Celebrated ham and all around fascinating thespian Bill Paxton has taken a role in the upcoming Training Day TV adaptation. And he will be playing… Alonzo?
It seems this new version of Antoine Fuqua’s brilliant dirty-cop thriller will switch race roles. The eager young greenhorn, played to perfection by Ethan Hawke in the film version, will be the black guy this time around. And Bill Paxton will play the corrupt cop role Denzel Washington won an Oscar for back in the day.
“Described as a reimagining that begins 15 years after the 2001 film left off, the reboot centers on an idealistic young African-American police officer who is appointed to an elite squad of the LAPD where he is partnered with a seasoned, morally ambiguous detective.”
As is the case with any Bill Paxton project, Training Day has the potential to be captivating, if for no other reason than Paxton’s ability to overact while simultaneously being brilliant. There’s one issue, however: this is a series heading to CBS. That means that, more than likely, the show will be homogenized and sterilized in order to reach the CBS demo, i.e. old middle America. We shall see.
Dark Knight III: The Master Race returns with its third issue after being mysteriously absent in the month of January. In the last issue the Kryptonian city of Kandoor was grown to full size and an army of religious zealots sprang up to conquer Earth. Carrie Kelly has been revealed as the new Batman, because Bruce is too old and broken to keep up the fight. Issue 3 moves the plot a long at a faster pace. But, it does raise a lot of questions about the world this takes place in, and what has happened since the last Dark Knight Installment.
Spoilers Ahead
After Quar, the religious leader of Kandoor, grows he threatens the Earth with its ultimate destruction if they do not completely surrender to his demands. The Kryptonians show their power by becoming nuclear bombs and blowing up Moscow. Bruce Wayne realizes that he can’t fight this menace alone, so he goes to the Fortress of Solitude to get Superman out of a self imprisoned block of ice. This scene is actually one of the best scenes in the entire series, as Bruce painfully admits that he needs Superman’s help. It’s funny, and rather touching actually, but it’s keeping entirely in character.
Another fantastic scene in the book.
As the leaders of the world meet to discuss the surrender, Bruce Wayne readies his army of Batmen (in designs similar to TDKR Sons of Batman) to prepare for war. This is where a few questions come up, specifically about what has gone on since The Dark Knight Strikes Again. Has this army always been there? Or did they disband for some reason? The previous two issues imply that it was just Bruce and Carrie Kelly. There’s also the question of what happened to Superman, and why he decided to freeze himself.
We’re getting to a point in the book now where these questions need to start being answered. However, this book does a great job of showing and not telling or explaining things through dull exposition. The pace keeps moving forward, and that’s certainly a good thing for a third issue of a limited series to do. However, some of the news segments are beginning to overstay their welcome. They’re not bad and help establish the world, but some of those pages could have been used to expand the story. But, none of this breaks the story or causes too much confusion. And there are still five issues to tell the story, so they have time.
The art is still amazing, and I think I won’t be using these reviews to retread what I’ve already said about Andy Kubert’s and Klaus Janson’s artwork. It’s beautiful to look at, has that same older Frank Miller aesthetic, and it’s wonderful to look at. The covers are fantastic, they all have a strong use of negative space, but also enough detail for the highlighted elements to pop out. The art alone is worth the price of the book.
So, overall, this issue propels the story forward, and raises the stakes even further. It’s a fun read, and still enjoyable. It’s fun to see Batman and Superman ready to take on the Kryptonian equivalent to the Westboro Baptist Church. The price is still very fair considering it’s a longer book than most comics, has no advertisements, and has a bonus story. So, this is still a book that should be on your list.
Speaking of that bonus story.
Bonus Review: Dark Knight Universe Presents Green Lantern
As the issues get released, a bonus story comes with them. This one is about Hal Jordan as the Green Lantern responding to the new threat on Earth. Unlike the other two issues that featured The Atom and Wonder Woman, I’m not a big fan of this one. Green Lantern is written as a very reluctant, and passive superhero who gets overwhelmed by three Kryptonians, who then end up taking his ring away. What’s bothersome isn’t Green Lantern being beaten by Kryptonians, it’s more the fact that he gets tricked by them. Frank Miller has never really seemed to understand Green Lantern, and that’s very apparent here. Hopefully he comes back in a later issue, but now it’s not a fulfilling introduction to this universe’s Hal Jordan. Luckily John Romita JR.’s artwork is really good, and nice to look at, but of the tie in books this one is the weakest.
Here at the beginning of the second act of season three of The 100, we’ve come to the next natural step in our characters’ healing process:
Pain.
“I just don’t hurt anymore.” – Raven
Dealing with pain is a universal human experience and in The 100 it is inevitably a feeling that all characters will come to understand and seek a cure for. So many big decisions have already been made and so many events out of the control of our heroes have occurred that the long term wear and tear has began to take a real toll on their psyches. In ‘Bitter Harvest’, our characters are finally presented with likely solutions to this pain. Whether it’s committing mass genocide for the safety of your own (Clarke and Bellamy), dealing with the death of your one true love (Jasper), being a prisoner of your own disability (Raven) or understanding that you need the pain as reminder (Murphy), these characters have come to a crossroads when deciding how to use this feeling going forward.
The reality that I think most viewers are aware of is that pain is something that never goes away. This is why we feel frustration over how Jaha has accepted The City of Light and A.L.I.E. into his life. We want to be able to find an easy way out but understand that there is no way out, only reconciliation. But, of course, we must also make mistakes on the path to reconcile our pasts. Jaha has accepted The City of Light as his salvation after his survival of many trials seemingly put in his way via what he deems as divine obstruction. This is his reward for his acceptance of pain.
Problem is, A.L.I.E. represents exactly what The 100 doesn’t subscribe to: divine hope. She was the utter destruction of the world before and will do whatever and corrupt whoever in trying to regain power in a world that has forgotten her. And she has an easily susceptible cast of people to appeal to!
We finally get to see Raven smile again after having accepted The City of Light which is a bright moment that lets us understand immediately why she would do so. She sees herself as an invalid and, though her leg still doesn’t work like it used to, she doesn’t have a constant reminder in the form of pain. This clues the viewer in immediately that what is going on with The City of Light is nefarious. Pain relief without cure is no doubt a signal for eventual destruction. We also get to see the extent of The City of Light’s power as it comes to numbing the pain as Jaha FORGETS HE EVER HAD A SON. This also lets us believe Raven’s nonplussed reaction earlier when Jasper brings up how he scattered (more or less) Finn’s ashes over the field in front of the original drop pod.
The City of Light doesn’t just erase pain, it erases anything that ever reminds us of pain. DANGER WILL ROBINSON, DANGER! RED ALERT! YOU’RE GONNA NEED A BIGGER BOAT!
Over at Polis, Clarke gets her own comeuppance in pain as Roan delivers Emerson as a gift, knowing Clarke will want to take her revenge. Not only do we get to see Clarke deal with her pain in this instance but also practice what she preaches as it comes to “blood must not have blood.” Lexa, having already called off a retaliation to the Skaikru’s Grounder massacre, is entirely dependent on Clarke’s decision here as if she decides to take Emerson’s life it will leave Lexa entirely vulnerable to a coup for letting this act of vengeance occur. She trusts Clarke, or at the very least trusts the human emotional process. Clarke initially feels that Emerson should die and, conveniently enough, Emerson almost goads her into committing the act.
Emerson is also dealing with his own pain for having lost friends and family (children, two of them) in the destruction Clarke and Bellamy placed upon Mt. Weather. He wants to die in this case and wants to see Clarke succumb to her base needs. Clarke makes the more mature decision when, at the last minute, choosing to spare Emerson’s life and not forsaking Lexa’s rule. Emerson is destroyed by this decision and, although he’s been banished from the lands by Lexa, we can’t have seen the last of him.
The last interesting wrench thrown into this episode is our realization that Murphy has been captured by Titus of Lexa’s court. Jaha previously stated that Murphy was immune to their form of pain prevention because he knows exactly what A.L.I.E. represents. I think this actually is a little deeper than Jaha intimates as Murphy has been the cause of so much pain to others that he’s actually come around as a human and understands how important remembering pain is. If he forgets just what kind of harm he can wantonly do upon others, he’ll revert to that madman we saw early in season one. The 100 gives us characters nuanced enough to have multiple dimensions and are able to be fully-thinking instruments.
John Murphy will represent the vanguard of everyone’s eventual pushback against A.L.I.E. and The City of Light. Once again, this is excellent character arcing from the show’s writers and is the kind of heart punching that doesn’t feel as immediate upon impact but has a lasting blow when everything finally comes to fruition.
Also in ‘Bitter Harvest’, we see the loss of one of our original 100 on the ground in Monroe. As Pike’s people (now including Monty, having followed in his mother’s footsteps) have now found their Farm Station roots useful by discovering fertile land to grow crops, they decide to take this land, occupied by a Grounder tribe, by force. Octavia, with the help of Kane, helps curtail this tribe’s destruction and also discovers a form of poisonous tree sap that the Grounders use to amazing effect in defending against Pike’s attack. Not only is the sap acidic upon touch, its burning also emits a poisonous fume which ends up taking our beloved (though, let’s be honest, kinda forgettable) Monroe from us once and for all. Above all else, we get to see Monty’s true colors as he runs into a poisonous fume to try to rescue Monroe, coming up just short.
As I’m sure The City of Light will continue its stronghold upon this world, the politics between Skaikru and the Grounders grow increasingly volatile by the day. Now that we know some of the earth is fertile, I’m sure the quest for resources doesn’t end here. ‘Bitter Harvest’ represents another wonderful step forward and backward for our beloved characters and the writing has never been more crisp on the show than it is here. This season has found its footing amongst some very tough material and this writing team has further earned my trust and entertainment dollar moving forward.
“My pain ends today. Yours is just begun.” – Emerson
Let’s kick the weekend off with a classic Stone Temple Pilots music video, shall we?
Scott Weiland’s recent passing and subsequent short-change on the Grammy’s got me thinking about Stone Temple Pilots, one of the more influential bands of my youth. They were never in the forefront of the early 90s grunge movement, probably because they hailed from San Diego rather than the epicenter, Seattle. STP hit the scene with “Creep,” which has its own memorable music video. They all did back in “the good ole days.”
“Interstate Love Song” is easily their most energetic video. “Big Empty” had the tie in to The Crow and was a phenomenal tune. But “Plush” takes the cake. And it will forever take said dessert. This is the video that propelled Stone Temple Pilots into the stratosphere, a celestial setting of which Weiland was never comfortable.
The video is nothing special from an aesthetic consideration; plenty of videos at this time were more showy. But this “Plush” video, fish-eyed and unfocused, scattered, sells the lead singer better than any other videos of the time.
Triple 9, one of those gritty heist tales from director John Hillcoat (The Proposition, Lawless, The Road), is set to open in theaters nationwide this weekend. It boasts a fantastic cast and will deliver for audiences with its heart-pounding action sequences and gut wrenching story.
This story of corrupt cops and dirty thieves set on the seamy streets of Atlanta stars Chiwetel Ejiofor as Terrell Tompkins, the leaders of a criminal group for hire. Tompkins’ group is made up partly of corrupt police officers. The crew narrowly escapes the opening bank job following a messy and intense highway shootout. They think they’re done working for the Russians (the gang that hired them for the bank job) but they are forced into one last job by a member of their crew is killed. Irina (Kate Winslet), the head of the Russian gang, makes it even more personal by holding Terrell’s son practically captive. Their mission is to rob a Homeland Security building. The group decided the way to do this would be to commit a Triple 9 (shoot a cop) on the other side of town as a distraction and their target winds up being a young detective, Chris Allen (Casey Affleck), who just joined the gang unit. Hot on the thieves’ trail is a grizzled detective played by Woody Harrelson.
Triple 9 has everything fans would want in a film. It’s directed by one of the most talented genre filmmakers working today, and the screenplay is chock-full of intense moments and pulse-pounding action. The cast is tremendous with the likes of Anthony Mackie, Aaron Paul, and Norman Reedus filling out key supporting roles. With talent like this, it’s no shock that the film turned out as well as it did. Everyone delivers strong performances, but the standout performance belongs to Ejiofor. Ejiofor gives an exceptional performance as the leader of the gang who has the most to lose.
The screenplay written by Matt Cook is full of twists, turns, and plenty of double crosses. Cook develops the characters in the film in such a way that you know just enough to want to know more. He lures you into this seedy world of crime and corruption and rather than try and get out of it; you want to dig further in. And for those out there who may know which way the wind blows here, and think they might have the twist figured out, a scene near the idle involving a central character may very well upend those predictions.
Cooks’ screenplay is rife with subtext; Anthony Mackie, who plays one of the “crooked” cops in Triple 9, starts off morality free when it comes to committing these criminal acts with his crew, but as the film progresses, you begin to spot the development of a conscious. Now, in lesser films we’d see this played out in some heated crime-drama dialogue. Mackie, though, is all body language and contorted glances.
The action in Triple 9 is effectively heart pounding, to say the least. Too often these days, the action is shaky-cammed to death or maybe blocked a bit too perfect. Triple 9’s action is intense from go and it never relents, beautifully messy and kinetic. What enhanced this was Hillcoat’s decision to shoot many of these sequences using tight, narrow lenses. It traps you in the car while the cops chase the crooks. Triple 9 isn’t going to break records or stick around long, but it’s an enjoyable genre exercise with solid character work and plenty of action and suspense to push you through the plot at a breakneck pace.
Traditionally R-Rated comic book adaption movies haven’t fared all that well. After all, saddling a film with an R rating makes it more difficult for the under 17 demographic to get in the theater without parents. And really what self-respecting teen wants to see a movie with their parents? (Okay technically they could buy a ticket for another movie and sneak into the R movie but this still doesn’t help the later movies box office.) Look at this handy chart for reference to see how R-Rated films fare…
[table id=6 /]
None of these movies are what one would call a “box office smash.”
But then along came Deadpool. As of Feb 22, the movie has a domestic gross of more than $240 million. Making it not only the most successful R-rated superhero movie, but it’s also the most successful “X-Men” movie by far. And it’s sure to pile up more records.
Deadpool as created by Rob Liefield and Fabian Nicieza is literally made for comic violence. He’s the “merc with a mouth,” constantly wisecracking as he busts skulls. He breaks the fourth wall almost as often as he breaks bones. The comic character once compared himself to actor Ryan Reynolds years before Reynolds would depict him in a film. Yeah, it’s that meta. This humor makes Deadpool different from other violent characters well suited for an R rating. In the case of DeadPool, it’s almost like watching a live action Itchy and Scratchy. Yeah sure it’s violent, really violent. The violence is over the top and laced with so much humor it’s easier for the general public to accept, remember Gremlins? Plus with the Deadpool movie you’re trying to catch-all the puns which also removes a part of your mind from thinking, “Oh he just decapitated that guy.” Deadpool is successful because the violence fits the character and the humor makes it easier for non-traditional comic fans to swallow. You need these non-traditional comic book fans to flock to a superhero movie to make it a big hit. It’s great talking about the character with people who just a few months ago had no idea who Deadpool was.
Of course, Deadpool’s box office draw has caught the attention of studios. In Hollywood, nothing spawns attempts at success like somebody else’s success. Plus memories tend to be short or more concerned with what’s hot now. There is talk of the next Wolverine movie going for an R rating. Dawn of Justice will have an R-rated director’s cut. Who knows what others may follow? Gambit and Rogue, R? (Okay, that might work…)
My fear is when the movie money people look at the success of Deadpool they are going to be blinded by dollar signs popping in their eyes. They will come to the conclusion, “R-Rated Super Hero movies are gold!” and start churning them out. If Hollywood starts making a bunch of R-rated super heroes that don’t come with Deadpool’s humor they won’t do nearly as well at the box office. Which in turn will cause the knee jerk reaction, “we have too many superhero movies let’s cut back on production…” Which would result in a decrease in the general public’s interest in superheroes and that would be sad really.
Time to get ready for “Kiss me I’m Irish” paraphernalia and Shamrock Shakes (What? They are back already? Well alright!) because March is coming soon. This means Netflix will soon be getting a slew of new arrivals for subscribers to enjoy and you need know which of these titles are necessary for keeping your Geek Credit high. Time to dive in:
1. Groundhog Day (March 1st)
Sure Groundhog Day has passed but this classic Bill Murray comedy is great any time of the year. Watch as he gets stuck in a day over and over again and tries to find a way out. Also, he lets the groundhog drive and it hilarious every time you see it.
2. Robin Hood: Prince of Thieves (March 1st)
Other than the one from 1938 starring Errol Flynn, this is film is regarded as the titular Live-Action Robin Hood movie. It stars the recently departed Alan Rickman as the Sheriff of Nottingham who goes all out and over the top in his performance as the villain.
3. Star Trek II: Wrath of Khan (March 1st)
KHAN! Yes, the movie which spawned a million memes, parodies, and was quoted to death is coming to Netflix. Is it truly one of the best Star Trek movies ever? It most definitely is so make it a point to check this one out. Oh, yeah and the first movie is coming as well, but this one was time the sequel was better than the first.
4. Scarface (March 1st)
Speaking of quoting a moving to death, “Say Hello to my little friend.” The principle of gangster movies starring Al Pacino makes its way to Netflix this month and if you a fan of action movies you owe it to yourself to check out this film.
5. House of Cards: Season 4 (March 4th)
Netflix’s multiple award winning political drama is back for its fourth season. Watch as Kevin Spacey plays Frank Underwood, who will stop at nothing to continue to obtain political power. Will Frank be able to keep his wife Claire from leaving him? Only way to find out is by watching the new season.
6. Halo: The Fall of Reach (March 7th)
Another entry into the films based on the Halo video game franchise arrives on Netflix in March. This movie tells the story of the main character, Master Chief first getting his armor and heading into battle to save humanity from the alien invaders known as the Covenant.
7. Marvel’s Daredevil: Season 2 (March 18th)
Those who haven’t taken the time t to watch the first Netflix Original Marvel series should just cut up their geek cards now. The first season was incredible and the second one looks like it will be pulling out all the stops. Both Elektra and The Punisher will be stopping by to make Daredevil’s life a nightmare fans will lovingly binge watch in the first day of release.
8. Pee-Wee’s Big Holiday (March 18th)
The return of the legendary child-like playhouse owning character has arrived. This time Pee-wee is going on holiday and meeting plenty of entertaining character’s along the way. Will it help to inspire more Pee-Wee films in the future? If not, Pee-Wee’s Big Adventure and all five seasons of Pee-Wee’s Playhouse are on Netflix for people to enjoy more of the character’s antics.
9. The Forbidden Kingdom (March 24th)
The main character might not be the best, but this film is a martial art film which blends Chinese Mythology and great fight choreography together which more than makes up for the milk toast lead. Also, it features a fight scene between Jackie Chan and Jet Li. Hopefully, you have been convinced enough to check this film out.
10. Yu-Gi-Oh: Bonds beyond time (March 31st)
Sure this anime series about a children’s card game isn’t an essential watch but this film really goes over the top with this 10 year anniversary movie celebration. Where else are going to have time travel and a villain who insists the card game will destroy humanity? Sometimes over the top entertainment like this is just what you want out of your anime watching experience.
Gotham is a quirky, darkish, fun take on the classic Batman mythoss. The show has been holding it’s own nicely on Monday nights with a 1.51 rating for that all-important 18-49 demographic. Fox will likely order a season 3, which should please viewers since Gotham has been improving with time; but it could improve even more.
Season 1
The first season had a lot of “is this character or that character the Joker?” and too much Fish for my tastes. Future Penguin and Riddler were around but they were a long way from the arch foes we’re familiar with. It seemed reasonable that Gotham City’s men in blue could deal with them. Of all the future arch villains only Zsasz seemed to need a Caped Crusader to take him down.
Season 2 – “Rise of the Villains”
The show spent time molding Oswald Cobblepot and Edward Nygma into the crime lord Penguin, and diabolic Riddler comic fans have come to expect. Tabitha Galavan has appeared, she’s not Tigress yet, but she is still far more than the average Gotham police officer can handle. Gotham’s version of Firefly has burned up a few scenes and it looks like she’ll be back. Now Gotham is adding Mr. Freeze complete with ice gun and Dr. Hugo Strange . All this combined with the already lethal Zsasz means Gotham’s going to need a hero and soon.
Jim Gordon is a war vet and tough guy but when push came to punch Theo Galavan handed him his teeth. And Theo is no match for his sister. This version of Alfred is badass, able to hold his own with Tabitha at least for brief spurts. Yet his best fighting days are behind him making him more suited to be the medic. Gotham needs somebody to instill fear into these criminals, a Batman. It would be great to see Gotham Season 3 time jump ahead three or four years giving the city a Bruce Wayne who is ready to go toe to toe with all who would do it harm.
Teen Batman?
Of course a Gotham time jump would most likely mean replacing David Mazouz as Bruce and maybe Camren Bicondova as Selene Kyle. Both of these teens have been growing into their roles, but the situation calls for a Bruce that is almost ready to put on the cowl. If not, Gotham will be in flames before Bruce is old enough to drive. Mazouz and Bicondova should have no problems finding more work. The show could even consider bringing them back in flashbacks. (Okay, maybe that’s just a CW show thing…)
The leap forward is very simple to pull off and explain. Bruce Wayne goes away for a few years to “school” in Europe. Of course, he’s actually training with the great fighting masters of the world. All the while Lucius Fox has been tinkering away with prototype devices funded by the secret division of Wayne Enterprises. Bruce returns to Gotham under the guise he is ready to attend Gotham University, but of course, he’s there to kick arch evildoer ass with guile, muscle, and technology. Not only does this make Bruce a more fitting partner for Jim Gordon it also allows for more interesting relationships with Selene and even Ivy who so far has been vastly underused. With a true almost Batman in the picture the creators could finally introduce the real future Joker. No more of this “is he or she (looking at you Barbara Keen) going to be the Joker?” Thoughts? [irp]
Long before David O. Russell would go on to be recognized for his award-winning dramedies, his sophomore effort Flirting with Disaster was released twenty years ago. The movie tells the story of Mel, a young man who’s just had a child and struggles with questions of identity because he never got to meet his real parents. Thankfully, a case worker has found out who they are, so Mel, his wife, their child and the case worker set out to find them. There’s a catch though: The case worker has found the wrong parents.
Much like the rest of O. Russell’s wok, Flirting with Disaster booms with energy from start to finish. Russell employs his ever-moving camera here, throwing in handheld shots that make the scenes come alive. But all this would be for naught if it wasn’t for the performances, and boy does this film have quite the cast: Ben Stiller, Patricia Arquette, Téa Leoni, Mary Tyler Moore, George Segal, Alan Alda, Lily Tomlin, Josh Brolin and Richard Jenkins. They all do a terrific, memorable job. Even those in small parts like Celia Weston and David Patrick Kelly leave a lasting impression. All thanks to the combination of terrific character writing and fantastic acting.
The movie is not only funny, but also surprisingly sweet. It’s not afraid to make things difficult for its characters but they’re all treated with love. The movie never feels as if it’s exploiting them in any way. The movie always ups the ante on the humor, delivering jokes that are more slapstick in nature and also ones that are outright bizarre, and completely hilarious. But there is even a little bit of thought in the movie; just like Mel we wonder: If we knew or didn’t know our real parents, how much does that shape us as people? At the same time, there are themes about fidelity, marriage and the legacy we leave for our children.
In terms of craftsmanship and storytelling, maybe Flirting with Disaster isn’t as well-polished as Russell’s later work. But it’s a very funny, energetic movie with great performances that you won’t regret watching. In fact, it may well be your next favorite movie. It’s one of the hidden gems of the 90s.
Penny Dreadful is one of those creepy, crawly shows that floats just below the pop culture zeitgeist. But this trailer for season 3 of Showtime’s seminal horror show might change a few minds:
This has always been a dark and fascinating show for anyone with even a little interest in the Universal Monsters Universe. Now, it seems, Dr. Jekyll and Mr. Hyde are in the fold, and season 3 doesn’t seem to care much about letting up.
There’s also this new poster, which looks incredible. Notice the skull…
Season 3 of Penny Dreadful, as noted above, will start on Showtime May 1.
