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The Dark Knight had some of the best viral marketing in movie history, and now it looks as if that mysterious stuff is going to continue with the final Christopher Nolan Batman film, The Dark Knight Rises. Warner Bros. opened the official website at, and if you head there, you’ll see a pixellated image of a figure. The code was cracked earlier today by some fans, and here is the image in all its glory (click image for hi-res version):

It’s our first glimpse of Tom Hardy as Bane, and it seems as if Nolan is going for a real “maniacal caged animal” look  for the character. I’m sure we’re in store for a lot more of these enigmatic images and viral tomfoolery for the next year. The Dark Knight Rises opens in June, 2012.



A while back, I wrote an article titled Top Ten Good Things About The Star Wars Prequels in which I  attempted to disprove the notion that the universally loathed Episodes I-III had absolutely no redeeming qualities. It was fairly well-received, so I began to think about other much-maligned movie franchises that might make for suitable sequels to the piece.  A friend suggested that I should try mining the dank, black coal caves of the two painfully mediocre Fantastic Four films for some valuable cinematic gems. Now, most Marvel Comics fans agree that Fantastic Four (2005) and the slightly better Fantastic Four: Rise of the Silver Surfer (2007) leave a lot to be desired (many will tell you, quite bluntly, that they outright suck giant rhino balls). These duds feature unimaginative direction by Tim Story, a lack of epic scope, weak action scenes, a lousy latex Thing costume, the infamous “Galactus Cloud”, and a horribly mis-cast Julian McMahon as a weaselly business tycoon version of Dr. Doom. Yet, despite all of these shortcomings, I managed to dig up a few things – 9 to be precise – that will make you feel like you haven’t completely wasted precious hours of your life watching them. So, without further ado, presents:

9 Good Things About The Fantastic Four Movies!

9.) Accurate Origin

Although Julian McMahon’s smarmy, Euro-trash, corporate tycoon version of Dr. Doom was lazily shoehorned in; the basic story of how the Fantastic Four received their powers in this film is fairly faithful to the comic book version. Reed Richards, and the brother/sister tandem of Sue and Johnny Storm travel into space to study cosmic radiation on a ship piloted by Ben Grimm. A massive wave of cosmic rays bombard them, they crash-land on Earth, and their strange powers manifest shortly thereafter.  Pretty spot-on.


8.) Family Friendly Tone

Children adore and idolize superheroes, but it’s a bit difficult to bring little Johnny and Suzie to the Cineplex these days when The Joker is impaling gangsters on pencils and the films in general are darker and more mature to appeal to the 18-35 male demographic. The FF movies however, are bright, sunny, safe, and — cliché as it may sound — fun for the whole family. There’s a little bit of sexual innuendo here and there (especially with Johnny Storm in the first film), but violence is non-existent, and the most traumatic thing I can recall from either installment is Dr. Doom’s scarred, metallic face.


7.) Michael Chiklis

I could probably write a 1,000-word article about why The Thing should’ve been an entirely CG character, and not a wrinkled, orange foam latex suit. But, since we’re focusing on only the good here, I’ll simply say that Chiklis was absolutely note-perfect casting as the ever-lovin, blue-eyed Thing. Chiklis nailed Ben Grimm’s gruff, no-nonsense, Yancy street attitude, and demonstrated tremendous pathos as a man struggling to hold on to his humanity after being entombed in a shell of orange rock. The scene where Ben calls his wife from a pay phone outside of their former home, and stares longingly up at the window as she recoils in horror from his monstrous appearance, is pretty damned devastating.


6.) Silver Surfer / Human Torch Chase

Whether it was  a result of director Tim Story’s inexperience, or crippling budgetary restrictions, the action set pieces in both Fantastic Four films are underwhelming, to say the least. However, the chase sequence between the Human Torch and the Silver Surfer through the steel canyons and subway tunnels of New York, and eventually into outer space — is fun, fast, and exhilarating. ‘Nuff said!


5.) The Fantasticar

Though these films are huge missteps, the production team should be lauded for their efforts to sprinkle them with ancillary characters from the comic books like blind sculptress Alicia Masters, and identifiable places like the Baxter Building. The thing that stands out to me as a nice, (and unexpected) nod to the fans is the inclusion of a version of the flying Fantasticar, the FF’s primary mode of transportation.


4.) Costumes

Yes, these suits are a bit dull for my tastes – but they’re practical, they make sense in the context of the film, and manage to remain faithful to the classic FF jumpsuit look. As an added bonus, they also afforded the adult audience an eyeful of Jessica Alba’s loin-achingly perfect posterior encased in skin-tight spandex.


3.) Stan Lee as Willie Lumpkin

Stan Lee’s cameos in Marvel Comics films have become fun little cinematic Easter Eggs to hunt for. He’s appeared as various non-speaking characters in the X-Men, Hulk, Thor, Iron Man, and Spider-Man franchises. But in the Fantastic Four films, he got to do something truly unique – play the Fantastic Four’s loveable mail carrier Willie Lumpkin,  a character from the Marvel Universe that he actually created!


2.) The Silver Surfer

Performed in both CG motion-capture and in a practical suit by the multi-talented Doug Jones, and voiced by the always awesome Laurence Fishburne, the Silver Surfer was an outstanding page-to-screen translation of an iconic Marvel character. His origin – although unseen – is accurate, as are his appearance and powers. The script also captured the essence of the Surfer’s nobility and his willingness to make the ultimate sacrifice to save humanity from his master, the planet-devouring Galactus.


1. ) Thing/ Human Torch Chemistry

Michael Chiklis and Chris Evans captured the dynamic of these two classic characters perfectly.  Their rivalry/friendship is the strongest element of the films, as Chiklis’ tough, take-no-bullshit philosophy clashes brilliantly on-screen with Chris Evans’ brash, hot-headed, skirt-chasing antics. The two actors get to share a healthy amount of screen time bickering endlessly, hurling rapid-fire insults at each other, and playing pranks (such as the power-switching in the photo above), but they also effectively convey the sense of brotherhood and comradery between The Thing and The Torch. In the end, they are family, and that relationship is beautifully defined by Evans, Chiklis, and the crew.

BONUS: Good Things About the Shelved 1994 Roger Corman Fantastic Four  Movie!

Just kidding! There’s absolutely nothing good about this…


In 2001, The WB Network aired the pilot episode of Smallville, a TV series that set out to explore the teenage years of Clark Kent before he took up the mantle of Earth’s greatest superhero. The show started off innocuously enough, following the Buffy template by substituting the “demon/vampire of the week” with a “Kryptonite Freak of the week” (usually teenagers at Smallville high with a mutation caused years earlier by the kryptonite meteor shower that occurred  during baby Kal-El’s crash-landing). Later, once Clark began to learn of his Kryptonian heritage, the series managed to escape its “Clark and the Scooby Gang solve mysteries” formula and developed into a fairly compelling show.

Then came the endless pining over Lana, copious amounts of “Peach Pit”-esque teen drama at The Talon coffee house, the tedious back-and-forth Lex/Clark interactions, Chloe’s magical laptop/cellphone (which allowed her to access government satellites and open any security door), the loss of the terrific John Schneider as Pa Kent, the move to college, the repeated “T&A” episodes where the female cast members became possessed or brainwashed by mystical artifacts and were compelled to act and dress like complete sluts, the addition of various members of the “Justice League” (dudes in multi-colored hoodies), the departure of Michael Rosenbaum as the show’s long-time primary antagonist, and  yet another transition to the offices of the Daily Planet in Metropolis.

Yet despite these glaring flaws, Smallville inexplicably endured — maintaining a small, but loyal following who wouldn’t be dissuaded, hungrily devouring their weekly fix of gooey Kryptonian cheese for a good five seasons longer than this show had any right to run. Somewhere around the 8th or 9th season (I stopped watching regularly somewhere in the college years) Smallville decided to start jamming its runtime with oodles of DC Comics characters in an effort to stay fresh and appease fanboys longing for the show to break it’s hallowed “no tights, no flights” rule. Over the past few seasons, the show has seen iterations of Zatanna, The Flash, Aquaman, Green Arrow, Cyborg, Martian Manhunter, Doomsday, Braniac, Zod, Booster Gold, Silver Banshee, Blue Beetle, Hawkman, Star Girl, Dr. Fate, Supergirl, Bizarro, Black Canary, and yes, even Krypto the Superdog.   Ten long years and oodles of DC comic cameos later, Smallville is finally –perhaps mercifully — over.

The two-hour finale encapsulates everything that is wrong with the series —  endless 90210 / Dawson’s Creek-influenced angst, introspection, and navel gazing; weak action scenes;  cheesy special effects; anticlimactic resolutions to crises; wooden delivery of stilted dialog;  and nonsensical, overly convoluted plot threads. We are treated to the juxtaposition of Lois and Clark’s impending nuptials with the imminent destruction of Earth by the planet Apokolips, which is hurtling through space on a direct collision course in order to extinguish all life. Yes, that’s right, Smallville turned the entire planet of Apokolips, with its long and storied history in the pages of DC Comics, into nothing more than a giant projectile thrown at the Earth like a kid chucking a rock at a rusty old car window.

What made things even worse was the trademark Smallville feet-dragging, “dramatic build-up to a short and disappointing climax”routine. I don’t know, maybe it’s just me, but if I was Clark and I saw a gigantic, flame-spewing death world blotting out the sun and causing massive earthquakes, I would immediately stop everything, throw on the Superman costume, fly up to Apokolips, and start punching things. However, since this is Smallville, Clark felt the need to stand around looking angsty in the Daily Planet office listening to the radio with dozens of terrified people, investigate a cell-phone video message left by Tess (Lex’s sister…or his clone…or something equally dumb),  share a nauseatingly long and talky goodbye with Lois, fly to the ruins of the Luthor mansion for an even  longer and more pointless conversation with a resurrected Lex Luthor, and have a lame, anti-climactic fight with Darkseid (in the body of Lionel Luthor, Lex’s father…don’t even ask).

Finally, after all of that nonsense, we are treated to a scene where Clark goes into some kind of Kryptonian dream-state and sees old clips from the show’s history in some crystals, talks to the ghost of John Schneider, and is then given the blue and red tights by the disembodied voice of Jor-El.  This long-awaited, iconic moment that fans had been waiting ten years for falls completely flat, and sadly, is even somewhat laughable. The classic duds turn out to be a leftover costume from Bryan Singer’s Superman Returns, and Tom Welling — who repeatedly stated that he would never put on the costume –holds true to his word, as we only see close-ups of his head. All full-body shots are rendered in CGI that’s on par with a Syfy Channel original movie. Clark, now revealed to the world as Superman, rescues Air Force One (in a callback to the original 1978 Donner film), and in a hugely un-satisfying moment, simply pushes Apokolips back into space with no resistance. Now, with a limited TV budget, obviously we weren’t going to be treated to epic fight scenes of Superman battling hordes of Darkseid’s Para-Demons, his son Kalibak, or even the Female Furies, but for the Master of the Omega Effect and Lord of the Anti-Life Equation to put up absolutely no fight whatsoever is simply weak.

The Smallville finale actually does end on a high note, but that’s probably due to the soaring, classic John Williams Superman music that underscores the show’s last five minutes more than anything else. In this sequence, we are treated to a flash-forward seven years in the future where Perry White is Editor-in-Chief of the Daily Planet, Jimmy Olsen is snapping photos, Lois is hunting down stories, and Clark is a mild-mannered reporter waiting to leap into action to save the world as the Man of Steel. The final image of the series sees Welling running towards the camera, and pulling his shirt open to reveal the iconic “S” shield as John Williams epic score swells up. It’s a moment that goes a long way to make one forget about the terrible missteps this once-promising series took…but it doesn’t go far enough.


MTV  online posted this brand new banner today from the upcoming DC Comics adaptation, showing off several key members of the Green Lantern Corps,  including the protagonist of the film Hal Jordan (Ryan Reynolds), Sinestro (Mark Strong), Abin Sur (Temura Morrison), Kilowog (voiced by Michael Clarke Duncan), and Tomar Re (voiced by Geoffrey Rush).  It looks terrific, and it should, because a recent report stated the CGI rendering costs on this film recently skyrocketed to $9 million over budget. Green Lantern hits theaters on June 17.



Zack Snyder is one of the most infuriating directors working in Hollywood today. His visual style is lavish and dynamic; every frame is meticulously crafted with style and panache. But, beneath the hoods of his glimmering hot rods, sit rusty, sputtering engines that fail to propel the vehicle past the finish line.  Such is the case with his latest misstep, Sucker Punch – a movie so colossally inept at basic storytelling, it makes Clash of the Titans look like The King’s Speech.

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