With an emotionally gripping storyline, tremendous acting and character development, and brilliant cinematography, Hatfields and McCoys is the best mini series I've seen since Band of Brothers.
This 3 night epic event, directed by Kevin Reynolds, demonstrates such quality filmmaking that viewers are left with a deeper understanding of the complexity of human nature. Set in post Civil War Kentucky and West Virginia, the film documents the blood feud between the families of Devil Anse Hatfield (Kevin Costner) and Randall McCoy (Bill Paxton), and how this conflict became one of the greatest rivalries in American History. What started with Hatfield's Uncle Jim Vance (Tom Berenger) murdering McCoy's brother after the man had publicly insulted him, developed into a pure and chaotic massacre of vengeance and despair. Screenwriters Ted Mann and Bill Kerby did an excellent job of documenting the sequence of events in a clear and precise manner. Other sparks that ignited the tensions between the two families included disputes over their land and timber, as well as a love affair between Hatfield's son Johnse (Matt Barr) and McCoy's daughter Roseanna (Lindsay Pulsipher). As soon as she gets pregnant, all hell breaks loose. The film's climax depicts the Battle of Grapevine in 1888 where both sides clash.
What really stood out to me about this picture was the themes it explored and how effectively they are presented. Audiences are able to witness an examination of humanity's spirit of vengeance, lust, love, betrayal, loyalty, and ultimately an example of redemption in it's purest form. Watching it, I was not only compelled by the story and cinematic techniques used, but I also thought to myself that this really wasn't all that long ago. What's more frightening is that there's nothing stopping it from happening again. This is a film many new age philosophers need to watch so they can see how misguided they are. I think humanistic psychology is a bunch of bogus. How are we good by nature when history reveals the pure evils that we are capable of? The great thing about this film is that it brings to light disturbing truths about us as humans. Furthermore, it provides a great depiction of reconciliation at its conclusion. As a Christian, I wholeheartedly believe in redemption with God, but it requires faith and for us to admit that we are sinful by nature. The Biblical themes explored in this film and the way they're presented through the characters make the story all the more compelling. Hence, I recommend this to any history buff, as well as to those simply wanting to learn more about this story. On that note, the film is set to release on DVD and Blu-Ray on July 31st.
Thursday, May 31, 2012
Monday, May 28, 2012
Men in Black 3
**
Dir. Barry Sonnenfeld
When you make a sequel fifteen years after the original, my expectations for the film aren't all that high going in. Will Smith and Tommy Lee Jones return for the third installment in the sci-fi/comedy series, Men in Black. While the story itself had potential, director Barry Sonnenfeld failed in presenting it properly.
We open on a prison escape with very poorly executed visual effects that make this one unworthy of being called a film. The last survivor of his species, a Boglodite assassin by the name of Boris the Animal (Jemaine Clement), seeks revenge on his long time rival Agent K (Jones) for blowing his arm off 40 years earlier. Meanwhile, the MIB agency has just lost their leader Zed, who is replaced by Agent O (Emma Thompson). After the funeral, we see some tension between agents K and J (Smith), resulting from K's hiding information about his past from his partner. The next day, there is a disruption in the time-space continuum. J finds himself in a world where K has been dead for over forty years, and a Boglodite army under Boris' leadership invades Earth. In order to save the human race and his long time partner, J travels back in time to 1969. Hoping to kill Boris and prevent the entire chain of events from happening, his plan fails when he encounters a younger K (Josh Brolin). Fortunately, he is able to convince him of the truth. The two then embark on their mission to stop Boris and save humanity. During their journey, both men discover things about one another, and a key component regarding J's past is revealed to him.
Although the story wasn't bad, this one lacked the essence of the classic 1997 film which made it so compelling. The humor was very dry, the action sequences were poorly done and unexciting, and the cinematography was rather weak. However, I did think Brolin was a very good pick to portray the younger version of K, and he and Smith had very solid chemistry. What stands out about the original was that it provided a fresh and compelling story, had plenty of laughs, and appealed to a wide range of viewers. Sci-fi geeks like me and casual moviegoers were equally captivated. This film however was lacking in nearly each of those elements. It was dull, fairly predictable, and not half as entertaining as the previous two. If you are an MIB fan and itching to see it, I'd recommend you save the money and wait for it to come on Netflix.
Dir. Barry Sonnenfeld
When you make a sequel fifteen years after the original, my expectations for the film aren't all that high going in. Will Smith and Tommy Lee Jones return for the third installment in the sci-fi/comedy series, Men in Black. While the story itself had potential, director Barry Sonnenfeld failed in presenting it properly.
We open on a prison escape with very poorly executed visual effects that make this one unworthy of being called a film. The last survivor of his species, a Boglodite assassin by the name of Boris the Animal (Jemaine Clement), seeks revenge on his long time rival Agent K (Jones) for blowing his arm off 40 years earlier. Meanwhile, the MIB agency has just lost their leader Zed, who is replaced by Agent O (Emma Thompson). After the funeral, we see some tension between agents K and J (Smith), resulting from K's hiding information about his past from his partner. The next day, there is a disruption in the time-space continuum. J finds himself in a world where K has been dead for over forty years, and a Boglodite army under Boris' leadership invades Earth. In order to save the human race and his long time partner, J travels back in time to 1969. Hoping to kill Boris and prevent the entire chain of events from happening, his plan fails when he encounters a younger K (Josh Brolin). Fortunately, he is able to convince him of the truth. The two then embark on their mission to stop Boris and save humanity. During their journey, both men discover things about one another, and a key component regarding J's past is revealed to him.
Although the story wasn't bad, this one lacked the essence of the classic 1997 film which made it so compelling. The humor was very dry, the action sequences were poorly done and unexciting, and the cinematography was rather weak. However, I did think Brolin was a very good pick to portray the younger version of K, and he and Smith had very solid chemistry. What stands out about the original was that it provided a fresh and compelling story, had plenty of laughs, and appealed to a wide range of viewers. Sci-fi geeks like me and casual moviegoers were equally captivated. This film however was lacking in nearly each of those elements. It was dull, fairly predictable, and not half as entertaining as the previous two. If you are an MIB fan and itching to see it, I'd recommend you save the money and wait for it to come on Netflix.
Friday, May 25, 2012
Television: A Dying Medium
As a writer, I like looking at almost any form of storytelling. I love reading and watching movies, as both mediums provide me with the opportunity to exercise my imagination, and be compelled by quality plot lines and characters. When I was growing up (I'm 18 so my childhood was during the late 90s and early 2000s), the majority of T.V. shows I watched also served the same purposes. From Justice League to Batman to Spider-Man, the comic book animated series' at this time were great examples of good television. With spectacular animation, solid writing, and great voice talents, these shows captivated viewers as much as a good movie. And it wasn't at all limited to this genre. Sitcoms from the 80s and 90s provided wholesome family entertainment, and the wide range of characters allowed audiences to connect with them in one way or another. Both cartoons and live action shows at this time demonstrated originality and creativity.
Today, it seems as though all you can find is a long list of bogus reality shows and low quality fictional series'. Nickelodeon, Disney Channel, and Cartoon Network used to contain great shows that invoked the imaginative spirit of children. I know from what my eleven year old cousin watches whenever he hangs out, that all three channels have gone down the drain. It points to the underlying problem with television and film today: people are running out of ideas.
Our culture spends way too much time watching T.V. Beyond this, there's so much pure garbage within this medium that younger generations just aren't being exposed to quality storytelling. Hence, kids today are being deprived of the opportunity to really use their imaginations. Reality T.V. continues to turn me off more and more because it just goes to show you producers can't come up with anything better. I can think of four singing shows right off the bat-"American Idol", "America's Got Talent", "Britain's Got Talent", and "The Voice". Wow, real original. Then, there are those stupid fashion shows-"Say Yes to the Dress" and "What Not to Wear". Can you get any more pathetic? A show about picking out wedding dresses and all the bogus drama from Bridezillas that accompanies it. And don't even get me started on that "Toddlers and Tiaras" garbage.
The sad thing is, it's only getting worse. If T.V. producers and screenwriters had the same mentalities as those of let's say, the guys at Pixar, we might see some more quality and family oriented shows come about. When you do things like adapt comic book characters into T.V. shows and films, you open up a lot of doors for solid, compelling plot lines. If networks would just utilize the resources they have available to them, I think this medium could move in a more artistic direction.
Today, it seems as though all you can find is a long list of bogus reality shows and low quality fictional series'. Nickelodeon, Disney Channel, and Cartoon Network used to contain great shows that invoked the imaginative spirit of children. I know from what my eleven year old cousin watches whenever he hangs out, that all three channels have gone down the drain. It points to the underlying problem with television and film today: people are running out of ideas.
Our culture spends way too much time watching T.V. Beyond this, there's so much pure garbage within this medium that younger generations just aren't being exposed to quality storytelling. Hence, kids today are being deprived of the opportunity to really use their imaginations. Reality T.V. continues to turn me off more and more because it just goes to show you producers can't come up with anything better. I can think of four singing shows right off the bat-"American Idol", "America's Got Talent", "Britain's Got Talent", and "The Voice". Wow, real original. Then, there are those stupid fashion shows-"Say Yes to the Dress" and "What Not to Wear". Can you get any more pathetic? A show about picking out wedding dresses and all the bogus drama from Bridezillas that accompanies it. And don't even get me started on that "Toddlers and Tiaras" garbage.
The sad thing is, it's only getting worse. If T.V. producers and screenwriters had the same mentalities as those of let's say, the guys at Pixar, we might see some more quality and family oriented shows come about. When you do things like adapt comic book characters into T.V. shows and films, you open up a lot of doors for solid, compelling plot lines. If networks would just utilize the resources they have available to them, I think this medium could move in a more artistic direction.
Monday, May 14, 2012
"Combatting Stereotypes: Why Movies About 'The Disabled' Stink" by Michael P. Murphy
Found this article a few weeks ago. Being physically disabled, I really liked how the author provided a lot of insight into how poorly the handicapped community is portrayed in film. Read this and share it in an effort to combat stereotypes about us.
Friday, May 4, 2012
The Avengers
****
Dir. Joss Whedon
The Avengers is what it sets out to be, a treat for fanboys and a good action flick for casual moviegoers. I went in knowing it wouldn't be nearly as thoughtful and provocative as a superhero film done by Christopher Nolan or Sam Raimi, but seeing if Joss Whedon could do justice to these characters by making a fun and entertaining comic book movie. Having anticipated this one for quite some time, I can say that I am pleased by the final product.
Starring Chris Evans-Steve Rogers/Captain America, Robert Downey Jr.-Tony Stark/Iron Man, Chris Hemsworth-Thor, Mark Ruffalo-Bruce Banner/Hulk, Jeremy Renner-Clint Barton/Hawkeye, Scarlett Johansson-Natasha Romanoff/Black Widow, Tom Hiddleston-Loki, and Samuel L. Jackson-Col. Nick Fury, the film will engage viewers with a solid story line and well executed action sequences.
When Loki returns to Earth after activating a portal through the Tesseract, his lust for revenge spells certain doom for S.H.I.E.L.D. The brother of Thor manages to enslave several of Fury's best agents, including Hawkeye, with mind control techniques. With no where else to turn, Fury decides to at last launch the Avengers Initiative, despite facing opposition from the United Nations and various government agencies. Yet the process of forming a team of independent Superheroes, each with different motives and intentions, is no easy one. Nevertheless, in order to save the human race from the greatest extraterrestrial threat it's ever faced, this band of vigilantes must set aside their differences.
This being the first live action, big budget Hollywood portrayal of any Superhero team (sadly, DC could've made a Justice League live action movie by now), fans had high expectations. Being a comic book lover, I was very impressed. Not only did it fit the qualifications for a good summer Blockbuster, but it really did the characters justice. With Marvel having had its ups and downs throughout this series, the task of culminating each of these stories together was no easy one. However, Whedon and Zak Penn constructed a plot which was great for die-hard fans as well as those unfamiliar with a lot of the characters. And from a cinematic perspective, it is dynamic. My first glance at the Helicarrier brought me back to when I first witnessed the Enterprise in the J.J. Abrams Star Trek. Whedon directs with a definitive style that makes for a nice Hollywood blockbuster. Unlike idiots like Michael Bay and Jonathan Liebseman, he knows how to effectively use CGI and make it relevant to the storytelling process.
With Executive Producers such as Avi Arad, Jon Favreau, Stan Lee, and Kevin Feige, you can't go wrong. And to top it all off, one of my favorite composers, Alan Silvestri, does a tremendous job with the film's music. All in all, I'm happy to say this was worth the years I've waited, and I would venture to say many of my fellow nerds would agree. Avengers assemble!
Dir. Joss Whedon
The Avengers is what it sets out to be, a treat for fanboys and a good action flick for casual moviegoers. I went in knowing it wouldn't be nearly as thoughtful and provocative as a superhero film done by Christopher Nolan or Sam Raimi, but seeing if Joss Whedon could do justice to these characters by making a fun and entertaining comic book movie. Having anticipated this one for quite some time, I can say that I am pleased by the final product.
Starring Chris Evans-Steve Rogers/Captain America, Robert Downey Jr.-Tony Stark/Iron Man, Chris Hemsworth-Thor, Mark Ruffalo-Bruce Banner/Hulk, Jeremy Renner-Clint Barton/Hawkeye, Scarlett Johansson-Natasha Romanoff/Black Widow, Tom Hiddleston-Loki, and Samuel L. Jackson-Col. Nick Fury, the film will engage viewers with a solid story line and well executed action sequences.
When Loki returns to Earth after activating a portal through the Tesseract, his lust for revenge spells certain doom for S.H.I.E.L.D. The brother of Thor manages to enslave several of Fury's best agents, including Hawkeye, with mind control techniques. With no where else to turn, Fury decides to at last launch the Avengers Initiative, despite facing opposition from the United Nations and various government agencies. Yet the process of forming a team of independent Superheroes, each with different motives and intentions, is no easy one. Nevertheless, in order to save the human race from the greatest extraterrestrial threat it's ever faced, this band of vigilantes must set aside their differences.
This being the first live action, big budget Hollywood portrayal of any Superhero team (sadly, DC could've made a Justice League live action movie by now), fans had high expectations. Being a comic book lover, I was very impressed. Not only did it fit the qualifications for a good summer Blockbuster, but it really did the characters justice. With Marvel having had its ups and downs throughout this series, the task of culminating each of these stories together was no easy one. However, Whedon and Zak Penn constructed a plot which was great for die-hard fans as well as those unfamiliar with a lot of the characters. And from a cinematic perspective, it is dynamic. My first glance at the Helicarrier brought me back to when I first witnessed the Enterprise in the J.J. Abrams Star Trek. Whedon directs with a definitive style that makes for a nice Hollywood blockbuster. Unlike idiots like Michael Bay and Jonathan Liebseman, he knows how to effectively use CGI and make it relevant to the storytelling process.
With Executive Producers such as Avi Arad, Jon Favreau, Stan Lee, and Kevin Feige, you can't go wrong. And to top it all off, one of my favorite composers, Alan Silvestri, does a tremendous job with the film's music. All in all, I'm happy to say this was worth the years I've waited, and I would venture to say many of my fellow nerds would agree. Avengers assemble!
Wednesday, May 2, 2012
Script Review of J.J. Abrams' Superman
Before Bryan Singer's 2006 film "Superman Returns", J.J. Abrams was originally scheduled by Warner Bros. to reboot the franchise. He did complete a screenplay, which I had the pleasure of reading after I found it on www.simplyscripts.com. Perhaps it was too many liberties he took from the source material that made them reject it. Nevertheless, I found the plot very original and compelling.
Probably the biggest problem they had with his take is that Krypton is not destroyed in this story. Instead, the home planet of DC's greatest hero is plagued by civil war. A rebellion under the leadership of Jor-El's brother Kata-Zor wreaks havoc upon the Kryptonians, forcing Kal-El's parents to send him to Earth to be safe. From here, Jonathan and Martha Kent adopt the young child and give him the name Clark. Keep in mind, his biological parents are still alive, with the script actually including an encounter between the Kents and Jor-El later on.
What I really liked though was how Abrams developed Clark's character. We see him as a young boy struggling to control his powers, and continue to have difficulties as an adolescent in Smallville. One scene features him as a young boy lash out and beat up his parents' landlord with little to no effort, after the man sexually harassed and attacked Martha Kent in the middle of a parking lot. This moment comes to scar him, as he realizes how dangerous he is.
The story continues, and when he discovers the red and blue suit in his basement, Jonathan and Martha Kent realize they must tell him the truth. Hearing that he's from another planet is overwhelming to say the least, and he does nothing but hide his powers over the next decade or so. After briefly meeting incoming Freshman Lois Lane his senior year in college, her determination to become a reporter for the Daily Planet helps him choose a career path.
Years later, he reunites with her his first day on the job. He also meets a homosexual Jimmy Olson (this was a little weird and unnecessary), and the classic, grumpy old Perry White barking orders at him as soon as they face one another. In Metropolis, the charismatic, yet mysterious Lex Luthor announces his plans to seek out alien forms so as to protect Earth from extraterrestrial threats. Although he meets a great deal of opposition from Lane and many government agencies, he has allies nonetheless. Not long after his introduction, Superman is forced to reveal himself to the world in order to save a helpless Lois Lane when her plane breaks down (this scene is very reminiscent of that in the 1978 Richard Donner film). The next portion of the script is what we expect. The world marvels at the heroic feats Superman is able to accomplish, and no one is more entranced with him than Lane. However, the moment of Superman's first strike is followed by the death of Jonathan Kent.
Yet while the humans glorify the Man of Steel, Krypton is flooded with tyranny under Kata-Zor's totalitarian reign. After receiving news of Kal-El's heroism, the tyrant is beyond delighted to discover his whereabouts, and sends his son Ty-Zor to do the honors of killing the Prince of the ancient Kryptonian prophecy. A great battle follows, and the mighty Superman does fall. What comes next is quite interesting. Jor-El committs suicide upon the knowledge of his son's death, and he and Kal-El meet for the first time in the afterlife. It is this moment when the hero discovers his true destiny, and resurrects upon receiving his father's touch. We then watch him return to defeat his menachial cousin, as well as bring Luthor to justice (who actually turns out to be Kryptonian, another plot aspect I wasn't fond of). The script concludes with Kal-El leaving behind his home on Earth to return to Krypton.
Hence, there's definite originality in this piece. I found myself incredibly compelled by the uniqueness of Abrams' work, and I'm quite disappointed this one was not produced. Nonetheless, you can still read this script online, which I would recommend any comic book movie lover to do.
Probably the biggest problem they had with his take is that Krypton is not destroyed in this story. Instead, the home planet of DC's greatest hero is plagued by civil war. A rebellion under the leadership of Jor-El's brother Kata-Zor wreaks havoc upon the Kryptonians, forcing Kal-El's parents to send him to Earth to be safe. From here, Jonathan and Martha Kent adopt the young child and give him the name Clark. Keep in mind, his biological parents are still alive, with the script actually including an encounter between the Kents and Jor-El later on.
What I really liked though was how Abrams developed Clark's character. We see him as a young boy struggling to control his powers, and continue to have difficulties as an adolescent in Smallville. One scene features him as a young boy lash out and beat up his parents' landlord with little to no effort, after the man sexually harassed and attacked Martha Kent in the middle of a parking lot. This moment comes to scar him, as he realizes how dangerous he is.
The story continues, and when he discovers the red and blue suit in his basement, Jonathan and Martha Kent realize they must tell him the truth. Hearing that he's from another planet is overwhelming to say the least, and he does nothing but hide his powers over the next decade or so. After briefly meeting incoming Freshman Lois Lane his senior year in college, her determination to become a reporter for the Daily Planet helps him choose a career path.
Years later, he reunites with her his first day on the job. He also meets a homosexual Jimmy Olson (this was a little weird and unnecessary), and the classic, grumpy old Perry White barking orders at him as soon as they face one another. In Metropolis, the charismatic, yet mysterious Lex Luthor announces his plans to seek out alien forms so as to protect Earth from extraterrestrial threats. Although he meets a great deal of opposition from Lane and many government agencies, he has allies nonetheless. Not long after his introduction, Superman is forced to reveal himself to the world in order to save a helpless Lois Lane when her plane breaks down (this scene is very reminiscent of that in the 1978 Richard Donner film). The next portion of the script is what we expect. The world marvels at the heroic feats Superman is able to accomplish, and no one is more entranced with him than Lane. However, the moment of Superman's first strike is followed by the death of Jonathan Kent.
Yet while the humans glorify the Man of Steel, Krypton is flooded with tyranny under Kata-Zor's totalitarian reign. After receiving news of Kal-El's heroism, the tyrant is beyond delighted to discover his whereabouts, and sends his son Ty-Zor to do the honors of killing the Prince of the ancient Kryptonian prophecy. A great battle follows, and the mighty Superman does fall. What comes next is quite interesting. Jor-El committs suicide upon the knowledge of his son's death, and he and Kal-El meet for the first time in the afterlife. It is this moment when the hero discovers his true destiny, and resurrects upon receiving his father's touch. We then watch him return to defeat his menachial cousin, as well as bring Luthor to justice (who actually turns out to be Kryptonian, another plot aspect I wasn't fond of). The script concludes with Kal-El leaving behind his home on Earth to return to Krypton.
Hence, there's definite originality in this piece. I found myself incredibly compelled by the uniqueness of Abrams' work, and I'm quite disappointed this one was not produced. Nonetheless, you can still read this script online, which I would recommend any comic book movie lover to do.
Subscribe to:
Posts (Atom)