woensdag 15 januari 2014

Today's Double News: Marco Polo Most Wanted



Another instance of me killing two birds with one stone (an act I can only condone in a figurative sense by the way):

http://www.moviescene.nl/p/153071/netflix_produceert_marco_polo_serie

http://www.moviescene.nl/p/153030/speciale_golden_globe_promo_voor_muppets_most_wanted

More historical series, epic or otherwise, are always welcome, especially if they involve 'political skullduggery, sexual intrige and spectacular battles'. I can't recall Marco Polo having been done before on the small screen, so this might be as good a time as any to start. There's enough hugely fascinating material to be covered, ranging from Polo's long voyages to the East and the clash of cultures between West and East (but also the mutual learning) the explorer personified, to the major political strife in ancient China. At least there's one Game of Thrones veteran to bring his expertise on television like this along, and the participation of the duo of writer/directors Sandberg and Ronning is also most welcome after their wonderful Kon-Tiki movie that already showed they have an affinity with exploration, even though I know they are quite busy working on Pirates of the Caribbean: Dead Men Tell No Tales simultaneously. In all honesty, I'm not acquainted with showrunner John Fusco's body of work, but judging from his resumé - which includes The Forbidden Kingdom and the upcoming Crouching Tiger Hidden Dragon II (don't ask) - the Far East is something he enjoys, and if that's true, he might be properly motivated to make this project work to the best of his abilities, as would befit a showrunner. As for Netflix, I have as yet no need for it in my life, since I prefer to watch television of my choice the oldfashioned way, by slowly but surely - with emphasis on the former it must be admitted - working my merry way through huge piles of DVDs and such. So I guess I'll have to do some serious waiting on this show over the next two years, as I'm also not the downloading type. Oh well, that pile will keep me busy for many more months to come anyway.

And should I get bored regardless I can always go see a movie in theaters, like Muppets Most Wanted for example (not the strongest segue, I'll grant you). This new Golden Globe promo spot is pretty hilarious, though it could easily have been done with other movies too, or for other award shows for that matter. Wouldn't be surprised if the Muppets had something up their sleeve for the Oscars too. Until that time, this fun little teaser is enough to whet our appetite for this 'most sensational, inspirational, celebrational, muppetational' sequel. And it also adequately reminds us to avoid any online message boards that are running rampant with trolls, flame wars and assorted silly people, especially the sort that would entice unsuspecting visitors to make money simply sitting at home.



dinsdag 14 januari 2014

The Lost World Exclusives: Dino Tracker Adventure Set



Year of release: 1997

Accessories:
-Dino Tracker figure
-Estemmenosuchus figure with dino damage skin patch
-Scutosaurus figure with dino damage skin patch
-Six pieces of capture gear
-Bola Launcher set with double bola, harness and support stick
-Aerial Net Trap set with net and bomb




Description: this set comes with no less than two different prehistoric creatures (not dinosaurs!), each with its own distinctive paint job, dino damage, attack action and capture gear. Additionally, it comes with two sets of weapons, a Bola Launcher and a net launcher (the Aerial Net Trap). Lastly, a dino tracker figure completes the set.
Scutosaurus assumes a walking posture, with its left hind leg and right front leg moved back ward and its other legs posed in a forward move. It is reminiscent of a toad, with warts all over its body, a very short tail, a large plump body and a rather grumpy looking face. Its predominant colour is green, which is found on the entire sculpt save its underside (belly, lower part of the tail, throat, part of the lower jaw and tusks), which is all beige. The green is not all the same tone, since there are several hues of darker and lighter green mixed in. On its back the green is almost brown even, while on its flanks it’s much brighter green. The animal has yellow eyes, and two large white tusks or teeth sticking out of its lower jaw. Its claws are not painted. Quite noticeably, it does not have a JP or TLW logo anywhere on its body, which may cause some confusion among people who aren’t experts on JP toys; however, it most definitely is one.
Scuto comes with a head butt attack action. Pulling its right hind leg back makes the head raise upwards and violently flip back, as if the creature is attacking a foe with its tusks. Additionally, on its right flank, part of its skin can be removed, revealing a dino damage wound showing white ribs (though no muscle tissue, like the Scuto’s blood is green too). This figure comes with three pieces of capture gear, all painted shiny metallic silver: a typical hand cuff to put on any of its limbs, a piece of leg restraints that is supposed to stick to its right legs so the animal can’t use its head butt action, and a head mask, keeping people save from its tusks. There is no creature-breaks-free-of-restraints action involved.
The second beast this set contains is called an Estemmenosuchus. It is without a doubt one of the most bizarre JP toys ever produced (if not one of the weirdest animals ever to have walked the earth). It has a rather broad and thick body, with four small legs and a tiny tail sticking out. Its head is adorned with several odd protrusions: two large crests sticking out its cheeks, a small white horn on its snout, a row of bumps running down its forehead and two pairs of horns in a symmetrical pattern on its upper head. It has tiny yellow eyes. Its mouth is opened (and can’t be closed), revealing big white teeth, two on its lower jaw, five on its upper jaw. It also has a small pink tongue sticking out. The animal sports a sort of copper metal look over its entire body, being coloured in a dark grey paint job with bluish grey lines running all over it in a sort of ‘net’ pattern. It does not have a different paint job on its underside, like most JP figures do.
Estemmeno stands in a largely neutral posture, except for the tail, which is bent to the right. Its head is turned to the right as well, but this is due to the attack action this figure features. Pulling the right hind leg back makes the creature swivel its head to the left, as if it’s giving head butts to some unseen enemy. Like the Scutosaurus, it carries a removable dino damage skin patch, in this case located on the back of the creature. Removing it reveals white bones and tissue, again with no red mixed in. Another thing Estemmeno and Scuto have in common is the three pieces of capture gear with the same functions. Estemmenosuchus also comes with a hand cuff that can go on any of its legs, a piece of leg restraints that hinders the attack action, and a mask to keep its head from harming people. And like Scuto, Estemmeno does not feature a JP logo anywhere on its body, making it difficult to classify for a layman.
The dino tracker figure stands in a totally neutral position. He wears a blue sweater with green pieces mixed in and a beige shirt underneath. On the left part of his chest he sports a badge with the JP logo (not the JP: Site B logo, revealing this figure’s status as a repaint). He also wears dark green pants with pockets and an odd TV-screen ornamentation, green boots, bright green gloves (including a big one with a “harness” on it over his left lower arm) and a walkie-talkie on his back. He has a very bright pink/beige colour on his head, which makes him look ill compared to other human figures. His eyebrows and hair are brown, and he wears a dark green cap on his head with a yellow T-Rex JP logo on the back. The figure does not have any action features of his own.
The set comes with a Bola Launcher and Aerial Net Trap, repainted/reused from JPS1/2 figures. The net launcher is basically a large blue backpack with an arm extending from its back. The net can be put on this arm, and pulling the arm back and releasing it makes the net being launched. A change has been made to the way this net launching system works compared to the original Aerial Net Trap that came with the JPS1/2 Alan Grant figures: those net launchers featured a button on the back of the pack which caused the net to be launched. That system also worked better. Another change to this weapon is the straps which make it capable of being attached to the Dino Tracker: they are somewhat longer and have less holes in them, to accommodate the Tracker figure, since the original design would have made the backpack and figure incompatible. The Aerial Net Trap also comes with a small bomb, painted light blue, which still serves no particular function, but makes a nice little additional gadget.
The Bola Launcher is identical to the one that came with the JPS2 Bola Launcher Alan Grant figure. It has not been repainted or changed in any way. This set consists of a launcher, a double bola, a harness to attach it to the figure, and a stick to support it while attached to the figure. After loading the launcher, pressing the round button causes the bola to be shot away, hooking itself around any creature in its trajectory (though its range is somewhat limited).
All in all, this Exclusive Dino Tracker Adventure Set consists of a total of 18 pieces, making it hard to find in a complete condition (unless it’s MIB of course).




Analysis: though featuring several repainted or even reused elements, this is by far one of the coolest and most playable sets around, good for many hours of great fun. Both creatures sport an interesting look and adequate paint job (even original in Estemmeno’s case), as does the Dino Tracker figure. There’s also a lot of neat action features in this set. Both creatures are a huge boost to originality in the JP toy lines, so a lot of credit has to be given to the people that designed these animals. Both creatures are very bizarre and most people undoubtedly have never heard of them, partially because they were not seen in any of the JP movies. So if you want original, this is the set to turn to.
However, in some ways it’s totally the opposite of original. After all, it’s all repaints (though the creatures weren’t released before, making them fresh in some way). Also, both creatures, though totally different, share the exact same set of action options: head butts, dino damage, and three pieces of capture gear each which goes around the exact same body parts. But let’s face it: these creatures absolutely rock! Their overall look, action features that work well, and neat dino damage make for one of the best JP play sets around, so why complain about repainting? As far as repaints go, this set is not so bad.
Both creatures have a fun attack action. Their range is limited, but they work really well. Estemmenosuchus violently thrashes its head round, hitting people with its bizarre horns and crests. Scutosaurus defends itself from opponents by crashing its sharp tusks deep into their flesh. Both beasts make themselves perfectly clear: don’t mess with me… However, both of them have been messed with, judging from their nasty dino damage wounds. Interestingly enough, the wounds are composed of different material than the hard plastic these sculpts are made off: they’re sort of rubbery and flexible, reminiscent of the ‘real feel dino skin’ of the larger JPS1/2 dinosaurs. In both cases the wounds can easily be removed and put back, since they fit in perfectly. However, the wounds themselves could have featured a better paint job: there’s no blood or anything, making them seen a bit unrealistic.
The capture gear is nice too (especially the masks, which are as odd as the heads they’re supposed to restrain), though nothing really special. They don’t add much action wise, since there’s no dinosaur-breaks-free-of-restraints option involved. However, they do an adequate job at restraining the animals at least partially (though not all of their legs are restrained, but it would at least make them walk in circles).
The Dino Tracker himself is a perfect match for this set with his weird and colourful outfit, adding to the overall bizarreness of this set. He does not have any action features of his own, but his weapons make up for it. The changes made to the Aerial Net Trap are totally useless and only make it less appealing, though it’s good the Tracker can at least carry it on his back. Still, the slingshot system of the old version of this net launcher was superior to this clumsy variant. However, it is actually capable of catching either monster, though the net is too small to really restrain them. It does a better job on these animals than the Bola Launcher does. Even though the Bola Launcher fortunately has not been changed in any way and is still one of the most awesome and playable weapons of any JP toy line, it’s just not really effective on either of these reptiles. There’s just not many points it can hook onto. The legs maybe, but they’re quite small and close to the ground, so it would bump to the floor instead of gripping itself around one of them. Estemmenosuchus does have a head with many spiky protrusions on it, so it’s at least partially usable on him. Scuto unfortunately can’t say the same, unless its head is reared up maybe.
Overall, this set is really great but does have some minor problems, some of which (like the Aerial Net Trap’s new makeover and the lazy paint job of the wounds) wouldn’t have been necessary if the toy designers just put that last bit of effort in it. But because of the sheer brilliance of both creatures, they can be forgiven for such small mistakes.



Playability: quite high. There’s a lot of features in this set, and the fact it contains a human figure, two creatures, weaponry and capture gear makes it really diverse. Both beasts have a cool attack action, though the range of both is limited and consists of head actions only. Fortunately, both monsters feature full poseability (all limbs and head for each), as does the Dino Tracker. The weapons are nothing new, but all work fine, especially the Bola Launcher which is undoubtedly still one of the coolest weapons Kenner ever designed. The capture gear does not come with any dinosaur-breaks-free-of-restraints action, but does a proper job of keeping people safe from the head butts of these ferocious critters from before time.

Realism: needless to say, neither Estemmenosuchus nor Scutosaurus appeared in any of the JP movies (sadly). Credit has to be given to the Kenner team’s nerve in producing such bizarre and unknown prehistoric animals (which is probably a reason these two didn’t get a release when JPS2 hit stores back in ’94). Though they did a pretty good job with this pair of ravenous reptiles, they still got a few details wrong. For one thing, Estemmenosuchus seems to be lacking a neck and has rather a short tail (and yes, Estemmenosuchus did really exist, back in the Permian period some 250 million years ago). Its facial features aren’t totally correct, but with a weird head like this you’re bound to get a few things wrong. Scutosaurus is almost correct, apart from those idiotic spikes on its lower jaw. Though the creature supposedly had tusks, they didn’t stick out of its chin and were much smaller. Still, in both cases the designers did quite a good job of adapting these animals to the toy realm.
The Dino Tracker isn’t supposed to be any particular character from the TLW movie, or other JP films. He’s purely an invention on Kenner’s part, which makes a welcome change to the list of human figures that are supposed to represent a certain actor/actress from the movies but look nothing like him/her, which has occurred on more than one occasion to say the least. Both sets of weapons and the capture gear are completely fictional as well.

Repaint: yes, all of it. Every part of this set is repainted from older sets from the JPS1/2 toy lines. The Dino Tracker’s body is a repaint of JPS2 Bola Launcher Alan Grant, while the head sculpt is a repaint of JPS2 Harpoon Harrison’s head. The figure would be repainted again for TLWS2, as the Urban Assault Gear Eddie Carr, but sporting a different head. The Bola Launcher set is also (obviously) reused from the JPS2 Bola Launcher Alan Grant, and it’s not even a repaint, sporting the same paint job. The Aerial Net Trap, as well as the bomb, are repaints however, from the regular JPS1/2 Alan Grant figures.
As for the creatures, both of them are repaints too, but they never made it to stores before. They were originally planned for release in the JPS2 toy line, but were eventually scrapped, along with several other figures, some of which did eventually get a release for the TLW lines like this pair did too (i.e. Ornithosuchus and Gulper/Bull T-Rex). Both monsters come with their original sets of capture gear and dino damage. The paint job of both animals is a lot different from the original figures, of which only very few survive. The Estemmenosuchus sported dark green and brown colouring, while the Scutosaurus came with a brown and beige paint job with blue spots and stripes and bright orange tusks. Still, the new paint jobs are not bad. On a side note: apparently something went awry when the Estemmeno got a makeover: his left front and hind leg were switched, so his legs now appear in a very odd position.

Overall rating: 9/10. Okay, so there’s a lot of repainting here. For once it turns out very well and at last gives us the fantastic Estemmenosuchus and Scutosaurus figures, which we were denied in 1994. Despite some minor issues, this set sports major playability, and two of the most wonderful figures of all the toy lines with neat attack actions and dino damage.
Now, here’s the catch: this exclusive set is one of the rarest sets of JP toys around, and can be a total bitch to get your hands on. It’s nigh impossible to find a loose and complete set (though you could of course mix the figures with some pieces of other sets that came with the same weapons), and MIB they don’t turn up everyday and have been known to fetch high prices. However, it may prove totally worth it, for few sets are as cool and original as this one. Good luck getting one…

maandag 13 januari 2014

Today's Mini-Review: Death Race


Rating: ***/*****, or 7/10

Starring: Jason Statham, Joan Allen, Ian McShane
Directed by Paul W.S. Anderson
USA/UK: Universal Pictures, 2008

A good remake keeps the message of its predecessor intact, just altered to fit and reflect the times that influenced its own production. Since Paul Bartel's and Roger Corman's original exploitation movie Death Race 2000 didn't pretend to have a message to speak off, but instead aimed to be a simply entertaining action flick hellbent on giving spectators a gory thrill ride filled with absurdist jokes making fun of politics for the heck of it, there was room for negotiation in that regard when the time was deemed right to tell the story again. The good-humoured gags and slightly satirical and subversive elements were brusquely traded in for a more serious approach, as the new Death Race is set in a bleak world where the economy is in such a shambles the huge masses can only be appeased by watching other people, worse off than they are and pushed into a life of crime, engage in excessively risqué driving behavior. Inmates are offered a chance to reclaim their freedom in return for surviving a race where they must win by avoiding lethal obstacles and more importantly, each other as the goal is to viciously dispatch other contestants. Enter Jason Statham, who by now is well known for playing tough characters who won't tolerate such conditions and fight back with a vengeance.


Statham plays Jensen Ames, an honest man skilled in driving who lost his job and subsequently his wife, quickly framed for her death and sent to serve for life in jail. The wicked warden of the prison, an ice cold Joan Allen, obviously with a sinister agenda of her own, offers him a potential way out by competing in her 'Death Race' programme under the guise of a recently deceased racing legend called Frankenstein, a favorite of the crowd. Of course Ames turns out just as efficient a driver as he works his way through the game, brutally taking out many an adversary along the way and annoying his most fierce opponent, Machine Gun Joe (Tyrese Gibson). As he discovers there's more to his inclusion in the race than simply his established skill set and the warden may have been involved in the murder of his wife, Ames' objective evolves from winning the race to escaping it. Names and a general premise are about as much as this film and its Seventies' counterpart have in common. Very different in style, the modern version is an effective popcorn flick of an action film, but lacking a character of its own and feeling a tad generic overall. No poking fun at politics here. Prison clichés cannot be avoided, as is the case of sidekick typecasting (an old mentor, a nerdy technician, a hot dame as co-driver, you get it). About as inventive as the character set-up gets is Joe's status as a (black) homosexual, a notion with which nothing is done in the course of the film. Why would it anyway? The film is all about racing kick-ass cars making kills.


What Death Race lacks in terms of characters it more than makes up for when it comes to its real stars, the four-wheeled (or more) monstrous machines that form its main attraction. Various grizzly hot-rods adorned with all kinds of deadly accessories have been assembled by a clearly enthusiastic design and stunt team, guaranteeing quite the spectacle as they are pitted against each other in road racing, asphalt blazing fury. The plethora of grotesque vehicles – including an impressive monster truck loaded with ingenious weaponry – steering and hacking their way through a course of rusty, rundown warehouses makes for an eerie, hopeless post-industrial look reminiscent of such classic action fare the likes of Mad Max 2: The Road Warrior, except with the constant attention of the panoptical media at its back dominating every move of the race to ensure audience attendance. And despite the blandness of their characters, the cast does a solid job making this grim world feel convincing, Statham doing what he does best (and we wouldn't have it any other way). However, under the direction of action specialist Paul W.S. Anderson (not that Paul Anderson, as this one is not known for his carefully balanced quality storytelling), the movie never conveys the idea that it might revolve around more than just decently dynamic action scenes. If it's butch cars you want, it's butch cars you get, might as well have been the film's tagline. All else is merely secondary.


As a whole, the major differences between this latest Death Race and the original are the result of a bigger budget and scope. A true message is still not a thing of note. The 2008 version simply looks cooler and feels slicker because it had the money at its disposal, but it plays it safe by staying in its comfort zone, solely delivering action while devoid of surprise, instead of throwing oddities and black humour in the mix like the original could afford for being a smaller, independent production. Nevertheless, its tactics proved successful enough to spawn two direct-to-video sequels, and so the premise returned to its more exploitative roots (just not in a particularly good way).


And if you don't like disturbing race car driving, there's always this new Game of Thrones Season 4 trailer to drool over:

 


zondag 12 januari 2014

Today's Mini-Review: Death Race 2000



Rating: ***/*****, or 7/10

Starring: Sylvester Stallone, David Carradine, Simone Griffeth
Directed by Paul Bartel
USA: New World Pictures, 1975

Ah, dystopian societies... If they're not engaged in brutalizing their own population, they're exploring new avenues of keeping the crowd in line by trite but true methods of 'panem et circenses', also guaranteeing their own existence is kept in check by ruling through that most potent combination of fear and wonder. Some form of gladiatorial event is ever a popular choice, appealing to the inhabitants of the totalitarian regime (or simply intimidating them) as well as to cinemagoers around the globe who cannot help but be mesmerized by the ruthless spectacle that ever delivers a paradoxical sense of blatant abjection and undeniable attraction. While these days the rage consists of teenagers battling each other to the death in fancy arenas, far more colourful and bizarre forms of contest have been portrayed at the movies in earlier decades. In 1975 Rollerball introduced spectators to the sport of the same name, an odd combination between hockey and boxing, that helped set new standards of onscreen violence. Capitalizing on the advance press publicity for this film, producer Roger Corman wasn't afraid to cannibalize the notion of 'blood sports' in order to produce an exploitation film making use of similar themes, thereby taking advantage of the media interest in the topic and subsequently beating Rollerball's theatrical release by a mere two months. And so a cult hit was born with Death Race 2000.


As the title successfully indicates, the premise of the movie revolves around a lethal race set in the then futuristic sounding year 2000. After the merger of the two major American political parties when the economy collapsed, a dictatorship runs the country and the titular contest is used to keep the populace satiated, bound to their television screens instead of giving them the opportunity to go out and start plotting the government's downfall. Contestants drive across the continent and win the race not only by driving faster than their opponents but also by the number of accidental bystanders they purposefully run down. Throwing out all morality, killing kids and old folk scores you more points than hitting people in their prime, as it's the utter depravity of the kill that determines the number of points awarded. To make matters even more interesting (and weird), each driver has a theme applied to their car, so we witness zany cars in Roman, Western and gangster style designs. Commentary on the race is given by the most obnoxious sportscasters imaginable to enhance the viewer's general sense of 'what-the'f**k'. The most popular participants of the 2000 race are Frankenstein (David Carradine, the world's most (in)famous autoerotic asphyxiation victim) and Machine Gun Joe Viterbo (a pre-Rocky Sylvester Stallone), both very able killer car drivers with little to no compunctions about hitting pedestrians hard. Frankenstein however finds himself caught in a ploy from a resistance movement to sabotage the race and assassinate the president, but he holds his private motives and political convictions (if any) as well. As the deplorable race progresses, Frankenstein must both survive his race rivals and outwit political insurgents who would abuse him as a puppet for their own shady agenda.


As you may have gathered, unlike Rollerball, Death Race 2000 has no pretensions of being a serious film, as it's more occupied with satirizing the social mores and the role of the media than with exploring the changing nature of violence in present day society; a major theme in the Seventies, as movies got increasingly more bloody and gory and actual violent incidents were allegedly inspired by such audiovisual fare, making society fear civilization was rapidly spiralling out of control. Though a fair amount of blood and gore (and nudity to top it off) is present in Death Race 2000, the movie mostly feels like a comedy and wants to do just that, making ample fun of people's projections of the future debasement of political standards and the mental deterioration caused by the media dumbing people down by pushing mindless drivel down their throats. It's easy to read social commentary in this film, even though Corman and the film's director Paul Bartel have no desire to come off as overly political, instead opting only to make a simple fun and ridiculous movie appealing to bored teenagers, appropriating themes and trends of the day just to ensure the movie makes more money than it cost (always a specialty of Corman's). Their intentions are adequately underscored by cheap production design, cheesy oneliners and completely over-the-top performances throughout the picture. With such ingredients and lack of willful message, it's no surprise Death Race 2000 became a smash cult hit, generating quite a profit from its obvious low budget (only around 300,000 bucks). A remake (and two sequels to that) starring Jason Statham would eventually follow, which traded in the good humour for a much grittier and convincing look and cars and stuntsto match that actually delivered the spectacle dystopian society already promised its audience three decades earlier.


zaterdag 11 januari 2014

Today's Double News: apes and agents



Old news by now (I was busy these last few days I'll have you know), but since I wrote it I post it here today regardless:

http://www.moviescene.nl/p/152961/_rupert_friend_vervangt_paul_walker_als_agent_47

http://www.moviescene.nl/p/152922/reeves_terug_voor_planet_of_the_apes_3

The signs of the impact of Paul Walker's demise continue to reveal themselves as recuperation is in order for a second project that he signed on for but obviously is unable to complete. In this case little actual work had been done on the film in question so the damage his death hath wrought is not nearly as severe as on Fast and Furious 7. And since it was a reboot with no ties to the previous incarnation of the cinematic Hitman legacy (in terms of casting at least), recasting was the most simple and cost-effective of solutions. One actor known for his expertise when it comes to action sequences replaces another as Rupert Friend has filled Walker's boots. No biggie, really? The general public probably won't realize or care about this switch when the movie 'hits' theatres (see what I did there?). Was another Hitman movie necessary or something the public was clamoring for? Not really, otherwise the studio would have made a sequel to the 2007 movie sooner. Since that movie wasn't received all that well and video game adaptations are still a much maligned phenomenon, I doubt this reboot will fare that much better at the boxoffice, but that doesn't stop the studio from trying its luck. Odd thing here is the fact the guy who wrote the previous film is also scripting the new one. He must have done something right if the studio doesn't bother with finding a different writer.




Speaking of people who are doing things right in terms of making movies (look at me, applying effective segues all of a sudden!), it seems Matt Reeves is one of them. Fox apparently liked what he made of Dawn of the Planet of the Apes so much they signed him on as director for a third film, six months prior to the release of his current project. So other than studio bosses, nobody has had the chance to deduce whether the current cut of Dawn is indeed any good, we'll just have to take it on good faith. Happens a lot in Hollywood these days, movies being geared up while their predecessors haven't even been finished yet, because the studio is convinced the movie is awesome, and so the finanical results will be. If Dawn proves a dud at the boxoffice (I personally doubt that, but the possibility is always lurking around the corner), you'll see the third movie will be swiftly scrapped despite ample dollars having been spent on it already. Also an increasingly common occurrence. Hollywood nowadays just doesn't dare risk losing the audience's attention if they got a good franchise going. Wait too long and the public might lose interest after all. Mindless consumers have no memory, they might as well say. It seems they instead opt for rushing sequels into production, in hopes that tactic pays off. Rise of the Planet of the Apes did better than expected, so the same could very well be true for Dawn (I sincerely hope so, since I too liked Rise). Reeves in my mind is a very capable director, so if the studio says he's making a good film out of Dawn, I'm inclined to believe it, even if it proves to be just a marketing tactic. You've got intelligent apes in a post-apocalyptic world fighting humans, so what are the odds of a screw-up here anyway? Okay, so the original concept wasn't explored so satisfactorily in the Seventies with Battle for the Planet of the Apes (I blame the mutant element of that film), but let's have a little faith here. So far every project featuring Andy Serkis donning a goofy mo-cap outfit has turned into a major success.

On a sidenote, something that doesn't seem to have been such a success (there I go again!) this week turned out to be a fabulous little show called Boardwalk Empire, which I thoroughly enjoyed as it happened. We'll get one more season to round things up and that's that. They better give the show a decent send-off, or I might go al(l) Capone on HBO (the witticisms continue). Fortunately we'll always have Game of Thrones. New teaser for the trailer was released this week, the actual piece will follow tommorrow. Hear me cheer!





vrijdag 10 januari 2014

Today's Mini-Review: The Deadly Mantis




Rating: ***/*****, or 6/10

Starring: Craig Stevens, William Hopper, Alix Talton
Directed by Nathan Juran
USA: Universal Pictures, 1957

Giant movie monsters, usually (though not necessarily) spawn or awakened by atomic experiments, that subsequently went rampaging through unsuspecting cities could be divided into two categories in the Fifties, the decade in which they were most prevalent. The first and most famous category was reptilian in nature, and hearkened back to Willis O'Brien's Brontosaurus crushing London in 1925's The Lost World, eventually giving rise to the famous ultimate atomic nightmare Gojira (1954) (though certainly not stopping there). The second category consists of the various types of creepy crawlies that together can be sided under the general moniker of 'bugs'. As notable creatures in this regard the giant ants of Them! (1954), the gargantuan 'sixtopus' of Ray Harryhausen's It Came from Beneath the Sea (1955) and the oversized spider in Tarantula (1955) deserve honorable mention. Less well known is the tremendously large praying mantis from The Deadly Mantis, which is not surprising since it offers little that has not been seen in other bug movies, save a different monstrous creature threatening mankind. Nevertheless, it's a fairly entertaining atomic age flick.


Surprisingly, the origin of the titular beastie is not actually atomic. In this case, a volcanic eruption is responsible for freeing a 200-ft long prehistoric mantis – since everybody knows that in prehistoric times every animal was stupendously big after all – from its Arctic tomb. The effect is all the same though. The creature travels southwards, wreaking havoc and killing many people in its path. The United States military soon responds to the loss of its polar outposts and sends a team to investigate, which includes a paleontologist, a handsome army officer and a beautiful woman. Of course, the latter pair predictably gets more involved with each other than with the big bug running rampant, as is all too typical for movies from this era. But when the mantis finally attacks Washington D.C. decisive military action is called for and the team searches for a way to annihilate their hideous opponent. But naturally not before it has had a decent opportunity to terrorize a few national landmarks, also an ever delightful genre staple.



Nathan Juran, who would continue making similar pictures like The Brain from Planet Arous (1957) and the original cult classic Attack of the 50 ft Woman (1958), serves as a capable director for crafting an enjoyable monster movie out of a by this time already worn-out premise, which betrays his qualities that would later cause him to become a valuable collaborator on several excellent Harryhausen movies, namely the rather similar 20 Million Miles to Earth (1957) in which a reptilian/humanoid Venusian threatens Rome, First Men in the Moon (1964) and of course, the wonderful 7th Voyage of Sinbad (1958). The obvious mantis mock-up doesn't look as phony as it could have looked under the instructions of a lesser director (though a far cry from realistic), while the cast plays their parts convincingly enough for this type of B-movie. While The Deadly Mantis proves less than a stellar entry into the 'creature' subgenre of the 1950s, it remains somewhat of a cult favorite among fans of the science fiction pictures of the era. However, it's also exemplary of the tail end of the decade, that witnessed the notion of big beasties trampling both civilization and audiences' interest to death in rapid succession in ever cheaper and worse movies, despite the decent start offered by all too similar pictures in the first few years of the First Wave of science fiction films. Don't blame the mantis for that though.

donderdag 9 januari 2014

Today's Review: Philomena



Finally another review for MS:

http://www.moviescene.nl/p/152474/philomena_-_recensie

Not the greatest dramatic presentation, nor the funniest of comedies. Rather an average film, a true mixed bag in every sense of the word, despite the intriguing and stil fairly topical substance. Damn fine good old fashioned British acting though, as could be expected. This was the last film shown in the now deceased Provadja theater in my home town of Alkmaar. Not the best swan song imaginable, but a far cry from a wasted evening. As for the lack of arthouse now plaguing Alkmaar, events have been set in motion to remedy that, and I'm happy to be a part of it. Hopefully those in need of finer, more thought provoking cinema will soon be able to get their occasional fix again. If I have anything to say about it, better titles will be made available, though there's bound to be a few disappointments down the road (well, sorry!).