi Mizuno.
The Hiroshima angle at the beginning was great- it was a place where the Godzilla movies did not officially go to. In fact, there were great (fictional) Hiroshima hospital scenes 15 years after the bombing.
Whereas Toho was making Godzilla a funny cheesy monster at the time, this movie is dark and serious (although it may not look like it from watching clips, it was very dark).
Pretty wicked and long fight scenes.
Composer Akira Ifukube is great at monster themes!
Like Toho’s King Kong, Toho’s Frankenstein just is similar in name to the version you’re most familiar with. Yes, of course they reference Mary Shelley’s “Frankenstein”, but this clearly is not the same character.
There’s a reason why Toho and other studios use rubber costumes for “giant” monsters. I didn’t see the illusion most of the time in this movie; I saw an actor running around ripping plants out of the ground that were supposed to be trees.
I just didn’t feel an emotional attachment to Frankenstein. I actually wanted Baragon to win at the end.
Speaking of Baragon, its body costume is great, but the face and eyes look cheesy.
Obviously the correct name is “Frankenstein’s monster”, but…well, it’s the movies.
This is a “cult” movie for many monster fans outside the Godzilla fan club. It is consistently rated higher by monster fans than by movie critics.
Was originally supposed to be Frankenstein vs Godzilla, but Toho became concerned about how goofy that would look. [ha]
Of course, there were some legal issues with using Frankenstein’s monster.
Baragon went on to appear in Godzilla movies…so…was this the same earth as Godzilla’s? Just like Rodan, Toho doesn’t come out and say it, and no character mentions Godzilla. Baragon’s subsequent appearances seem to show that he comes from a race of creatures, since this one died.
Baragon’s origin is similar to other Toho monsters- he was a prehistoric dinosaur that was hibernating underground before being awakened (usually by atomic testing).
This movie has an alternate ending featuring an octopus monster (maybe the same one from King King vs Godzilla), and different titles (Frankenstein vs Baragon, Japanese translations).
This was an American and Japanese production crew.
Not as bad as you’d think, given the title and premise, but the theme and acting is all in earnest. At the end of the day, though, it’s just too weird to be taken seriously like the original Gojira or King Kong movies. I would only recommend this to freaky old-time monster fans or if you saw this movie when you were 6 years old and want a dose of nostalgia.
Trailer (English-dub, I saw the movie in sub-titles):