Before I start this review, let me just mention that I hated, yes hated, the theatrical cut of Batman v Superman: Dawn of Justice. The editing was sloppy, the writing was mediocre at best, the story was given no context, and the character motivations weren’t stressed enough. With that said, this new extended edition doesn’t get rid of the sloppy editing and writing, but it does add context to the story (specifically the Africa sequence), which in turn helps the story flow better.
We had heard that Warner Bros. executives got to see a screening of BvS late last year, which was followed by a standing ovation; I believe this is the cut they saw. It’s that much better. In the added thirty minutes of footage, we don’t get any new action sequences or major plot points, but what we do get is smaller character moments that help the film breathe a bit. For example, we see a few added scenes of Clark, not Superman, in Gotham City gathering information for a story Perry assigned him; it doesn’t sound like much, but in a film all about spectacle, action and another ‘end of the world’ type catastrophe, small character moments are what this film needed.
Lois Lane is much more of a complete character in this cut. In the theatrical version, Lois seemed to be there only to progress a plot point or further the impending feud between Bats, Supes, and Lex, whereas, in this one, she feels like an actual character. We see more of her being a reporter for the Daily Planet and her relationship with Clark, which eventually leads to the audience mourning with her more on a more personal level when Superman sacrifices himself to kill Doomsday.
Just like the theatrical cut, Wonder Woman is undoubtedly the best character in the movie, as Gal Gadot delivered her limited amount of lines with authenticity and killed it in the final fight with Doomsday.
While the extended edition of Batman v Superman: Dawn of Justice doesn’t fix the awful “MARTHA” plot point, Jesse Eisenberg’s joke of a performance, or the lousy script, it does make the story feel more complete with added context to the Africa scene and added personal character moments. If you didn’t like the original cut, I recommend that you check this new version out and judge it on its own merit.
Triggers huge attention grab Kiznaiver is finally over and love it or hate it, I’m pretty sure this is a show that everyone has feeling about it. Now my feelings, like always, are hard to pin down, especially since I just finished it up and its fresh in my mind. But I’ve been doing this long enough to where I already know where this show will end up for me down the road, and it’s not a good place to be. Still while we’re at the end of Triggers third full length series and I think there is some nice things to take away for this “polarizing” studio. I will try to articulate those thoughts without getting too off topic or ranty.
So to hit the easiest note first I want to talk about how this show looks. In short, amazing. The people working at Trigger must be very passionate for them to release something with this much care, consideration and quality. Through out the show there is never a drop in quality or aesthetic, and considering the detailed designs, this is quite a feat. The character movements are so fluid and every character has a distinct way that they move that is animated to fit their personality. This is usually something you only see in Kyoto Animation or UFOtable shows, so I’m glad Trigger is showing their talent. It’s nice to see them come such a long way from the mess of production that Kill La Kill was. (For the record while Kill La Kill may have some visual problems, most of it was aesthetic choice and worked regardless.) The shot composition was lovely and really helped nail whatever tone the show was trying to convey at the time, even if the writing didnt so well. I feel that if this is the new standard for Trigger then they have a bright future ahead of them. That is if they pick better writers.
Talking about Kiznaiver is sort of simple because when I have to think about what is bad, all I have to say is, “the writing”. Then anyone who has seen the show can immediately understand, or disagree with what I’m saying. Given that Kiznaiver is a show about teenagers feelings, its stand to reason that those certain types of viewers would be very invested in those feeling regardless. But still the writing is bad. I haven’t seen a lot of Mari Okada’s work, but the things I have seen (Anohana, Anthem of the Heart, Pet Girl of Sakurasou) are some of my favorite dramas. However she is a writer who has very distinct writing habits that tend to be a little mean, that accompanied by her inability to make her sci-fi writing work is one of Kiznaivers short comings.
We all knew from the very first episode that Kiznaiver could only end up being a story about empathy. That’s what it sets up with the Kizuna system and all the allegories that Noriko explains about the seven sins. The problem “starts” when the people are not ones you as a viewer want to empathize with. Almost everyone has this sort of mean spirit to their casual conversation, where it almost reminds me of Two and a Half Men, or Big Bang Theory (both shows that I despise). The causal conversation where characters learn about each other are almost always used against the person that is revealing something about themselves, and it’s almost always played for a laugh. You’re literally watching kids who are forced to be together all bully each other even though it doesn’t fit their personality and for what exactly? This is not how you write a story about empathy.
An example from the show would be when everyone finds out that Yuta used to be a fat kid and that’s why he puts so much emphasis on looks. Immediately everyone starts judging him about how he wasn’t always a hot person, as if it somehow makes him uglier because he didn’t used to be hot. That’s not just mean, that’s horrible. Yet all these characters joke about it and even use it against him later, just as a referential jab. If someone keeps making jokes about something you worked at really hard and recovered from, and then tries to belittle you knowing that it’s a point of insecurity and shortcoming, they aren’t your friends. Kiznaiver doesn’t know how to handle having all these different personality types work together as friends so it decides that they all be cynical jerks to each other, that doesn’t work, bad writing. However when characters were shedding some real feeling about themselves and the emotion was being played for dramatic effect, the stuff Mari Okada is known for, I did feel some tears well up. But it was cheap tears that would only be felt by a moody teenager, or a giant empath like me. Most of these moments didn’t derive from conversation but characters screaming their thoughts/feelings into a crowd of characters. Meanwhile the other characters might as well have been viewers too, because the progression of these feelings, is well near to nothing. Someone screams, someone else acknowledges them, and then they move the fuck on. Because the story doesn’t care about these feelings, or at least it doesn’t care about anyone’s feelings except for a select few. Which is not what you do with an ensemble cast like what you have with Kiznaiver. The point of having such a diverse cast is to explore everyone, which sadly doesn’t happen. But you think it would right, given that it’s a show about “seven” people bound by their feelings? Nope, I guess some characters are just along for the ride. They’d rather spend their short runtime on reiterating the same sob story while focusing on bully humor.
The story, sadly enough, gets the same treatment as the characters, no consistency at all. The show grinds to a non progressive halt fairly soon and it puts them into situations that are not ripe for character building. That is until Honoka’s two episode arc. I don’t know how Mari Okada views homosexuality, but she needs to educate herself. She always writes gay characters as an anomaly and not as real people and there are two instances in this show. But lets focus on the Honaka’s flashback. The little development there is, still has the same mean spirit as the rest of the show. Characters constantly feel a certain way and behave the opposite for no reason. And it’s not like that these characters are “being real” or “in the moment”. It all is used to go, well nowhere.. But like I said before this arc doesn’t even matter. It has no bearing to the story and doesn’t even match with the formula. Honoka is the only character other than the main two who gets back story and development. And even then they throw her progression aside and she’s still as mean as ever. The only point her arc served was to deepen the bond between Kiznaivers so where they could feel emotional pain now. Not sure really how that’s possible but the show never explains it so I guess the Kizuna system is just a Macgufan for the show, right? Wrong, it quickly turns into the Kizuna system being the most important ill-explained plot point in the show that has the last three episodes wasted on it. And yet again the show seems to be trying to actively make it out to seem non empathetic, when that is the only way to make a story like the work. They go out of their way to explain that the situation was all random and an accident. The only one who actually feels any sort of empathy as the show explains is Noriko. But we don’t get to see it since she is taking medication to kill her emotions. Only at the last episode do we see Katsuhira show a little bit of empathy and he chocks it up to getting to know her. Are you kidding me, what we were suppose to take away from this show is that we learn to care about people as we get to know them? Really, thats your big revelation? I could see it being a revelation for him as a character, but thats seriously the revelation for the show. Noriko’s theme about letting go of pain in fear of people not caring doesn’t make any sense and I don’t think they put much thought into it to be honest. So when we are left with a show that is a mess thematically, narratively, and character wise, where exactly do I stand?
Even with its problems I never felt bored watching the show. Everything had a very good way of engaging you in its ideas, it’s just the ideas were half-baked and not that good. There were so many times where they could have changed just a few things and made something actually relatable and that meant something, but it never did. Sure the art was amazing but there are plenty of shows that I could watch to fill that void. Kiznaiver doesn’t really fit that emotional spot since Mari Okada herself has written better drama’s with better characters and everything. If not for the art I would say that you should give this show a hard pass. But part of me still thinks that it’s a show worth recommending, at least with a big asterisk. This show regrettably doesn’t fulfill what it sets out to try to do, but it still has enough things to where someone could learn a thing or two about anime as a whole from watching it. It’s a show to watch only if you’re in dire need of whatever Kiznaiver has to offer, because honestly it isn’t very much.
Tom Holland is back in the old-faithful red and blue underoos. The Spider suit appears to be the same as the one featured in ‘Captain America: Civil War.’ These photos from Looper are also pre-CGI, so who know what the suit will look when ‘Spider-Man: Homecoming’ hits theaters on July 7, 2017.
Jon Watts directs ‘Spider-Man: Homecoming’ starring Holland, Marisa Tomei as Aunt May, Robert Downey Jr., Michael Keaton, Zendaya, Donald Glover, Martin Starr and Hannibal Buress.
There’s something strange going on in Puerto Rico, and the FBI wants it investigated! Egon Spengler joins Kylie Griffin and FBI Special Agent Mel Ortiz on the Isle of Enchantment to chase down a gruesome ghoul that could be even worse than it appears! A special stand-alone issue featuring the artwork of British phenom Rachael Stott (Star Trek, Doctor Who)!
Writing
The Ghostbusters continue their international trip. This time the group who stayed behind heads to Puerto Rico. There, the Ghostbusters’ FBI liaison Mel Ortiz gets a chance to shine and showcase just how her talents are invaluable to the team. It’s always a welcoming site to see character moments in a team book as it can sometime be difficult for them to shine without the assistance of the regular cast.
Egon also returns to action in this issue. After being put on the bench thanks to an injury, he is able to take the trip with Ortiz and Kylie. Unfortunately the entire issue is a side story and doesn’t help to move the main story of the miniseries forward.
Artwork
The art is eye catching but is hindered from its better moments. As always the detail work with the different ghosts really steal the show. In comparison though, some of the panels where it’s just the crew by themselves aren’t nearly as memorable. It’s nothing against Rachael Stott’s art as it’s just the sharp contrast which aids to make the ghosts be so impressive in their design. It can’t be helped – this effect can sometimes make the humans look less striking.
Conclusion
This issue offers good characters work but it’s still a side story. Of course with Stott as a guest artist, it really helps to sell it as such. Still, it doesn’t help with disproving the idea of this series being an excuse to send the team to international locations. It’s fun but the miniseries is half over and it’s weighing on more of an entertain experience than an integral read.
A new music video from Japan shows four female Japanese comedians covering Ray Parker, Jr.’s Ghostbusters theme song. Following the recent internet troll-storm resulting from Fall Out Boy’s cover, this is actually a welcoming sound.
In fact, many of the initial comments from viewers express relief from the travesty of the Fall Out Boy Fauxbusters track. One important note is the Fall Out Boy cover already has more dislikes than likes on Youtube since its release.
Similar to Hoobastank’s cover of Ray Parker, Jr.’s tune, the Japanese version creates its own sound while still paying respect to the original source material.
Tomochika, Oniyakko Tsubaki, Naomi Watanabe and Shizuyo Yamasaki are the comedians involved in the project. This is in lieu with the all female cast for the main roles in the upcoming film.
One element of the video many die hard fans will appreciate is the homage to the original music video.
The aesthetics of the video borrow heavily from the Ray Parker, Jr. video for the original film. Particularly the use of neon lights to form the set helps to make a connection between the two music videos.
Personally I feel this music track is a greater improvement over Fall Out Boy’s rendition. Their track already attracting negative attention to a film many dread prior to its release. Despite this positive reception, this does not assuage growing concerns with the movie.
Following many lampooned remakes, many fans worry the Ghostbusters remake will be another example of this problem.
But with the music video we can enjoy a cover that actually sounds like the original source material.
THE WRECKERS RETURN! Somebody’s kidnapped PROWL… but does anybody want him back? A lifetime of messing with everybody’s lives comes around to haunt him. Fortunately, he’s always got a plan. In this case… the team of brutal, broken heroes… the WRECKERS!
Writing
With the fifth and final issue released, the second tale of the The Wreckers comes to a close. Much like the first series, Last Stand of the Wreckers the sequel is just as intense and unsettling in a very good way. This isn’t the Transformers series where the characters laugh at the end of an issue or someone makes a witty quip about what just happened. This is the series where the reader spends most of their time reading it hoping all the characters are going to make it out of this one alive. Spoiler (not really if you’ve read the first story): Not everyone does.
The intense violence which these characters experience is disturbing at times to look at but adds to the feel of the book. Writer Nick Roche really did deliver another intense story of the team which is willing to do the hard jobs no one else can.
Artwork
The artwork is detailed and brings a disturbing atmosphere of the comic. For fair warning, if there are any arachnophobes out there thinking of reading this series, you probably shouldn’t. Thanks to the appearance of a certain character who has the ability to turn into a tarantula and Nick Roche (also doing the art for this series) decided to make him look as much like a real spider as possible the book is veritable nightmare fuel for those who hate spiders. It was frightening at times what was drawn on the page and it takes an artist of real caliber to produce a response so powerful.
Conclusion
Once again, Nick Roche has shown the tough side of the Transformers Universe and created a series which fans will want to to check out. If anyone ever needed proper evidence to show what stories the Transformers Comics are capable of telling look no further than Sins of the Wreckers, a series which was able to impact you in ways which will leave you gasping for air when it’s all over.
Following Fall Out Boy’s release of their cover to the Ghostbusters theme song, I felt it best to process the information before giving my two cents. This is a collaboration with artist Missy Elliot and will be a part of the upcoming Ghostbusters reboot’s soundtrack. As with many fans of the original film, reception is not warm. Not at all.
Generally speaking I lost much of my passion for this reboot over the last couple of months. Especially since it is terribly apparent this film is simply a copy and paste film. What’s more, what makes the first Ghostbusters great is simply no where in this attempt.
And this cover is another example of where this movie is going wrong. While the original track matches the tone of the film to a T. It’s catchy, alive, filled with energy, and looking for fun where ever you can find it.
This cover is just…honestly…I have no clue what it’s trying to do. Which is about the same opinion I have for most Fall Out Boy songs.
I’m not saying every cover should be limited by the original piece. Joe Cocker proved that point repeatedly. What bothers me is this film almost wishes to erase the original film from existence. In a fashion similar to taking an eraser to a mistake you make while drawing.
This reminds me of a video from Youtuber Comic Book Girl 19 during the remake of RoboCop. In it she discusses a growing problem of younger audiences forsaking older films for flashier versions lacking substance or even character. And given the outlandish nature of Fall Out Boy’s cover, this only cements my fears regarding this remake of a movie I think should not happen.
DARK JEM PART — concludes! PIZZAZZ rejoins THE MISFITS in time to confront looming threat of Silica. But it will take everyone working together — and performing together — in one SUPER SHOW to stop Silica and The Sickness’s spread once and for all.
Writing
The moment has come and the final battle with Silica finally occurs. Just like the blurb says, the two bands have to work together and find a way to take Silica out. Will they win? You’ll have to check it out for yourself. Just know the issue is definitely worth picking up.
Though writer Kelly Thompson’s conclusion comes a little easier than what was hinted at, looking at it closer there is more going on here. The team has endured a lot and hurt a lot of people while under Silica’s control. They will have to make amends for it and at the same time it’s starting to look like Jerrica isn’t wondering if she shouldn’t just have Synergy be Jem instead of her. Also, as an additional note of what’s to come, The Stingers finally make their comic book debut. Things will definitely not be the same anymore.
Artwork
Sophie Campbell’s art is as vibrant as ever. The battle scene especially memorable as the two bands came together and the battle intensifies. Her work never diminishes and always stays at a distinct level of excellence. Hopefully she won’t be going anywhere anytime soon as the book wouldn’t be the same without her.
Conclusion
The issue wraps up easy enough but considering the the atmosphere and everything which has happened it’s obvious Silica has done damage which will be carried on for issues to come. The issue is emotional and entertaining in a way only Jem seems to be able to accomplish. Also, the Stingers are coming and they will definitely shake things up a bit when they make their debut.
This new installment of the Micronauts seems to be suffering under the weight of its own linage. From the set up and the way characters keep talking there is a lot going on, and a lot of stories which can come from this world but little actual character movement or plot development has occurred. So far, the team took a mission, had to escape to a planet, and have been captured. This isn’t the summary of the issue, this the summary of the first three issues so far. Not a lot has happened with these characters and the book is suffering because of it. It’s not a bad series but it needs to get its act together and start having the characters make some big choices.
The book does introduce an interesting plot point but this is on the final page of the issue. Hopefully from here on Oz and his team will be making the tough calls to help flush out who they are and what they stand for because right now the cast feels generic and boring.
Artwork
Max Dunbar’s art is serviceable, but at times is less menacing for moments that need to be truly intense. Case in point, Baron Zarak encounters and defeats an assassin in this issue but he doesn’t feel intimidating for some reason. It might have to do with the fact he’s no longer the towering figure of mystery he was in the first issue. Still, something can be said for not feeling any type of dread from a character repelling an assassination attempt. Maybe it’s still just too early and it’s obvious Zarack would survive it.
Conclusion
This series is attempting to build a universe which will appeal to new and old Micronaut fans. Unfortunately, the new fans aren’t going to stick around much longer if something of worthy doesn’t start happening in the near future. The action and drama really need to be kicked it into high gear in the next few issues.
With Jason Bourne coming out July 29, it’s time to take a look back at the action franchise, see where it started, see how it evolved, and see where it wound up before Matt Damon and Paul Greengrass decided to return. Welcome to leg one of The Road to Jason Bourne.
The years between Good Will Hunting and The Bourne Identity were strange for Matt Damon. After the success of Good Will Hunting, Damon and his writing partner Ben Affleck had Hollywood open up at their feet. And while Damon followed up his breakout with great turns in Saving Private Ryan, Rounders, and Ocean’s Eleven, his stardom felt like it may have a ceiling.
Any time Damon tried to headline another movie – All the Pretty Horses or The Legend of Bagger Vance, for example – something felt forced about the drama. He was tremendous in The Talented Mr. Ripley, Rounders was admirable, but almost nobody saw those films. Damon seemed destined to live in the periphery of his buddies George Clooney and Brad Pitt, effectively playing the “third biggest star” in the Ocean’s franchise. But then, director Doug Liman came calling, and he had in his hands the future of Matt Damon.
The Bourne Identity is barely based on the Robert Ludlum novel (and the follow up films have virtually nothing to do with them). Liman asked screenwriter Tony Gilroy not to read the books, instead working from the director’s own outline. As for Damon’s involvement, like so many films he was not the first choice. Brad Pitt was originally approached, but passed on it to star opposite Robert Redford in Ridley Scott’s Spy Game. Russell Crowe, Sylvester Stallone (what!?) and Matthew McConaughey all passed. Thankfully. Eventually, it found its way to Matt Damon, and it changed his life forever.
Jason Bourne doesn’t even know he’s Jason Bourne for just about the entire first act of Liman’s terrific franchise starter. After he’s rescued adrift at sea, on death’s door, with bullets and a Swiss bank account number lodged in his body (who hasn’t been there?), Bourne can’t remember the details of his life. He can tie some sweet knots and speak different languages and he sure seems alert and physically powerful. But he doesn’t know his name, or where he’s from, or how the hell he wound up floating in the ocean with two slugs in his back.
As The Bourne Identity slowly reveals its titular character’s life to us, it also shows us Matt Damon is, in fact, a movie star. Not only is he able to handle the physicality of the story, his gradual revelations are key in the success of the story. The audience pretty much knows Jason Bourne is a government assassin, so the drama of figuring that out is left in the hands of Damon, who must gradually come to understand the moral weight of his career and bring the viewer along with him. This is not a film about an assassin getting his memory back as much as its about a former brainwashed CIA weapon reevaluating the consequences of his actions once his brain has been scrubbed and he can start over. It’s a tricky balance, and Damon handles it well.
Bourne’s intimate relationship with Marie (the great, underused Franka Potente) also manages to be incredibly fast for the sake of moviemaking momentum, yet never rings false. Marie is, much like Bourne, a person without any real ties. In her nomadic existence she find the perfect mate: a man who can’t remember his own life beyond two weeks ago. Damon and Potente sell their romance and eventual need of one another, all the while fending off other assassins and dogged police pursuit.
The rest of the supporting cast fills in the periphery of a complete action thriller. Brian Cox and Chris Cooper seethe bureaucratic corruption as hush hush CIA officials. And then there’s a young Clive Owen, playing a fellow Treadstone assassin whose confrontation with Bourne sheds a light on the bleak existence of these people. Liman’s direction is sure handed, because in 2002 we had no idea a filmmaker named Paul Greengrass would eventually take the reigns and completely reimagine the kinetics of the Bourne franchise to stunning results. Here, Liman’s calmer camera works to ease us into this world.
Matt Damon would never be the same after The Bourne Identity. In this film, he found out he could be a superstar about the same time he discovered he was a government assassin. And the audience would discover these things right alongside him.
