Before I get into the nitty gritty of this review, I'm going to say two things:
1. SHAZAM! is good. It's fun.
2. It's by far the best DC movie that Warner Brothers has been able to put together.
So let me go back to point one: SHAZAM! is good. Not great, not even very good, just... good. If I were ranking all of the Marvel (MCU) movies, I'd probably put Iron Man 3 at the bottom of that list; SHAZAM! rises to about that level. Put another way, it's around the level of most of Fox's X-Men movies. Not the best X-Men movies, just the bulk of them. Like definitely better than the dumb Wolverine origin movie.
It feels somehow appropriate to me that the only movie Warner Brothers has been able to pull off with a solid story (since Batman Begins) is with a character DC stole from an independent comic publisher.
But that's not a story for this post, and one you can look up for yourself if you're so inclined.
As with most DC movies these days, they're a little sparse on the origin side of things. Not with Billy Batson, per se, but with everything else. Mostly with anything and everything to do with The Seven Deadly Sins. There's no explanation provided as to what these are other than that, basically, the previous champion, some thousands of years ago, let them out of a box all Pandora style because he failed to be pure of heart. But, without a religious context, none of this make any sense, and they don't provide a religious context other than "Wisdom of Solomon." [And I have to say, if the Wisdom of Solomon is supposed to be one of Captain Marvel/Shazam's super powers, they really don't put it to good use.]
Then there's the wizard... Um... Why? I mean, not why is there a wizard, but why all of it? Why is he the last of seven; meaning, why didn't the wizards do anything about replacing the wizards as they began to die off? How did he come to be the last one? That seems more than a little on the stupid side. And I'm assuming there are seven wizards to stand opposed to The Seven Deadly Sins but, again, why? None of this is explained. Also, he's goofy. It's good that he wasn't in more of the movie.
However, in most ways, the actors make up for the deficits in the story. Zachary Levi is Chuck but on a more epic scale. He's perfect for the role, and it may be DC's first real bit of "nailed it" casting. Well, I think Ben Affleck is pretty spot on for Batman, but I may be in the minority for that. Asher Angel is also great as Billy Batson, though he plays Billy a bit more rough around the edges than Levi plays Shazam. Levi certainly brings a lot more "wide-eyed innocence" to the adult version of Billy than Angel brings to the 14-year-old version. But, you know, that's fine. They were both enjoyable to watch.
Mark Strong is fine as the villain. The character has no real depth, so it's not like he had to do more than just be menacing. I don't think anyone else could have done anymore with the role than he did. Well... Maybe Nicolas Cage; he has a certain kind of crazy that might have gone well in the role.
And not be spoilery, but look away if you don't want to be spoiled.
I think the biggest failing of the movie is the ending. DC/Warner Brothers seems to be intent on having huge mega-battle endings. Like ending Wonder Woman with a battle with the God of War. It was an unnecessary jump that I think hurt the film. And, so, like that, SHAZAM! ends with a battle wherein he creates the whole Shazam family. The movie does no real setup for it, and it ruined a confrontation that should have come down to Shazam against Dr. Sivana. There was no need for the too large battle with all of the Sins and the added... shazams? It didn't make the ending better. It was just added muddle.
But, you know, all of the stuff after the beginning of the movie and before the ending is great! Don't let it sound like I thought it was a bad movie. It wasn't. It was totally fine and enjoyable and worth seeing on the big screen if you want to see it. It's a step in the right direction for DC. It's small, but it's a step.
About writing. And reading. And being published. Or not published. On working on being published. Tangents into the pop culture world to come. Especially about movies. And comic books. And movies from comic books.
Showing posts with label Wonder Woman. Show all posts
Showing posts with label Wonder Woman. Show all posts
Wednesday, April 17, 2019
Friday, July 14, 2017
Spider-Man: Homecoming (a movie review post)
I don't think I've made a secret of my longtime love of Spider-Man. Spider-Man goes back before Star Wars for me, back to at least when I was four. As such, I waited a long time for a Spider-Man movie. When that movie finally came in 2002 -- the Sam Raimi/Toby Maguire feature -- it was pretty perfect. Toby Maguire really captured Peter Parker, and I couldn't have been happier.
I was less happy when Sony decided to reboot the series. It's not that Andrew Garfield didn't do a fine job -- he wasn't as good as Maguire, but he was fine -- but a reboot just wasn't needed. Sure, change the actors, but keep the continuity of the series going.
Needless to say, I was a little unsure of how I felt about another reboot of the series. On the one hand, Marvel Studios was taking a hand in it, and Marvel has proven themselves a master at handling their own characters. [Unlike Warner Brothers, who continually show they don't know crap about how to make a super hero movie. For their one real success so far (Wonder Woman), they had to steal the plot of Captain America: The First Avenger to make it work.] On the other hand, it was going to be another reboot.
But Marvel, evidently, felt the same way I do about the idea of doing another reboot and went around it by not doing another origin story. It was pretty brilliant, actually. They summed it all up with one line, "I was bit by a spider." It was great.
And Tom Holland was... Okay, I'm going to skip the "amazing" joke. Tom Holland was incredible. Better than Toby Maguire, which I didn't think was actually possible. Of course, I thought that might be the case after Civil War, but I wasn't certain. Homecoming dismissed any doubt within the first few minutes. Seriously spectacular. [Sorry, I had to slip something in.] It's not that he's a wisecracking super hero; he's a nervous teenager. I'm looking forward to more from him.
All of the cast was great, though I wish Donald Glover had had a bigger part. I hope he becomes a recurring character. However, summing up everyone with "great" is probably devaluing Michael Keaton, and I wouldn't want to do that. Keaton was a better Adrian Toomes than Toomes ever was in the comics. Yeah, I was never much of a Vulture fan. But Keaton was wonderful and believable. And more than a little frightening. And I'm not going to say more than that because of spoilers (but my son was in full suspense mode as we watched, so I know it was working; he's a tough audience, even tougher than me).
I also really liked Bokeem Woodbine as The Shocker.
Oh, and Damage Control. That they introduced them was pretty great. I have the original limited series from 1989. Not that it seems it's done anything for the prices of the issues. It's still fun.
My daughter came out of the movie saying it's her favorite Marvel movie ever. I think Homecoming probably lands in my top three super hero movies. I'm not sure what that order is, actually. The top five, at this point, are all pretty great movies, and it's very difficult to tell which is better than another. It might be somewhat flexible depending upon how I'm feeling at the time. Right now, I just want to go see Homecoming again. Seriously great movie. And you don't really need to have seen any of the other Marvel movies to "get it," so don't let that get in the way if you haven't seen the other movies or aren't up to date on them. Just take the Tony Stark bits in stride and enjoy the movie.
Oh, and the Steve Rogers cameos are brilliant. Especially the one at the end.
I was less happy when Sony decided to reboot the series. It's not that Andrew Garfield didn't do a fine job -- he wasn't as good as Maguire, but he was fine -- but a reboot just wasn't needed. Sure, change the actors, but keep the continuity of the series going.
Needless to say, I was a little unsure of how I felt about another reboot of the series. On the one hand, Marvel Studios was taking a hand in it, and Marvel has proven themselves a master at handling their own characters. [Unlike Warner Brothers, who continually show they don't know crap about how to make a super hero movie. For their one real success so far (Wonder Woman), they had to steal the plot of Captain America: The First Avenger to make it work.] On the other hand, it was going to be another reboot.
But Marvel, evidently, felt the same way I do about the idea of doing another reboot and went around it by not doing another origin story. It was pretty brilliant, actually. They summed it all up with one line, "I was bit by a spider." It was great.
And Tom Holland was... Okay, I'm going to skip the "amazing" joke. Tom Holland was incredible. Better than Toby Maguire, which I didn't think was actually possible. Of course, I thought that might be the case after Civil War, but I wasn't certain. Homecoming dismissed any doubt within the first few minutes. Seriously spectacular. [Sorry, I had to slip something in.] It's not that he's a wisecracking super hero; he's a nervous teenager. I'm looking forward to more from him.
All of the cast was great, though I wish Donald Glover had had a bigger part. I hope he becomes a recurring character. However, summing up everyone with "great" is probably devaluing Michael Keaton, and I wouldn't want to do that. Keaton was a better Adrian Toomes than Toomes ever was in the comics. Yeah, I was never much of a Vulture fan. But Keaton was wonderful and believable. And more than a little frightening. And I'm not going to say more than that because of spoilers (but my son was in full suspense mode as we watched, so I know it was working; he's a tough audience, even tougher than me).
I also really liked Bokeem Woodbine as The Shocker.
Oh, and Damage Control. That they introduced them was pretty great. I have the original limited series from 1989. Not that it seems it's done anything for the prices of the issues. It's still fun.
My daughter came out of the movie saying it's her favorite Marvel movie ever. I think Homecoming probably lands in my top three super hero movies. I'm not sure what that order is, actually. The top five, at this point, are all pretty great movies, and it's very difficult to tell which is better than another. It might be somewhat flexible depending upon how I'm feeling at the time. Right now, I just want to go see Homecoming again. Seriously great movie. And you don't really need to have seen any of the other Marvel movies to "get it," so don't let that get in the way if you haven't seen the other movies or aren't up to date on them. Just take the Tony Stark bits in stride and enjoy the movie.
Oh, and the Steve Rogers cameos are brilliant. Especially the one at the end.
Labels:
Andrew Garfield,
Bokeem Woodbine,
Captain America,
Civil War,
Damage Control,
Donald Glover,
Homecoming,
Marvel,
Michael Keaton,
Sam Raimi,
Shocker,
Spider-Man,
Toby Maguire,
Tom Holland,
Vulture,
Wonder Woman
Monday, May 16, 2016
A Study in Super Heroes: Part Three -- Telling the Story
In many ways, prior to 2008, there were only four super heroes: Superman, Batman, Wonder Woman and Spider-Man. At least, that was it as far as the world as a whole was concerned.
Let's just say that Superman, Batman, and Wonder Woman were already iconic characters around the world by the time Marvel Comics came into existence in the 60s, and Spider-Man, due to his cartoon and snappy theme song
was the only Marvel super hero to break into universal awareness the way that DC's trinity had.
However, the world of comics shifted in 1961 with the publication of Marvel's first super hero comic, The Fantastic Four. Marvel changed comic books from a medium that was character driven to one that was story driven, and not just the individual story but the world story. Marvel quickly became the #1 comic book company and, really, has remained there for the last 50 years.
That didn't mean that people, the mass of people, knew who Marvel's heroes were, though, because the 50s reduced comic books from something mainstream into a tiny niche group reserved for kids and socially awkward teenage boys. Until 2000, that is, when the X-Men movie came out. That was the turning point for comics becoming mainstream again, except as movies. (Because, honestly, comic books themselves are too expensive for people to be able to follow more than a few at a time.)
The success of X-Men and, in 2002, Spider-Man proved that super heroes other than Batman and Superman could support movie franchises. However, Marvel had licensed both of those properties to other studios, studios who proved that they didn't actually care about the stories involved, only in making money off of popular characters. Why worry about a good story when everyone will come see the movie anyway, right? (I'm especially looking at you, Fox, for making X-Men Origins: Wolverine.)
Marvel decided they could do better, wanted to do better, but they had already licensed out the only two properties they had (X-Men and Spider-Man) with any real name recognition. They would have to use characters whom people really didn't have an awareness of, and that would mean the stories would have to be strong.
And that's what they did. They told good stories.
I mean, not only did Marvel spend five years and five movies to work up to The Avengers, but Captain America: Civil War is a perfect example of how important story is to Marvel. Not only did they weave elements of two different story lines into a solid climax story, they did it with 12 super heroes in it, and they did it pretty flawlessly and with characters that most people had never heard of before Iron Man came out in 2008. The achievement is rather astounding. Sure, you need to have seen the other movies for this one to work, but that's what story-telling is.
On the other hand, DC, via Warner Brothers (who owns them), continues to struggle with building any kind of coherent story in their movie universe, if you can even call it that at this point. They continue to rely on the drawing power of their characters and what they think people already know about them rather than craft any kind of story that can hold water longer than one of those paper cups you made as a kid from folding up a piece of notebook paper. You can look at their most recent release, Batman v Superman: Dawn of Justice, to see that. They don't even bother to introduce Wonder Woman or tell you anything about her other than that she was alive during World War I. They are all about the money and, if people will go see the movie just for the characters, why bother to add a story.
Not that that hasn't worked for them. To some extent. Batman/Superman did bring in $325 million domestically ($865m worldwide), but it took it more than a month to do that, and it was projected to break $400m (domestically), which it failed to do. In just 10 days, Civil War has pulled in $300 million domestically (and nearly $1B (yes, $1,000,000,000) worldwide). And we're not even talking about their Rotten Tomatoes scores. I think it's safe to say, at least where super heroes are concerned, at least for the moment, that story beats characters.
However, the world of comics shifted in 1961 with the publication of Marvel's first super hero comic, The Fantastic Four. Marvel changed comic books from a medium that was character driven to one that was story driven, and not just the individual story but the world story. Marvel quickly became the #1 comic book company and, really, has remained there for the last 50 years.
That didn't mean that people, the mass of people, knew who Marvel's heroes were, though, because the 50s reduced comic books from something mainstream into a tiny niche group reserved for kids and socially awkward teenage boys. Until 2000, that is, when the X-Men movie came out. That was the turning point for comics becoming mainstream again, except as movies. (Because, honestly, comic books themselves are too expensive for people to be able to follow more than a few at a time.)
The success of X-Men and, in 2002, Spider-Man proved that super heroes other than Batman and Superman could support movie franchises. However, Marvel had licensed both of those properties to other studios, studios who proved that they didn't actually care about the stories involved, only in making money off of popular characters. Why worry about a good story when everyone will come see the movie anyway, right? (I'm especially looking at you, Fox, for making X-Men Origins: Wolverine.)
Marvel decided they could do better, wanted to do better, but they had already licensed out the only two properties they had (X-Men and Spider-Man) with any real name recognition. They would have to use characters whom people really didn't have an awareness of, and that would mean the stories would have to be strong.
And that's what they did. They told good stories.
I mean, not only did Marvel spend five years and five movies to work up to The Avengers, but Captain America: Civil War is a perfect example of how important story is to Marvel. Not only did they weave elements of two different story lines into a solid climax story, they did it with 12 super heroes in it, and they did it pretty flawlessly and with characters that most people had never heard of before Iron Man came out in 2008. The achievement is rather astounding. Sure, you need to have seen the other movies for this one to work, but that's what story-telling is.
On the other hand, DC, via Warner Brothers (who owns them), continues to struggle with building any kind of coherent story in their movie universe, if you can even call it that at this point. They continue to rely on the drawing power of their characters and what they think people already know about them rather than craft any kind of story that can hold water longer than one of those paper cups you made as a kid from folding up a piece of notebook paper. You can look at their most recent release, Batman v Superman: Dawn of Justice, to see that. They don't even bother to introduce Wonder Woman or tell you anything about her other than that she was alive during World War I. They are all about the money and, if people will go see the movie just for the characters, why bother to add a story.
Not that that hasn't worked for them. To some extent. Batman/Superman did bring in $325 million domestically ($865m worldwide), but it took it more than a month to do that, and it was projected to break $400m (domestically), which it failed to do. In just 10 days, Civil War has pulled in $300 million domestically (and nearly $1B (yes, $1,000,000,000) worldwide). And we're not even talking about their Rotten Tomatoes scores. I think it's safe to say, at least where super heroes are concerned, at least for the moment, that story beats characters.
Monday, May 9, 2016
A Study in Super Heroes: Part One -- Batman vs Superman (review)
Yeah, so, fine, I'm a bit late with this, but I've been busy and only just now got around to seeing it. That's kind of okay, though, because it moved to the cheap theater last week, and I got to go see it for $3.50, about all it's worth. However, it was actually worth that, unlike the last Superman movie or, say, the Green Lantern movie (I saw Green Lantern for free and still felt ripped off).
I'm not going to go through the movie the way I usually do with these things. Let's just say the story was... flimsy. Like a balsa wood airplane, the kind you get at the supermarket for... I was going to say for $0.99, but I bet those planes cost more than that, now. They're great for the first half a dozen or so throws, then things start falling off, then they start refusing to go back into their assigned places, right before they start splintering. Basically, you get one good afternoon of play with one before it goes into the trash. This movie is like that, good for one afternoon of play before the plot falls apart and you begin to wonder what actually happened.
Of course, what actually happened was a contrived scenario to get Batman and Superman to fight. Um... yeah... That's all I'm going to say about that.
Let's do this:
The Good:
Ben Affleck as Bruce Wayne. In fact, you could say that was the awesome. Definitely the best part of the movie. Affleck should have always been Batman. Or, I should say, Bruce. He's great as Batman, too, but, face it, that's the easy part. The part every previous star of the Batman movies since Burton's Batman came out has failed at has been portraying a convincing Bruce Wayne. [Okay, well, Clooney was a good Wayne, but the Batman fail in that one was so epic (no fault of Clooney's (seriously? nipples on the suit?)) that it has discolored everything about it.]
The Bad:
The opening sequence giving Batman's origin. Again.
The dream sequence Batman has of the future where Superman has taken over the world. It was long and added nothing to the movie. I get that they were trying to... I don't know... incorporate more of Miller's Dark Knight, but that sequence was gratuitous and pointless.
Wayne as an alcoholic. No, it's not stated, but it's certainly implicit. And dumb.
The Good:
Surprisingly, Henry Cavill as Superman. I don't think much of Cavill just on a general basis. I thought he was adequate in Man of Steel and horrible in The Man from U.N.C.L.E., although, to be fair, it was a pretty awful movie, so it may not have been his fault. However, he pulled off a fairly convincing portrayal of a brooding Superman, unsure of himself and his place in the world.
The Bad:
Basically everything to do with Lois Lane.
Look, I like Amy Adams. I think she's a great actress. But Lois is supposed to be a strong, forceful personality, and Adams doesn't bring that to the table. She's just too tentative. Plus, in this, she's often Lois ex machina, showing up at opportune moments to deliver vital information. Or whatever.
The Good:
Jesse Eisenberg as the Joker. Oh, wait, he wasn't the Joker? Well, he gave a great performance as whoever it was he was supposed to be.
The Bad:
Lex Luthor. Or Alexander Luthor, Jr. The character played by Eisenberg. The character is completely inexplicable. He's a perfect example of how DC or Warner Brothers or whoever has written themselves into a hole they can't get out of because they continue to do everything from a pantsing standpoint. They killed Lex and they killed the Joker, so they just make up a new character with the same name as the villain they want to use and tack a Jr. onto it. Lame.
The Good:
Gal Godot as Wonder Woman. I don't really understand all the fanboy rage over Godot in this role. She looked good as Wonder Woman and pulled off the character more than adequately.
The Bad:
Wonder Woman. Why is she even in this film? It would have been just as plausible and, possibly, more believable, if she'd just shown up for the fight sequence. That's really the only believable moment for her being in the movie, anyway. They just need her in the movie because she's part of the Holy Trinity of super heroes and, if Warner Brothers wants to pull off a Justice League movie, they have to center it around all three of those heroes: Batman, Superman and Wonder Woman.
The Bad:
Perry White. There are no words for how poorly they have translated White into this movie, and Fishburne does nothing to help the character out.
Jeremy Irons as Alfred.
Doomsday. Everything about Doomsday. There's nothing about the character or his origin in the movie that rises above stupid. Mostly, it's moronic.
So...
It's not a horrible movie. That's really the best thing that can be said about it. And I'd rather watch it again than to ever think about seeing, say, The Revenant again. Or Green Lantern. It's probably even worth it to see it on the big screen. But it's not a good movie. It's not even brain candy. At best, it's a piece of that hard candy your grandmother kept in a dish on the end table under the lamp, but it's all melted together, and you can't get any of it out without getting a knife or something and, then, once you have the broken piece you finally pry out of the reef-like structure, you can't tell what it's supposed to taste like, because you have parts of three or four different pieces of candy all stuck together. You try to suck on it but you end spitting it out into the metal trashcan next to the table where it sticks to the bottom and you try in vain to pretend that it wasn't you who spit it in there. [Not based on any actual event that ever happened to me.]
I'm not going to go through the movie the way I usually do with these things. Let's just say the story was... flimsy. Like a balsa wood airplane, the kind you get at the supermarket for... I was going to say for $0.99, but I bet those planes cost more than that, now. They're great for the first half a dozen or so throws, then things start falling off, then they start refusing to go back into their assigned places, right before they start splintering. Basically, you get one good afternoon of play with one before it goes into the trash. This movie is like that, good for one afternoon of play before the plot falls apart and you begin to wonder what actually happened.
Of course, what actually happened was a contrived scenario to get Batman and Superman to fight. Um... yeah... That's all I'm going to say about that.
Let's do this:
The Good:
Ben Affleck as Bruce Wayne. In fact, you could say that was the awesome. Definitely the best part of the movie. Affleck should have always been Batman. Or, I should say, Bruce. He's great as Batman, too, but, face it, that's the easy part. The part every previous star of the Batman movies since Burton's Batman came out has failed at has been portraying a convincing Bruce Wayne. [Okay, well, Clooney was a good Wayne, but the Batman fail in that one was so epic (no fault of Clooney's (seriously? nipples on the suit?)) that it has discolored everything about it.]
The Bad:
The opening sequence giving Batman's origin. Again.
The dream sequence Batman has of the future where Superman has taken over the world. It was long and added nothing to the movie. I get that they were trying to... I don't know... incorporate more of Miller's Dark Knight, but that sequence was gratuitous and pointless.
Wayne as an alcoholic. No, it's not stated, but it's certainly implicit. And dumb.
The Good:
Surprisingly, Henry Cavill as Superman. I don't think much of Cavill just on a general basis. I thought he was adequate in Man of Steel and horrible in The Man from U.N.C.L.E., although, to be fair, it was a pretty awful movie, so it may not have been his fault. However, he pulled off a fairly convincing portrayal of a brooding Superman, unsure of himself and his place in the world.
The Bad:
Basically everything to do with Lois Lane.
Look, I like Amy Adams. I think she's a great actress. But Lois is supposed to be a strong, forceful personality, and Adams doesn't bring that to the table. She's just too tentative. Plus, in this, she's often Lois ex machina, showing up at opportune moments to deliver vital information. Or whatever.
The Good:
Jesse Eisenberg as the Joker. Oh, wait, he wasn't the Joker? Well, he gave a great performance as whoever it was he was supposed to be.
The Bad:
Lex Luthor. Or Alexander Luthor, Jr. The character played by Eisenberg. The character is completely inexplicable. He's a perfect example of how DC or Warner Brothers or whoever has written themselves into a hole they can't get out of because they continue to do everything from a pantsing standpoint. They killed Lex and they killed the Joker, so they just make up a new character with the same name as the villain they want to use and tack a Jr. onto it. Lame.
The Good:
Gal Godot as Wonder Woman. I don't really understand all the fanboy rage over Godot in this role. She looked good as Wonder Woman and pulled off the character more than adequately.
The Bad:
Wonder Woman. Why is she even in this film? It would have been just as plausible and, possibly, more believable, if she'd just shown up for the fight sequence. That's really the only believable moment for her being in the movie, anyway. They just need her in the movie because she's part of the Holy Trinity of super heroes and, if Warner Brothers wants to pull off a Justice League movie, they have to center it around all three of those heroes: Batman, Superman and Wonder Woman.
The Bad:
Perry White. There are no words for how poorly they have translated White into this movie, and Fishburne does nothing to help the character out.
Jeremy Irons as Alfred.
Doomsday. Everything about Doomsday. There's nothing about the character or his origin in the movie that rises above stupid. Mostly, it's moronic.
So...
It's not a horrible movie. That's really the best thing that can be said about it. And I'd rather watch it again than to ever think about seeing, say, The Revenant again. Or Green Lantern. It's probably even worth it to see it on the big screen. But it's not a good movie. It's not even brain candy. At best, it's a piece of that hard candy your grandmother kept in a dish on the end table under the lamp, but it's all melted together, and you can't get any of it out without getting a knife or something and, then, once you have the broken piece you finally pry out of the reef-like structure, you can't tell what it's supposed to taste like, because you have parts of three or four different pieces of candy all stuck together. You try to suck on it but you end spitting it out into the metal trashcan next to the table where it sticks to the bottom and you try in vain to pretend that it wasn't you who spit it in there. [Not based on any actual event that ever happened to me.]
Labels:
Amy Adams,
Batman,
Ben Affleck,
Dawn of Justice,
Doomsday,
Gal Godot,
George Clooney,
Green Lantern,
Henry Cavill,
Jesse Eisenberg,
Joker,
Laurence Fishburne,
Lex Luthor,
Revenant,
Superman,
Wonder Woman
Sunday, August 21, 2011
DC vs Marvel and How It Relates To Writing (pt 3): Vision
Comic books are one of the few purely American inventions. Along with jazz. And rabid consumerism. But comic books are my favorite. Really, I love comic books. Just the idea of them. Unfortunately, they are far too expensive to collect anymore. At least in a way that allows you to follow the stories the way the big 2 (Marvel and DC) want you to follow them. Or, maybe, it's just that I love all of them and can't stop myself. Well... except that I did. As I said, they are way too expensive to collect, anymore; although, there was a time... But I digress...
DC Comics started out as National Allied Publications in 1934. Detective Comics, the series that would eventually give DC Comics its name, debuted in 1937. Without Batman. It was what it sounded like: an anthology series of detective stories. But the world of comic books changed forever in 1938 with the introduction of Superman in Action Comics #1. The age of the super hero had begun.
And they couldn't stop there. Superman was such a smash hit that they wanted another super hero, so National hired Bob Kane to create one. The result, with the help of Bill Finger, was the Bat-Man who debuted as the world's greatest detective in Detective Comics #27 in 1939. A whole slew of characters spewed forth in the next couple of years: the Flash, Wonder Woman, and the Green Lantern to name a few.
Although these characters did sometimes interact with each other, as Batman and Superman did in World's Finest and many of the other characters did in Justice Society of America, really, each character was completely independent of each other and, often, the cross-over stories ended up contradicting each other or the character's individual titles. Continuity wasn't important. Each issue was a self-contained entity not to be bothered by the existence of other issues.
Marvel Comics started in 1939 as Timely Comics. Their first series was actually called Marvel Comics and introduced the first Human Torch, an android, and Namor the Sub-Mariner. Captain America Comics came along in 1941, but there were many other heroes and titles sandwiched in there. Timely became Atlas in 1951 as super heroes fell out of fashion in the midst of the McCarthy hearings.
As McCarthyism ended, DC powered a resurgence in super hero comic books centered around the Flash, Green Lantern and the Justice League of America. However, things were still status quo in the super hero world. No continuity. No concern for what was happening in other titles. Often conflicting origin stories for the same character. But all of that was about to change...
Stan Lee had been working at Timely almost since the beginning. He had a new vision for super heroes, a vision of a cohesive world in which the heroes interacted and faced real problems. Like adolescence. And bills. Marvel Comics was launched in June, 1961, and, although the Fantastic Four was not the first issue to sport the Marvel Comics logo, it followed not long after in November. The Fantastic Four introduced what would become known as the Marvel Universe and change the way comic books were written forever.
The important thing to notice, here, is that Stan Lee had a vision for Marvel Comics. He had a particular story that he wanted to tell. Not the individual stories in the issues of the various series that sprang from his imagination, but an overall story of a world in which super heroes existed. DC had never had a vision. DC, if you will, was nothing more than an anthology of stories, some of them great, but each story was isolated and could be taken out of the whole without affecting it. Marvel, on the other hand, became one vast epic in multiple volumes all hinged on each other. You couldn't just decide to yank something out, because everything else built on what had gone before. Stan Lee had introduced continuity into comic books.
DC has been playing catch up ever since. They still don't have it right. Just this month, they have begun a re-launch of all of their titles with issue #1 trying to establish the DC Universe as a cohesive whole. This is something like the 3rd or 4th time they've tried this (I've lost count). The issue, here, is a lack of vision. The only vision is to compete with Marvel who has dominated the comics world since their inception as Marvel Comics. There is no vision to the over arching story, only to competing. Or, to put it more simply, to make money.
Let's jump to the movies. When Marvel began their production company, Marvel Studios, with Iron Man, they did it with a vision. Sure, they wanted to make money, to be successful, but the vision wasn't about the money. The vision was to make movies that existed within a cohesive universe. A movie universe where the characters would interact and depend on each other much like Marvel Comics started out in 1961. In establishing this vision, they have been able to construct excellent movies with excellent stories that are building on each other and telling a much broader-scoped story. Warner Brothers, as with DC, has attempted to just make blockbuster movies. They have no vision. Because they have no vision, what we get are movies like Green Lantern and Superman Returns. With Marvel, with vision, we get Iron Man and Captain America.
I'm not saying that DC doesn't have some good characters and hasn't had some good stories. And Warner Brothers has managed to produce the Nolan Batman films; however, overall, DC remains less interesting than Marvel because of their lack of vision to the story and to the world. Granted, DC never had a Stan Lee. Never had someone with a vision that introduced the characters and tied them all together, but it doesn't seem to me to be a far leap of logic to understand what Stan did and to replicate it. After five decades of trying, though, they have failed to do this.
All of this comes down to one point: vision is important. In fact, I would say that vision is close to all important. Your vision. The vision of the writer. The vision of the writer to know what it is s/he is trying to do and the story s/he is trying to tell. Without vision, you end up with a collection of stories that just don't work together. In a novel, that just doesn't work.
Not to step on any one's fingers or toes, okay, well, maybe some toes, but one of the most common things I see on other writer's blogs is how they've become stuck. S/he was writing along, listening to the voices in said writer's head, and, eventually, got to a place where s/he didn't know what was supposed to happen next. Inevitably, s/he resorts to going back and starting over, gutting, major re-writes, or just plain abandoning that project and switching to something else entirely. This seems a lot like what DC has been doing for several decades, now.
I might sound like I'm advocating for plotting, at this point, over pantsing, but I'm really not. I'm certainly not a plotter. I hate outlines. In school, I only ever did them after the fact because they had to be turned in. Except for those times when the outlines had to be turned in weeks in advance of the actual paper, and, then, I would just hate the entire process of making the outline first. Don't constrain me with those things, man!
However, I always write with a vision, a plan, of what I want to accomplish. Always. I do know where it is I want to go, even if I don't know the route I'm going to take. I'm not saying that my way is right or better or anything like that. However, as often as I read other people talking about getting "lost" in their stories, I have to wonder if it's because the writer didn't have some kind of vision when s/he was starting out.
Of course, the other issue I see is people that are writing with their only goal being to get published. The story is not the goal, just being published. That results in ripping and re-ripping any given manuscript apart at every stray word of any agent or publisher that comes along. This strikes me as being what Warner Brothers has done in trying to get a blockbuster super hero movie out (other than Batman). They're not focused on telling the story; they're focused on what they can do to make money.
As writers, I think the only thing we can do is tell our stories. That should be our vision. Once we have a story, it's great to work on getting it published, but if we're focused on just getting published... well, we may get published, but we'll end up washed away in the tide of all the other writers who just wanted to be published. No one will care. No one will remember. And, unfortunately, it might even be that no one will read. Just another book with its cover ripped off and sent back to be destroyed.
As much as I don't like Twilight, I have to say that Meyer did have vision. Her story came first. Ideas of publication only came after she had her stories. Maybe that's what all the people that have flocked to her books can see... her vision for her story. Because, really, that's what people want to see, the vision of the artist. Not the artist's attempt to duplicate someone else's vision.
DC Comics started out as National Allied Publications in 1934. Detective Comics, the series that would eventually give DC Comics its name, debuted in 1937. Without Batman. It was what it sounded like: an anthology series of detective stories. But the world of comic books changed forever in 1938 with the introduction of Superman in Action Comics #1. The age of the super hero had begun.
And they couldn't stop there. Superman was such a smash hit that they wanted another super hero, so National hired Bob Kane to create one. The result, with the help of Bill Finger, was the Bat-Man who debuted as the world's greatest detective in Detective Comics #27 in 1939. A whole slew of characters spewed forth in the next couple of years: the Flash, Wonder Woman, and the Green Lantern to name a few.
Although these characters did sometimes interact with each other, as Batman and Superman did in World's Finest and many of the other characters did in Justice Society of America, really, each character was completely independent of each other and, often, the cross-over stories ended up contradicting each other or the character's individual titles. Continuity wasn't important. Each issue was a self-contained entity not to be bothered by the existence of other issues.
Marvel Comics started in 1939 as Timely Comics. Their first series was actually called Marvel Comics and introduced the first Human Torch, an android, and Namor the Sub-Mariner. Captain America Comics came along in 1941, but there were many other heroes and titles sandwiched in there. Timely became Atlas in 1951 as super heroes fell out of fashion in the midst of the McCarthy hearings.
As McCarthyism ended, DC powered a resurgence in super hero comic books centered around the Flash, Green Lantern and the Justice League of America. However, things were still status quo in the super hero world. No continuity. No concern for what was happening in other titles. Often conflicting origin stories for the same character. But all of that was about to change...
Stan Lee had been working at Timely almost since the beginning. He had a new vision for super heroes, a vision of a cohesive world in which the heroes interacted and faced real problems. Like adolescence. And bills. Marvel Comics was launched in June, 1961, and, although the Fantastic Four was not the first issue to sport the Marvel Comics logo, it followed not long after in November. The Fantastic Four introduced what would become known as the Marvel Universe and change the way comic books were written forever.
The important thing to notice, here, is that Stan Lee had a vision for Marvel Comics. He had a particular story that he wanted to tell. Not the individual stories in the issues of the various series that sprang from his imagination, but an overall story of a world in which super heroes existed. DC had never had a vision. DC, if you will, was nothing more than an anthology of stories, some of them great, but each story was isolated and could be taken out of the whole without affecting it. Marvel, on the other hand, became one vast epic in multiple volumes all hinged on each other. You couldn't just decide to yank something out, because everything else built on what had gone before. Stan Lee had introduced continuity into comic books.
DC has been playing catch up ever since. They still don't have it right. Just this month, they have begun a re-launch of all of their titles with issue #1 trying to establish the DC Universe as a cohesive whole. This is something like the 3rd or 4th time they've tried this (I've lost count). The issue, here, is a lack of vision. The only vision is to compete with Marvel who has dominated the comics world since their inception as Marvel Comics. There is no vision to the over arching story, only to competing. Or, to put it more simply, to make money.
Let's jump to the movies. When Marvel began their production company, Marvel Studios, with Iron Man, they did it with a vision. Sure, they wanted to make money, to be successful, but the vision wasn't about the money. The vision was to make movies that existed within a cohesive universe. A movie universe where the characters would interact and depend on each other much like Marvel Comics started out in 1961. In establishing this vision, they have been able to construct excellent movies with excellent stories that are building on each other and telling a much broader-scoped story. Warner Brothers, as with DC, has attempted to just make blockbuster movies. They have no vision. Because they have no vision, what we get are movies like Green Lantern and Superman Returns. With Marvel, with vision, we get Iron Man and Captain America.
I'm not saying that DC doesn't have some good characters and hasn't had some good stories. And Warner Brothers has managed to produce the Nolan Batman films; however, overall, DC remains less interesting than Marvel because of their lack of vision to the story and to the world. Granted, DC never had a Stan Lee. Never had someone with a vision that introduced the characters and tied them all together, but it doesn't seem to me to be a far leap of logic to understand what Stan did and to replicate it. After five decades of trying, though, they have failed to do this.
All of this comes down to one point: vision is important. In fact, I would say that vision is close to all important. Your vision. The vision of the writer. The vision of the writer to know what it is s/he is trying to do and the story s/he is trying to tell. Without vision, you end up with a collection of stories that just don't work together. In a novel, that just doesn't work.
Not to step on any one's fingers or toes, okay, well, maybe some toes, but one of the most common things I see on other writer's blogs is how they've become stuck. S/he was writing along, listening to the voices in said writer's head, and, eventually, got to a place where s/he didn't know what was supposed to happen next. Inevitably, s/he resorts to going back and starting over, gutting, major re-writes, or just plain abandoning that project and switching to something else entirely. This seems a lot like what DC has been doing for several decades, now.
I might sound like I'm advocating for plotting, at this point, over pantsing, but I'm really not. I'm certainly not a plotter. I hate outlines. In school, I only ever did them after the fact because they had to be turned in. Except for those times when the outlines had to be turned in weeks in advance of the actual paper, and, then, I would just hate the entire process of making the outline first. Don't constrain me with those things, man!
However, I always write with a vision, a plan, of what I want to accomplish. Always. I do know where it is I want to go, even if I don't know the route I'm going to take. I'm not saying that my way is right or better or anything like that. However, as often as I read other people talking about getting "lost" in their stories, I have to wonder if it's because the writer didn't have some kind of vision when s/he was starting out.
Of course, the other issue I see is people that are writing with their only goal being to get published. The story is not the goal, just being published. That results in ripping and re-ripping any given manuscript apart at every stray word of any agent or publisher that comes along. This strikes me as being what Warner Brothers has done in trying to get a blockbuster super hero movie out (other than Batman). They're not focused on telling the story; they're focused on what they can do to make money.
As writers, I think the only thing we can do is tell our stories. That should be our vision. Once we have a story, it's great to work on getting it published, but if we're focused on just getting published... well, we may get published, but we'll end up washed away in the tide of all the other writers who just wanted to be published. No one will care. No one will remember. And, unfortunately, it might even be that no one will read. Just another book with its cover ripped off and sent back to be destroyed.
As much as I don't like Twilight, I have to say that Meyer did have vision. Her story came first. Ideas of publication only came after she had her stories. Maybe that's what all the people that have flocked to her books can see... her vision for her story. Because, really, that's what people want to see, the vision of the artist. Not the artist's attempt to duplicate someone else's vision.
Wednesday, August 3, 2011
DC vs Marvel and How It Relates to Writing (pt. 1): Green Lantern
What's the first really bad movie you ever saw? Did it scar you? I was pretty young, 14, when I saw my very first horrible, rotten, stupid movie. Stupidest movie ever. Seriously. I'll tell you the name, but there's a good chance you won't be able to even look it up anywhere. It was so bad, it has 3 or 4 other names besides the name I saw it as: The Dungeonmaster. To my knowledge, it has never been made available on DVD. That's the closest I ever came to getting up and walking out of a theater. At 14. If that tells you anything.
Um, wait a second, the closest I ever came to walking out of a theater was Highlander II: The Quickening. All it took was that first few minutes where they start in with background narration or scroll or whatever it was and reveal that they were really aliens from the planet Zeist rather than the immortals that they were in the first movie. To this day, I'm not sure why I didn't get up and leave other than the fact that I was with my cousin. We got to see that movie for free, and I still felt ripped off. However, it's not quite as bad as The Dungeonmaster. Close, though, but it doesn't quite fall that far.
Green Lantern gave me flashbacks of Highlander II. From the very beginning. The opening sent me right back to that same place as watching the opening to Highlander II. Maybe it's because I already know the history of Green Lantern and the Green Lantern Corps, or, maybe, it's because it was just bad. Based on the performance of the movie, I'm going to guess it was because it was bad.
I was hoping for good things from Green Lantern. He's one of DC's more significant heroes. Part of the Justice League. Has a cool gadget. And I love Ryan Reynolds. Admittedly, that's because he looks a lot like a good friend of mine. The two could almost be twins. I did think Bradley Cooper would have been better for the role, but, in retrospect, it's probably better for Cooper that he got passed over. Despite the good I was hoping for the movie, from the release of the first trailer, I was scared of what they were doing with it. As it turns out, I was right.
I hate to talk about rules, but the writers broke seemingly every rule there is for telling a good story. Let's see, do they have a prologue? Check. To make it worse, it's a non-essential prologue since they repeat every piece of information later in the movie as Hal Jordan discovers the story. So they have a prologue and they have needless repetition. I bet the script was full adverbs, too. Maybe it was one of those too many cooks in the kitchen scenarios, since there are, like, half a dozen people credited for the script.
They introduce at least half a dozen characters that serve no purpose within the actual plot. Yes, these are characters from the comic book, but they don't do anything. In fact, the whole point of introducing the rest of the Green Lantern Corp and the little blue guys that founded the organization is so that they can do nothing.
>sigh<
I could go on about all the things wrong with the movie, but it would be rather pointless, I suppose. Yes, I know what I would have done differently, but I'm sure there are plenty of people out there saying what should have been different, so that would be rather pointless, too.
What we have, when we boil it down, is a company, Warner Brothers, trying to make a blockbuster. Oh, and just by the way, Warner Brothers owns DC. They're not trying to tell a good story, they're only interested in tapping into the blockbuster formula, and, with the exception of Batman, they are failing miserably. And, I have to say, Batman has been an exception because they have Christopher Nolan doing those, and he is interested in telling a good story. For crying out loud, Warner Brothers, basically, fired Joss Whedon from the Wonder Woman project because his story didn't fit their blockbuster model. Seriously, what are these guys thinking? I can tell you... they're thinking about money not about telling stories.
This behavior is just like the big publishers work. They give you a list of things they want from novels that fit the formula of the blockbuster. They don't care whether there is an actual story there. They don't care that Harry Potter doesn't actually fit the criteria of what a blockbuster should be, they just want to duplicate the experience. But not the experience of Harry Potter, the experience of the money pouring in from Harry Potter. In our efforts to be published, we writers often spend our time scrambling after these rules and lists and trying to make everything we do fit into them. And we get are things like Green Lantern. Yes, it got made, but, really, would you want to be remembered for that?
Is there anything good to say about Green Lantern? Not much, but I'll give it a go.
Blake Lively was adequate. The role didn't require much, but she did deliver it. She came across to me as too pretty, really, to be believable. Hmm... maybe not too pretty but too dainty. She played the part well enough, though.
Tim Robbins was almost good, even great. His part was just too small to not like him to the degree that we are supposed to not like him. He puts as much into it in the time we have with him, but it's just not enough.
Peter Sarsgaard had glimmers of being really great. Unfortunately, as his condition worsens in the movie, so does his ability to play that part. He starts out as being sympathetic, but he's supposed to turn evil. We're supposed to not like him in the end. Instead, he just becomes pathetic. I think it wasn't his fault. I think he did what he could with a bad script.
I'd like to say Ryan Reynolds, but I can't. There is never any connection with Hal Jordan, because the script is just all over the place. We never care what happens to him. During the big fight climax at the end of the movie, there was no tension because, honestly, I didn't care if he died. I'm sure the writers thought that it being Ryan Reynolds would be enough, but, for me, it wasn't. Sure, he's his typical charming, roguish self, but it serves to distance us from the character, not tie us to him.
The Oath:
In brightest day, in blackest night,
No evil shall escape my sight.
Let those who worship evil's might,
Beware my power... Green Lantern's light!
However, saying the oath during the moment of crisis should not make you able to defeat the bad guy. Yes, it was dramatic, but it was also totally ridiculous.
So, yeah... I couldn't really think of anything that's completely positive about the movie. I can't believe Warner Brothers is going forward with the sequel.
We got to see the movie for free. It's a good thing, too; if I'd paid money for it, I would have felt ripped off. Like with Highlander II some 20 odd years ago, that was 2 hours of my life I'd rather have back. Even my 10-year-old didn't like it. he told my daughter that she should be glad she didn't go with us. At 10, he already has 2 movies that he's seen that are so bad, he would have walked out if he could have. The other one was Shyamalan's The Last Airbender. It's easy to like things when you're 10. Looking back, I can't believe some of the things I liked at 10. It seems wrong to me that stuff this bad is coming out. Stuff that not even a 10-year-old can get behind.
Um, wait a second, the closest I ever came to walking out of a theater was Highlander II: The Quickening. All it took was that first few minutes where they start in with background narration or scroll or whatever it was and reveal that they were really aliens from the planet Zeist rather than the immortals that they were in the first movie. To this day, I'm not sure why I didn't get up and leave other than the fact that I was with my cousin. We got to see that movie for free, and I still felt ripped off. However, it's not quite as bad as The Dungeonmaster. Close, though, but it doesn't quite fall that far.
Green Lantern gave me flashbacks of Highlander II. From the very beginning. The opening sent me right back to that same place as watching the opening to Highlander II. Maybe it's because I already know the history of Green Lantern and the Green Lantern Corps, or, maybe, it's because it was just bad. Based on the performance of the movie, I'm going to guess it was because it was bad.
I was hoping for good things from Green Lantern. He's one of DC's more significant heroes. Part of the Justice League. Has a cool gadget. And I love Ryan Reynolds. Admittedly, that's because he looks a lot like a good friend of mine. The two could almost be twins. I did think Bradley Cooper would have been better for the role, but, in retrospect, it's probably better for Cooper that he got passed over. Despite the good I was hoping for the movie, from the release of the first trailer, I was scared of what they were doing with it. As it turns out, I was right.
I hate to talk about rules, but the writers broke seemingly every rule there is for telling a good story. Let's see, do they have a prologue? Check. To make it worse, it's a non-essential prologue since they repeat every piece of information later in the movie as Hal Jordan discovers the story. So they have a prologue and they have needless repetition. I bet the script was full adverbs, too. Maybe it was one of those too many cooks in the kitchen scenarios, since there are, like, half a dozen people credited for the script.
They introduce at least half a dozen characters that serve no purpose within the actual plot. Yes, these are characters from the comic book, but they don't do anything. In fact, the whole point of introducing the rest of the Green Lantern Corp and the little blue guys that founded the organization is so that they can do nothing.
>sigh<
I could go on about all the things wrong with the movie, but it would be rather pointless, I suppose. Yes, I know what I would have done differently, but I'm sure there are plenty of people out there saying what should have been different, so that would be rather pointless, too.
What we have, when we boil it down, is a company, Warner Brothers, trying to make a blockbuster. Oh, and just by the way, Warner Brothers owns DC. They're not trying to tell a good story, they're only interested in tapping into the blockbuster formula, and, with the exception of Batman, they are failing miserably. And, I have to say, Batman has been an exception because they have Christopher Nolan doing those, and he is interested in telling a good story. For crying out loud, Warner Brothers, basically, fired Joss Whedon from the Wonder Woman project because his story didn't fit their blockbuster model. Seriously, what are these guys thinking? I can tell you... they're thinking about money not about telling stories.
This behavior is just like the big publishers work. They give you a list of things they want from novels that fit the formula of the blockbuster. They don't care whether there is an actual story there. They don't care that Harry Potter doesn't actually fit the criteria of what a blockbuster should be, they just want to duplicate the experience. But not the experience of Harry Potter, the experience of the money pouring in from Harry Potter. In our efforts to be published, we writers often spend our time scrambling after these rules and lists and trying to make everything we do fit into them. And we get are things like Green Lantern. Yes, it got made, but, really, would you want to be remembered for that?
Is there anything good to say about Green Lantern? Not much, but I'll give it a go.
Blake Lively was adequate. The role didn't require much, but she did deliver it. She came across to me as too pretty, really, to be believable. Hmm... maybe not too pretty but too dainty. She played the part well enough, though.
Tim Robbins was almost good, even great. His part was just too small to not like him to the degree that we are supposed to not like him. He puts as much into it in the time we have with him, but it's just not enough.
Peter Sarsgaard had glimmers of being really great. Unfortunately, as his condition worsens in the movie, so does his ability to play that part. He starts out as being sympathetic, but he's supposed to turn evil. We're supposed to not like him in the end. Instead, he just becomes pathetic. I think it wasn't his fault. I think he did what he could with a bad script.
I'd like to say Ryan Reynolds, but I can't. There is never any connection with Hal Jordan, because the script is just all over the place. We never care what happens to him. During the big fight climax at the end of the movie, there was no tension because, honestly, I didn't care if he died. I'm sure the writers thought that it being Ryan Reynolds would be enough, but, for me, it wasn't. Sure, he's his typical charming, roguish self, but it serves to distance us from the character, not tie us to him.
The Oath:
In brightest day, in blackest night,
No evil shall escape my sight.
Let those who worship evil's might,
Beware my power... Green Lantern's light!
However, saying the oath during the moment of crisis should not make you able to defeat the bad guy. Yes, it was dramatic, but it was also totally ridiculous.
So, yeah... I couldn't really think of anything that's completely positive about the movie. I can't believe Warner Brothers is going forward with the sequel.
We got to see the movie for free. It's a good thing, too; if I'd paid money for it, I would have felt ripped off. Like with Highlander II some 20 odd years ago, that was 2 hours of my life I'd rather have back. Even my 10-year-old didn't like it. he told my daughter that she should be glad she didn't go with us. At 10, he already has 2 movies that he's seen that are so bad, he would have walked out if he could have. The other one was Shyamalan's The Last Airbender. It's easy to like things when you're 10. Looking back, I can't believe some of the things I liked at 10. It seems wrong to me that stuff this bad is coming out. Stuff that not even a 10-year-old can get behind.
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