Zombos' Closet

Simplicity in Red, White, and Blue Captain America: The First Avenger (2011)

ZC Rating 5 of 7: Excellent

My favorite comic book character, Captain America, is the perfect superhero because he's not so super. He doesn't fly, he's not impervious to harm, although his body can regenerate when damaged, and while he's a lot stronger than any other normal man, he's not Spidey-strong. He's just a tough scrapper, a formerly scrawny guy from the East Side of New York (or Brooklyn, as he says in the movie) who does good because it's simply the right thing to do. And when he gets his chance to serve his country after being labeled 4F five times, to fight a clearly defined and very evil foe, he takes it without batting an eye. He doesn't like anyone getting pushed around, let alone himself.

Looking a lot like the "Hey, Skinny!" weakling in the Charles Atlas comic book ads, he knows a lot about getting beat up, but he never quits, even after losing his parents, not getting the girls, and constantly being bullied because he's small. That speaks volumes to the American spirit that won World War II after getting knocked down hard in Hawaii. With all this patriotic symbolism, and the many pitfalls inherent in handling it today, it's very gratifying to see how well Joe Johnston and the writers of Captain America: The First Avenger guietly acknowledge its power by underemphasizing it, keeping their story simple, the dialog chipper and in period, and the characters determined. There's an old time serial movie mood that permeates every scene, and honey-gold tones to color it nostalgic. There are clear cut heroes and villains to root for and hiss at, and they're simple but believable within the comic book context. This movie gets the job done as well as Cap does, without inane, loud clashing robots, and pandering to the popcorn rows.

Steve Rogers (Chris Evans, the Human Torch in the Fantastic Four movies) takes it on the chin mentally every time he gets denied enlistment in the army. He's sickly, fragile, and determined to show that's only his body, not his spirit. He gets his chance when Dr. Erskine (Stanley Tucci) offers him super strength, strong stamina, and a chance to finally knock some Nazi heads together. Colonel Phillips--the surly Tommy Lee Jones and his patented army role go together like bread and butter--deadpans his disagreement with the doctor's choice for volunteer, but Rogers shows his ingenuity and bravery, making the Colonel give up by saying "he's still skinny." But not for long.

The doctor's process of chemicals and Vita-Rays transform Rogers into a brawny hunk. The transformation is startling because the CGI is seemless. Shrinking Evans' real body into the smaller Roger's one is uncanny because it's believable. The initial plan of using a smaller person with Evans' head superimposed didn't work well because the body movements  between Evan's and his stand-in didn't match up. The downsizing tweak left space in the scene that needed to be filled, so you can imagine the complexity of getting it right. A spy kills Erskine, leaving Rogers the only super-soldier the army's going to get. So they put his newly endowed powers to good use:  by selling war bonds. A clever set up for the eventual costume and the name 'Captain America' evolve naturally from his touring for the war bond effort. 

When his best friend, Bucky Barnes (Sebastian Stan) goes missing in action, Rogers breaks ranks, with the help of Howard Stark (Dominic Cooper doing a mean Howard Hughes riff) and Carter (Hayley Atwill), to go after the power-mad Red Skull (Hugo Weaving) and his HYDRA minions, whose advanced weaponry and technology stump even Stark. In possession of the Cosmic Cube, the Red Skull has unlimited power at his disposal to accomplish his plan of world conquest.

Although the movie begins in the 1940s, it ties into The Avengers movie being released next year. You can catch a glimpse of it if you wait for the credits to end. I strongly recommend every congressman watch this movie. It might help them remember what they seem to have forgotten about the American spirit and getting the job done. 

 

 

Iron Man 2 And the Comic Book Movie State of the Art

Article by Scott Essman

Since the box office explosion of Tim Burton's Batman feature adaptation in 1989, the major Hollywood movie studios have attempted to exploit the comic book / graphic novel in feature adaptations of hordes of previously dormant franchises. In the past twenty years, there have been many such films and sequels, not to mention many other films which have tried to copy the métier of these films with the hope of kick-starting a new franchise for studios who increasingly rely on the synergy of their various divisions, be they publishing, broadcasting, print, amusement parks, and emerging digital technologies. The issue is that only a very few of these properties have proved worthy of their legacy, and even fewer have created the buzz that the modern incarnation of studios swear by to generate material across the many media that they govern.

In the 1990s, after three increasingly poor Batman sequels, comic book adaptations and copycats seemed to lose their way, especially in the age of independent successes and the verite storytelling. During this time, Alex Proyas' The Crow best nailed the spirit of the comics, and Luc Besson's original The Fifth Element provided a sideways homage to periodical books including Heavy Metal. Above all of these The Matrix captured the cyberpunk/comic zeitgeist more so than any film of the decade. Coming at the tail end of the 1990s, it fully outstripped the first prequel of the second Star Wars trilogy, released at the same time, by offering a slick combination of ideas, action, nouveau technology, noir settings, and heroic characters.

The first decade of the 21st century was nothing if not a crushing disappointment on many levels, and the comic book-based films were prominent in this failure to fulfill high expectations. A long rumored and awaited Spider-Man film by the unlikely Sam Raimi provided the best of all of these films, but a quickly made first sequel offered nothing new whatsoever in the best example ever of a completely safe rehash of everything that worked the first time out. A second sequel was even more pointless, coming at a time when two meaningless additions to the fray arrived in the form of two Hulk films, each with its strengths, though the studio machinations would have us believe that the second film was a complete improvement over the first in every way. It wasn't. The second tier of these films were punched out in the 2000s, including forgettable fare such as Daredevil and its brethren Elektra, a miscreant Catwoman film, and a slew of middling films based on the X-Men franchise that were more about the agendas of the filmmakers than the resurrection of a classic property. Everything that was needed to say about X-Men was said in the first film, but that didn't stop three more films from coming through the studio pipeline.

The Dark Knight (2008) Darkest Before the Dawn

ZC Rating 5 of 7: Excellent

Nobody panics when things go according to plan, even if the plans are horrifying. If I tell the press that tomorrow a gangbanger will get shot, or a truckload of soldiers will get blown up, nobody panics. But when I say one little old mayor will die, everyone loses their minds! Introduce a little anarchy, you upset the established order, and everything becomes chaos. I am an agent of chaos. And you know the thing about chaos, Harvey? It's fair. --the Joker in The Dark Knight.

 

Moral darkness permeates Christopher Nolan's The Dark Knight. The Joker, Batman's antithesis, returns to his unsavory blend of homicidal insanity and nihilistic artistry, first seen in the 1940 Batman comic book, but softened in his subsequent appearances. Gone is the whimsically murderous trickster of precise origin, the clown prince of crime as portrayed in movies, the Batman television series, and many of the DC comic books. Replaced by Heath Ledger's chillingly amoral, incomprehensibly insane and powerfully corrupting scion of the Devil, no one, including us, is left laughing now.

Throughout The Dark Knight, one question propels the story with its increasing urgency for an answer: how can Batman and Gotham city combat the irreconcilable evil embodied by the Joker without resorting to evil themselves? Batman, Lt. Gordon, and District Attorney Harvey Dent (Aaron Eckhart), must answer it in their own way as the Joker forces them into an ever narrower space for dealing with his escalating chaos and body count. With his smeared makeup, stringy hair, cruelly scarred mouth--and ever-changing story as to how he received his permanent smile--Ledger's Joker is so evil, so anarchic, and so corrupting in his influence, there is no middle ground for goodness and morality to easily stand on. A human Thanatos unfettered by guilt, he makes Hannibal Lecter and the Jigsaw Killer look like Abbott and Costello. The only way to stop him is to murder him; at least, that's what he really wants. But will Batman put aside his moral code to do it? More importantly, do we want him to?

The Incredible Hulk (2008) It's Smashing Time!

ZC Rating 4 of 7: Very Good

By the time the Incredible Hulk bellows his signature "Hulk Smash!" in-your-face taunt to the Abomination, he's already done quite a bit of it in director Louis Leterrier's successful return to the comic book and television roots that made the rampaging, green (with purple pants), behemoth a colorfully melodramatic composition of frenzied destruction and pathos--a superhero more a reluctant monster doing good by accident rather than a skillful, caped-crusader fighting evil by design.

Writers Zak Penn and Edward Harrison (actor Edward Norton's pseudonym), reboot the Hulk's origin, distancing it from Ang Lee's failed attempt at the franchise in 2003. In the succinct opening credits montage, which uses the same gamma ray infusion device first seen in the 1970's television series, The Incredible Hulk, flashbacks show the disastrous results of the failed experiment leaving Dr. Banner (Edward Norton) prone to hissy fits on a giant scale. Lou Ferrigno, television's Hulk, puts in a cameo appearance, reinforcing the thematic connection to that series. There is also a nod to Bill Bixby, who starred as Dr. Banner, through a snippet of his The Courtship of Eddie's Father, playing on a television set.

In this second, more energetic, attempt to launch the movie franchise, Banner is on the run in Brazil, laying low from the U.S. military while searching for a cure to the raging spirit within him. This transition from Ang Lee's more introspective approach lessens the relationship-heavy storyline and heaps on the throw a tantrum, whoop-ass Hulk transformations. With smashing moments strung end to end, briefly bridged with poignant ones showing how unfortunate his condition can be--he cannot make love because too much excitement would you-know-what--this movie is less character-complex and talkative than Ang's, opening the landscape wide for plowing with carnage aplenty; exactly what the perfect, breezy summertime movie is all about: simplicity, much action, and pour on the butter.

IRON MAN (2008) A Superhero with Heart

ZC Rating 5 of 7: Excellent

Robert Downey Jr. and Gwyneth Paltrow make Iron Man more than the sum of the boilerplate screenplay by Mark Fergus, and the cover-the-basics villains and action directed by Jon Favreau. As Tony Stark, playboy billionaire (and former Long Island native), and Pepper Potts, his personal assistant handling his professional and personal affairs with equal efficiency--including his hubris-sized ego--both bring a twinkle-in-the-eye charm to this first tent-pole movie of the summertime box office season. And this tent-pole is made solid iron strong because of it.

From the opening salvo of Stark's bloody capture by terrorists, to his revelation his weapons of mass destruction actually kill more than the enemy, Downey keeps the balance of humor and drama in proper comic book movie perspective. While motivations and characters are measured in black and white to keep the action neatly moving, it 's Downey's cheeky delivery and attitude riffing against Paltrow's dry, no-nonsense, manner in between the slam-bam fisticuffs, and Stark's humorous outcomes when developing his suit of armor that delights more than the expected rousing rock music score and flashy explosions; but those are not too shabby either.

Between the exploding tanks and humvees, and bullets ricocheting, his development of Iron Man's armor from early prototype to uber-gadgetized, mechanized, Jarvisized (a very personal and proper speaking computer net), and hot-rod red splashed alloy chick-magnet, the special effects kick in bigtime but still take a backseat to Downey's over-eager robotic helpers, his insistence on testing features not quite ready for prime time, and a chest implant keeping him alive, but glows like a Burger King sign and requires more upkeep than he can carry out alone. Ms. Potts rises to the occasion here, but sends him into cardiac arrest when she accidentally pulls the plug on this mini-power plant, which keeps the shrapnel scattered around his heart from moving any closer. It also powers the suit of armor, and provides the impetus for a mine-is-bigger confrontation between Iron Man and a very hostile corporate take over.

The movie stays true to the original comic book storyline, but updates it from Vietnam to Afghanistan. There's also S.H.I.E.L.D. For comic geeks (like myself) who grew up on a steady diet of the Avengers and Nick Fury's gadget-topian secret service, I'll only say you need to stay seated past the credits. A teaser shows the possibilities for the sequel, and they are Marvel-ous indeed. This beginning franchise is running on all thrusters, and if Downey and Paltrow stay the course, it will remain so.

Fantastic Four: Rise of the Silver Surfer (2007)

ZC Rating 2 of 7: Fair (misses the fantastic spirit of the comic book story by a mile)

I was grievously disappointed with Fantastic Four: Rise of the Silver Surfer. I wasn't grievously disappointed with the first Fantastic Four film, just very disappointed. But this second film definitely cut me to the quick. Deeply. I expected so much more.

In what's called, by older comic fans, the Silver Age of Marvel Comics, the arrival of Galactus and his herald, the Silver Surfer, is a high point in the very successful collaboration between Stan Lee, writer, and Jack Kirby, illustrator. In this landmark story, the turbulent Sixties' philosophical struggle between the Flower Power hippies and the war machine Establishment is reflected in the relationship between the quintessential flower-child, Silver Surfer, and his nasty job for the ultimate status quo Establishment man, the Devourer of Worlds and wielder of the Power Cosmic, Galactus. Aside from making for terrific illustrations used in those nifty psychedelic black light posters, the depth of the storyline—unusual for comic books up until then—was heavy, man, and downright righteous. But you'd not know any of that after watching this film.

Instead, what we get is more standard chuckles between Ben and Johnny, Susan's concern over how their celebrity is ruining her marriage and family plans, along with another one of her "Oh, damn, I'm nude again in public" scenes, and simplistic children's twaddle that completely erases the grandeur, nobility, and greater depth depicted in the comic book for gosh sakes. Digest that last sentence again: the 1960's comic book storyline had more depth than this movie.

Spider-Man 3 (2007)

ZC Rating 5 of 7: Excellent

Journeys end in lovers meeting, or so the saying goes. Peter Parker and Mary Jane Watson do have one rough journey, though, before that ending comes.

Spider-Man 3 is the movie Superman Returns should have been. Take one iconic American comic book character, stir in lots of terrific, dizzying action, add a measure of relationship-woes, sprinkle a dash of rocky romance, and what Sam Raimi cooks up for the third time in a row is a movie that captures the emotional and visual charge of the comic book art form for the big screen like no other superhero movie has done since the original Superman.

Just make sure you sit farther back in the theater to catch it all: it gets rather hectic and you may spill your popcorn trying to keep up with Danny Elfman's exciting music and all that web-slinging mayhem.

Spidey's doing pretty well. He's on top of the world; and when Spidey's happy, Peter's happy. Filled with a cocksure attitude that he can take on anything, his Spider-sense doesn't warn him about those dark clouds on the horizon. He's so wrapped up in his alter-ego's success, he can't see that Mary Jane's really hurting from a career stumble, or that Norman Osborn's sinister heritage has been passed onto his son, Harry.