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Tag Archive: Captain America


Review by Art Schmidt

Overall this is probably one of the best Marvel Studios has produced thus far.  Despite the multitude of heroes and personalities on the screen, which could have easily lent itself to a convoluted, overly-busy and confusing plot, the movie sails right along with only a few minor bumps in dialogue or story.  The tight script by director Joss Whedon manages to bring out the individual personality of each character, as well as showcasing each ones strengths and, in most cases, their weaknesses, without anything feeling like it was shoe-horned in the middle of a scene or duct-taped onto the end of a conversation.  It all flows exceedingly well, to both Whedon and Zek Penn‘s credit.

Early on, many questioned Whedon’s ability to transform from a televised series format where he’s had his greatest critical and commercial successes with Buffy the Vampire Slayer, Firefly, and Dollhouse, to the big screen, despite having written stories and/or screenplays for several films including Toy Story, Alien: Resurrection, and Serenity.  Well, The Avengers have assembled for what is currently Earth’s Mightiest Movie, and Whedon has answered all of those critics with a guttural roar heard all across America yesterday:

“Joss SMASH!”

Smash, indeed.  It appears some records are about to be smashed, judging by the movie’s world-wide tallies and first-day numbers in the United States.

In fact, it may very well be Whedon’s experience with television’s shorter episodic format that enabled the director to write such crisp, fast-paced exchanges between the characters, expressing multiple points of view in relatively short conversations without feeling pithy or trite.  Of particular note is a scene mid-way through the movie, as the Team wrestles with each other’s hidden objectives and priorities, trying to make sense of how they can possibly agree on even one thing, much less begin to work together.  S.H.I.E.L.D. Director Nick Fury’s agenda is questioned, as is Thor’s long-term plans for his captive brother Loki, played again with devilish delight by Tom Hiddleston.  Steve Rogers (a.k.a Captain America) questions Tony Stark’s patriotism, and Bruce Banner tries to remain out of the fray altogether, because in reality he doesn’t trust any of them.  And it is Banner who aptly frames the team’s troubles with the quip showcased in the previews: “We’re not a team…  we’re a time bomb.”

Of particular note is newcomer Mark Ruffalo, taking up the role of Bruce Banner formerly portrayed by not one but three other actors, the fairly straight-forward scientist on the run character (“David” Banner) that Bill Bixby gave us in the seventies TV series, the brooding scientist with the weight of the world on his shoulders as portrayed by Eric Bana in Ang Lee’s The Hulk, and the mousy, sensitive fugitive we were shown by Edward Norton.

Ruffalo gives us a character more true to the Banner of the comics, nerdy and analyzing, shy around people and reluctant to get involved, with much hand wringing and avoiding eye contact, even when the camera isn’t squarely on him.

The Hulk himself, finally, comes into his own in an odd way, with hints that Banner now has at least a tiny bit of control over the beast.  The CGI Hulk is a rare cinematic treat, fun to watch, exhilarating with his combat acrobatics and both vicious and funny to behold in all his rage.  He definitely grabs both some of the movies best action sequences and its funniest sight gags.  Whereas many studios anymore give away the best parts of their movies in the previews in an attempt to trick an audience into the seats, The Avengers saves the best stuff for the theater, and I won’t be so callous as to spoil one single juicy bit of it here.  I will say that when Banner tells his “big secret” to Black Widow and the rest of the team during the finale, it drew some the biggest cheers of the night.

Although now in an apparently steady relationship with Pepper Potts, played in a few brief scenes by Gwyneth Paltrow with the warmth and grace she brings to every role, Robert Downey Jr.’s Tony Stark is at his most self-centered and narcissistic throughout the entire film.  Which of course is to say at his most fun, especially for the audience.  His cooler-than-thou attitude grates against almost every other member of the “team,” and much of the early in-fighting amongst the team is either attributed to, or enflamed by, Stark’s ingratiating self-importance.  Again, to the audience’s delight.

Despite the excess of charisma, Iron Man does not end up leading the team, of course.  That honor goes to Captain America, although next to the high-flying and alien-smashing abilities of the other “big three,” the star-spangled man in blue tights seems, as times, a bit under-powered.  But the Captain’s confidence and, ultimately, loyalty to his teammates is what brings out his leadership skills, and the others end up swallowing their pride and prejudices and looking to him as their quarterback, their general, their Captain.

Chris Evans does a skillful job of maintaining Cap’s Boy Scout innocence amidst the highly experienced and jaded folks around him, even when faced with deadly threats and other-worldly beings.  Steve just pitches in and helps, whether it’s assisting Iron Man in getting a rotor repaired, sneaking around S.H.I.E.L.D.’s vaults to uncover their secrets, or directing New York’s finest to execute their duty to protect and serve.

“Why should I take orders from you?” one veteran police sergeant asks dubiously.  The response is pure popcorn delight.

Chris Helmsworth recites Thor’s Olde English dialogue with clarity and ease, and though at times you can almost see the words in your head in the fancy font used in the comics, it rolls off of his tongue naturally.  The God of Thunder actually feels more real in this movie than in his own, partially because the other heroes bring him down to Earth a bit (no pun intended), but also because of the balancing effect of the Hulk.

As Black Widow, Scarlett Johansson has enough to do and gets plenty of screen time, even discounting the shots of her character walking away from the camera, but compared to those who have super-natural (or super high-tech) abilities, her martial arts and weapons skills seem flashy but inadequate.  As one of S.H.I.E.L.D.’s top operatives, however, she in right in the mix and given some tough assignments, like dealing with Banner / Hulk and figuring out how to ultimately stop the bad guys at the end.

Hawkeye suffers from a similar fate (played by Jeremy Renner), although his trick arrows do bring some surprises and satisfying butt-kicking moments.  His arsenal isn’t as tricked-out as in the comics, but his skill comes across (especially when he’s eyeing his targets a full forty or fifty degrees from where he’s aiming his bow) and his automated quiver is a fairly neat addition to the Avenger’s arsenal.

Samuel L. Jackson has been playing Nick Fury with his own unique brand of quiet cool through almost all of the Marvel movies leading up the this, and I was looking forward to seeing him in some action sequences in The Avengers.  Though Fury does unleash some on a few bad guys, his role is mostly as the S.H.I.E.L.D. administrator and liaison to those in power calling the real shots.  Too bad, maybe next time.

All in all, the movie aims to please and hits the mark dead-on, with tons of thrills, laughs, great action sequences, characters who sound intelligent and a story that makes sense.  Usually with superhero movies, you’re lucky to get any three of those things and call your money fairly spent.  Well, Joss Whedon and company have assembled the entire team and anyone who enjoys action / adventure movies should walk away with a huge grin on their face.

Be sure to wait until after the credits for a great nugget!  I won’t give it away, but it is unlike any of the others Marvel has planted at the end of the movies leading up to this one.  And joyously so!

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Last month we previewed the Captain America: The First Avenger auction to be conducted by Marvel Studios and auction house Profiles in History.  The auction was held April 14, 2012 at the Chicago Comic and Entertainment Expo with incredible results proving that Marvel Comics fans are as rabid as any genre collecting group.  Details of the full prices realized can be found via links at Profiles in History’s company website.  Featuring primarily props, costumes, and set pieces from the 2011 release Captain America: The First Avenger, the auction also featured a few lots from Iron Man 2 and Thor.  The auction included four recognizable Captain America supersuits, as well as several other costumes worn by actor Chris Evans, and 11 iconic shield variants.

Supersuits

The key item up for bid was Lot 154, the Steve Rogers Captain America hero costume and shield worn by Chris Evans in the movie, which served as his final superhero suit in the film and is the suit used in all the Marvel posters and marketing.  It carried an auction estimate of $20,000-$30,000.  The final price including the auction house premium?  A stunning $233,700!   That’s right–nearly a quarter of a million dollars.  You’ll be hard pressed to come up with any genre costume from any character of any series, sci-fi, fantasy, or superhero movie, that has ever sold at auction for so much.  Clearly a landmark price for a neat character costume.

Why such a high hammer price, as compared with sales in past auctions of other hero costumes from other franchises?  Several factors created fertile turf for this monumental auction, including: (1) the movie itself received critical acclaim and approval of average movie-goers (I have met no one who saw this film and didn’t think it was very good), (2) the character is iconic–literally a hero suit (as opposed to a stunt suit) from an actual superhero, (3) it’s Captain America–there’s a lot of nationalistic pride behind this character and its historic place in both comicdom, World War II mythos, and Americana, (4) unlike all the Batman, Spider-man, and Superman suits on the market from several movies, this was the first big budget Captain America film, for a character who has been around and beloved by all ages for three generations, (5) the Avengers have never been bigger in the history of Marvel Comics than this month–with the release of Avengers vs. X-Men and the new Avengers film premiering everywhere in just days from now, (6) this was a rare occasion where a film costume didn’t match the classic costume and fans didn’t care because the new outfit was designed with cool results, (7) the auction was heavily publicized and was held in a venue with excited comic book fans, (8) the simple but nicely done catalog arrived early and gave interested bidders time to plan bidding strategies, (9) the auction house, Profiles in History, is simply getting more and more visible, especially with its SyFy Channel TV series Hollywood Treasure, and the recent record-setting movie costume sales from the Debbie Reynolds collection.

Chris Evans’ Captain America USO costume and shield had an estimate of $4,000-$6,000.  Final sale price?  $30,750.

The Captain America costume worn by Evans in the POW rescue scene had an auction estimate of $6,000-$8,000.  The lot included an early style Cap shield.  Final sale price?  $27,675less than the distressed version–Evan’s Captain America distressed rescue suit also had an auction estimate of $6,000-$8,000, but sold for $30,750–still a low price considering it was seen so much in the film as compared to the primary hero outfit.

Shields

One early style Cap shield from the Hydra factory scene carried a $2,000-$3,000 estimate.  It sold for $13,530.  A separate shield of the same design was estimated to sell at $2,000-$3,000.  It sold for $14,760.  A similar shield with distress marks from the “Invaders” scene had the same auction estimate.  It sold for $17,220.

An unpainted silver prototype shield from Howard Stark’s laboratory carried an auction estimate of $3,000-$5,000.  It sold for $18,450.

One shield offered was the frozen in ice version, which had an auction estimate of $4,000-$6,000.   I think this was the coolest shield at the auction.  It sold for a cool $24,600.  Lot 177 was a classic, traditional Captain America shield, expected to sell for $4,000-$6,000.   It fetched $27,675.  Yet another battle damaged shield from the final showdown with Red Skull carried an auction estimate of $4,000-$6,000.   It sold for $27,675.

A distressed stunt shield of the same type from the show’s final showdown carried an estimate of $3,000-$5,000.  It sold for $20,910.

Motorcycles

The Steve Rogers’ hero modified Harley Davidson motorcycle had an auction estimate of $12,000-$15,000 and a second hero motorcycle from a different scene has an auction estimate of $10,000-$12,000.  They sold for $14,760 and $12,300, respectively.

Red Skull and Hydra

Hugo Weaving’s Johann Schmidt/Red Skull SS costumes were expected to fetch $6,000-$8,000 each.  They ranged from $19,680 to $20,910.   Weaving’s bright red “Red Skull” facial prosthetics—3 in all—were expected to sell for $2,000-$3,000.  They sold for $4,305 to $7,995. 

A Hydra non-functional mini-tank was expected to fetch $12,000-$15,000.   It was one of the rare key pieces that sold in its estimate range, for $14,760.  Various Hydra motorcycles carried an auction estimate ranging from $3,000-$6,000.   They sold between $4,920 and $18,450.  Several Hydra soldier uniforms had an auction estimate of $1,000-$1,500.  They sold well over that, from $6,765 for standard outfit to $15,990 for the hero outfit.

Iron Man

The original, incredibly detailed, full-scale Mark II silver Iron Man suit from Iron Man 2 had an auction estimate of $60,000-$80,000.  It sold for a whopping $135,300.

Thor

Finally, two stunt Thor Mjolnir war hammers were offered at the end of the auction from the Kenneth Branagh movie Thor, each expected to sell between $3,000-$6,000.  They each sold for $19,680 and $23,370, incredible for rubber stunt props of any film.

As with most Profiles in History auctions, the actual hammer prices (rimshot) generally far exceeded the auction estimates.  Movie studios are sure to take note of this quickly burgeoning source for revenues.   With strike prices this impressive, expect studios that haven’t paid much attention to the costumes and props that were once thrown out after production in the past to follow suit with future auctions.

C.J. Bunce

Editor

borg.com

Review by C.J. Bunce

Everything nearly ended.  Countless heroes were killed.  The Fantastic Four have disbanded.  The X-Men are gone.  Mutants are hunted as criminals.  The world still needs saving.  This is what happens next.

Released last year in a nice hardcover edition and now widely available everywhere, the oddly titled Ultimate Comics New Ultimates: Thor Reborn is not always easy to find via electronic searches because of its clunky title.  And if you try to just ask for “that great Jeph Loeb/Frank Cho” book from last year, they may or may not know what you mean.  But take it from me, it is well worth remembering this one.

After reading last week’s prologue to the coming Avengers vs. X-Men series (Issue #0 came out last Wednesday and Issue #1 will be released early at a special pre-release party this Tuesday night), what it made me want was more Frank Cho.  In a never-dwindling stack of books to read, this New Ultimates is the one in the stack you kick yourself for not reading earlier.

By way of background, Marvel’s Ultimate Universe is a parallel universe created in 2000 to try to bring in new fans without being bogged down in 40 years of Marvel Comics Universe continuity.  Sound a little like DC’s New 52?  The Ultimate Universe is a sort of all-bets-are-off line that Marvel fans either love or hate.  As a fan of alternate history books, and as we wait for DC Comics to reveal its own new Earth 2 and Worlds Finest parallel universe series, this trade book, re-printing the Ultimate Comics New Ultimates: Thor Reborn Issues #1-5 from 2010, is exactly the kind of story I love.

I’ll put aside Frank Cho’s brilliant art for a second and get into the story.

Jeph Loeb is one of comic book writing’s greats for a reason.  His storytelling is superb in that it is succinct enough for the comic medium yet comprehensive in its bringing in several major players and turning points in only five chapters.  Each issue/chapter is told both from a third person narrative and an internal monologue from a different key player–each of Tony Stark, Steve Rogers, Valkyrie, Loki and Thor.  Sometimes the stories run parallel with each other, and in other parts they require the reader to follow the two stories separately.  I rarely like switching narrators in any type of book as it usually feels like a gimmick.  In comic books, if done right, it can allow you to dig into a few characters more deeply than a third person voice by itself.

Jeph Loeb clearly poured a lot of himself into this story.  Loeb follows the thoughts of Tony Stark as he beats up himself for surviving a battle with cancer, while a kid he met named Sam did not survive.  Sam, of course, is a reference to Loeb’s own son who had died earlier of cancer, and was the subject of a popular memorial book by several DC Comics creators.  The fact that Loeb would pour such a personal story into the opening page of this book grabs the reader’s attention instantly.  Suddenly we see Loeb as Stark, and it somehow allows us to understand the darkness behind Stark’s personality.  As Stark is chatting with Hawkeye, a group of the New Defenders appear for a brawl.  Captain America shows up with two great characters, Zarda, who Hawkeye believes to be crazy yet is a goddess in her own right, and Valkyrie, who we later learn is a typical girl next door that ends up coerced into a life of a would-be superhero.

This humorous assemblage of repeating/mirror panels is reminiscent of Frank Cho's Liberty Meadows work.

Valkyrie is central to this story, as Thor’s lover, she cannot get over losing him.   He resides in Asgard, his exiled destination for sacrificing everything–including his life–in a prior battle.  We meet yp with Thor in Asgard, trying to persuade Hela to let him return.  She agrees, but for a great price that he pays–without much coercion–and with a result that will likely be played out in later series.

For Frank Cho fans, this world includes Shanna of the jungle and Ka-Zar, their twin tigers, and Black Panther.  They are first to confront the series’ villain, Loki, and another enchantress named Amora, with a flying dragon/dinosaur beastie invading Manhattan.  As much as readers will be blown away by Cho’s pantheon of women heroes like only he draws them, including Ms. Marvel’s Carol Danvers, Valkyrie, Zarda, Amora, the enchantress, and Shanna, his male superheroes are superb, too, and Iron Man and Captain America in particular have rarely been rendered artistically any better.  Also look for cameos by the Black Knight and Power Man.

Beautiful original art page by Frank Cho.

We encounter a brooding Captain America, who inadvertently pushes Valkyrie and Zarda into the manipulative trance of Amora (Zarda is a ringer for Cho’s Brandy and Amora for Cho’s Jen, both from his Liberty Meadows series).  Rounding out a triumvirate of super-powered women under the control of Loki and Amora, Carol Danvers, now director of S.H.I.E.L.D.  is pulled in to devastate the few heroes that remain: Iron Man, Captain America, and Hawkeye.  Readers are treated to several poster-worthy splash pages from Cho.  And hints abound in the series as well as in-jokes.  Cho’s use of eyes and expressions tell stories themselves that, in retrospect, were giveaways easily passed over on a first read.  Cho’s in-jokes are peppered throughout the book, in wall paintings and coffee house menus, in backgrounds other artists would have left as filler space.

Throughout this tale we follow the tragic story of the rise of Valkyrie, actually the human Barbara Norriss, whose entire life–as she sees it–is a lie.  The theme “be careful what you wish for” is repeated throughout Loeb’s story.  Valkyrie’s story is emotion-filled and poignant.  If you are looking for a great story along the lines of Wagner’s Ring fantasy, this story would fit right in.

Loeb sums up the ruthless Loki very well as Loki compares his and brother Thor’s story to Cain and Abel, and Esau and Jacob, “Unlike those brothers, however, I don’t want to actually KILL Thor.  I just want to @#$% with him.”  Consistent with the Norse god stories, and Loki in the Marvel Universe, this reveals a lot about his motivations and the pages that follow.  The final chapter, shown in part through Thor’s voice, wraps the story arc up nicely.

For some reason to me this image seems very similar to portraits of Batgirl done by Adam Hughes.

Back to Cho’s art–although we almost take for granted Cho’s pin-up worthy splash pages, his action scenes stand up to anyone else’s in their own right.  His women in battle have some similarities to Adam Hughes 1940s style women-focused cover work (like his current Batgirl covers) that I have not recognized before.  The numerous characters go through several emotions, sometimes subtle, sometimes overt, and his eyes and mouths, wrinkles, frown lines, etc. convey much–he really makes it all look so easy.  One final note:  A few of these covers were mentioned earlier here in our review of the best covers of Frank Cho.

The appendix includes a great color and black and white gatefold of alternate covers and a sketchbook of Frank Cho pencil work from this series.  Overall you’ll be hard pressed to find a more interesting adventure story coupled with stellar artwork than Ultimate Comics New Ultimates: Thor Reborn.

Just in time for the new Avengers movie premiere, Marvel Studios and Profiles in History will be auctioning off screen-used Captain America costumes and shields, an Iron Man suit and Thor’s hammer at its Captain America: The First Avenger auction on April 14, 2012 at the Chicago Comic and Entertainment Expo.

Profiles in History is offering the catalog for the auction for sale for $39.50 and a digital auction catalog is also available online at the company’s website.  The auction will also be available live to online bidding.

Featuring primarily props, costumes, and set pieces from the 2011 release Captain America: The First Avenger, the auction also will be featuring a few lots from Iron Man 2 and Thor.  The auction features four recognizable Captain America supersuits, as well as several other costumes worn by Chris Evans and 11 shield variants.

Supersuits

The key item up for bid is Lot 154, the Steve Rogers Captain America hero costume and shield worn by Chris Evans in the movie, which served as his final superhero suit in the film and is the suit used in all the Marvel posters and marketing. It carries an auction estimate of $20,000-$30,000.

Chris Evans’ Captain America USO costume and shield has an estimate of $4,000-$6,000.

The Captain America costume worn by Evans in the POW rescue scene has an auction estimate of $6,000-$8,000. The lot includes a early style Cap shield.

Evan’s Captain America distressed rescue suit also has an auction estimate of $6,000-$8,000.

Shields

One early style Cap shield from the Hydra factory scene carries a $2,000-$3,000 estimate.  A separate shield of the same design is estimated to sell at $2,000-$3,000.  A similar shield with distress marks from the “Invaders” scene has the same auction estimate.

An unpainted silver prototype shield from Howard Stark’s laboratory has an estimate of $3,000-$5,000.

One shield offered is the frozen in ice version, which has an auction estimate of $4,000-$6,000.  Lot 177 is a classic, traditional Captain America shield, expected to sell for $4,000-$6,000.  Yet another battle damaged shield from the final showdown with Red Skull carries an auction estimate of $4,000-$6,000.

A distressed stunt shield of the same type from the show’s final showdown carries an estimate of $3,000-$5,000.

Motorcycles

Do you need a Cap-cycle?  Steve Rogers’ hero modified Harley Davidson motorcycle has an auction estimate of $12,000-$15,000 and a second hero motorcycle from a different scene has an auction estimate of $10,000-$12,000.

Red Skull and Hydra

Various Hugo Weaving’s Johann Schmidt/Red Skull SS costumes are expected to fetch $6,000-$8,000 each. Weaving’s bright red “Red Skull” facial prosthetics—3 in all—are expected to sell for $2,000-$3,000.

A Hydra non-functional mini-tank is expected to fetch $12,000-$15,000. Various Hydra motorcycles carry an auction estimate ranging from $3,000-$6,000. Several Hydra soldier uniforms have an auction estimate of $1,000-$1,500.

Iron Man

The original full-scale Mark II silver Iron Man suit from Iron Man 2 is incredibly detailed and impressive. It has an auction estimate of $60,000-$80,000. Despite its incredibly realistic paint detail, it is not actually made of iron, but it is composed primarily of fiberglass resin.

Thor

Finally, two stunt Thor Mjolnir war hammers are offered at the end of the auction from the Kenneth Branagh movie Thor, each expected to sell between $3,000-$6,000.

As with most Profiles in History auctions, expect the actual hammer prices to exceed the auction estimates.  Usually for entertainment memorabilia auctions of late the hammer prices vastly exceed the estimates.  The bonus of this auction is that there are plenty of costumes, shields, props, heck–even motorcycles–to go around for the die-hard Marvel Avengers fans.

C.J. Bunce

Editor

borg.com

By Jason McClain (@JTorreyMcClain)

I love to rank the movies that I’ve seen every year.  I also love to have caveats like this list doesn’t include Girl with the Dragon Tattoo, Tinker Tailor Soldier Spy, Martha Marcy may Marlene, or Hugo as I haven’t seen them yet and I want to do so.

I rank the movies as I see them and try to figure out where they fit in the whole spectrum of the movies that I’ve seen over the year.  I toyed with showing the top five, then the top ten, then the top sixteen, and then I said, screw it, I’ll just give you the whole list so that you can see it in its full context.  You can see what I see and how they rank against each other in my mind.  One slight mathematical type note – don’t think of this list as a normal distribution.  It could be skewed left or right depending on your vantage point, and in this case has more movies toward the quality side and that have definite cool moments.

So, without further ado, here is my list of movies in the order that I enjoyed them and that I saw released in 2011.

  • Midnight in Paris
  • Melancholia
  • Thor
  • Attack the Block
  • Captain America
  • The Guard
  • Young Adult
  • Shame
  • The Artist
  • Insidious
  • Cedar Rapids
  • Rango
  • Bridesmaids
  • Tree of Life
  • Hanna
  • Submarine
  • 13 Assassins
  • Paranormal Activity 3
  • Win Win
  • Drive
  • The Descendants
  • The Trip
  • X-Men: First Class
  • Everything Must Go
  • The Adjustment Bureau
  • Mission Impossible: Ghost Protocol
  • Source Code
  • Cave of Forgotten Dreams
  • Paul
  • Unknown
  • Moneyball
  • Contagion
  • Super 8
  • Sucker Punch
  • Hall Pass
  • Cowboys and Aliens
  • I Saw the Devil
  • Horrible Bosses

If I were making a list of the top ten movies of the year to nominate for the Best Picture Oscars (announced Tuesday, January 24th at 5:30 am PT) I’d take the first ten movies. 

However, knowing that superhero movies, action movies, comedies, animated films and horror movies rarely, if ever, get nominated, here is the list of what I would say are the ten best films of 2011 that I think deserve a best picture Academy Award nomination and would have a realistic chance at earning one.

  • Midnight in Paris
  • Melancholia
  • The Guard
  • Young Adult
  • Shame
  • The Artist
  • Tree of Life
  • Hanna
  • Submarine
  • Win Win

(Yes, I know that Hanna is pretty much an action movie and Submarine is a darn funny comedy, but they seem like nominated films more than Attack the Block and Bridesmaids.  Also, I’m not paying attention to release date and box office gross, which means it may be even less realistic than just eliminating certain genres of films.)

So, that’s it?  That’s all that I have to say?  It wouldn’t be much of an essay then as it is mainly just two lists.  I think you can find out just about anything you want to find out about the movies by just looking for them online.  You can also find better prognostications as far as the movies most likely to be nominated.  (Hint: The Descendants and Moneyball.)  So, what I’ll give you instead to wrap up the year 2011 in movies is a list of the great moments of these films.  I’ll avoid spoilers and just give you hints of the awesome in no particular order.

Don Cheadle and Brendan Gleeson meeting for the first time in The Guard.  At the beginning of this movie, Don Cheadle’s character holds a meeting for the police force of a small Irish town to give them more information of a drug-smuggling ring.  The interaction between these two great actors had to have been one of the funniest things I saw all year.

Dancing in The Artist.  I went to see this movie with my good friend Kelvin and we agreed that though we didn’t laugh much, when we left the theater we knew that we had been smiling to ourselves in the dark for the past two hours.  The scenes where Jean Dujardin and Berenice Bejo danced were the ones that made me smile the most.

The meeting in the garage between Bryan Cranston and Albert Brooks in Drive.  I’m a big fan of Breaking Bad.  I’m also a big fan of Albert Brooks, going all the way back to Real Life and Modern Romance.  When these two are in a scene together, you know both have the chops for comic acting and now you can add Brooks to Cranston as far as dramatic acting as well.

Charlize Theron sitting down to write at her computer in Young Adult.  Every time Charlize sat down to write in this film, it struck home.  The struggle to sometimes find inspiration and to reward yourself with a distraction for limited reasons I think parallel anyone that has ever sat and tried to do something creative.

The invention of a meteor distance device by the son in Melancholia.  Picking a moment from this movie is tough, there are cool visuals, there are moments that break your heart and there are parts that are darkly funny.  However, seeing Keifer Sutherland exude so much pride over his son’s invention and the knowledge that we have as an audience makes that moment just about perfect.

The Wire references in Cedar Rapids.  Isiah Whitlock Jr. played Senator Clay Davis in The Wire, you know, that show that all your friends tell you to watch once they’ve seen it.  Well, that show exists in Cedar Rapids and the references they make to it using Isiah made me smile as a fan of both this movie and that awesome TV show.

The meetings between the young kids and the nurse in Attack the Block.  It’s been a bit since I saw the movie, but one thing I liked was the relationship that developed between the kids on the block and the nurse that they accost at the beginning of the movie.  The moviemakers gave it time to develop and because of that, the relationship worked instead of being a cliché.

The battle in 13 Assassins.  It’s a battle for a town with samurais. It may be sacrilege for me to say it, but I think it may top the same scene from Seven Samurai.

The scene about Jeremy Brown in Moneyball.  They use real minor league footage for this scene and it is the one that truly moved me from this whole movie. It was at this point that the characters played by Jonah Hill and Brad Pitt (as Peter Brand and Billy Beane) finally connected with me.

Any scene with the rotating camera in Paranormal Activity 3.  I don’t care what people think of the Paranormal Activity movies.  They spook me out.  The addition of the camera that rotates so that you lose sight of parts of the house heightened my scared anticipation every time they cut to it.

Those are my ten.  Let me know if you have any that you’d add to my list.

Review by C.J. Bunce

Fear Itself, the seven issue limited series that has taken over all the Marvel Comics titles for the past seven months, just wrapped.  Fear Itself was written by Matt Fraction, one of the Marvel Architects, those guys who are building the future of the Marvel franchise with superb art by Stuart Immonen.  No doubt with Fear Itself, the construction of a Herculean storyline that spans all titles must have taken a fair amount of coordination.  And it looks like it had to be fun to write and draw.

Fear Itself became the summer subtitle for Marvel, you couldn’t escape it, and even as someone who was not a regular Marvel reader I picked up the seven issues of the main title to read them once the series concluded, along with Seth Peck’s three issue run on Fear Itself: Wolverine tie-in, which I haven’t read yet.

Midway through issue two I was reminded of past Marvel world catastrophe storylines, like my first introduction as a kid in the 12-issue Marvel Super Heroes Secret Wars and follow-up Secret Wars II series, which I also bought and read as a set once the series had concluded.  Also, Marvel’s Civil War mini-series from only a few years ago, that resulted in Spider-man revealing his true identity and Captain America Steve Rogers’ death.  I was reminded because you can’t just casually read these series.  With all of these, a lot happens, there is a lot to absorb, and you only get full value by going back and re-reading each issue.  What helps with this series is each issue gives a Star Wars type summary crawl of where the story stands at the beginning of each issue–a re-cap– and a cast of characters, so you can keep track of the difference between Odin and the All-father, for example, two guys drawn similarly that had me only slightly confused until their storylines became finer tuned.

Spoilers!

The baddie of the series is the red-faced, ugly daughter of Red Skull named Sin.  In issue 1, fear has already gripped the world, with general strife, Wall Street uncertainty, economic disaster, protests, etc…. real world kinds of things.  Steve Rogers and his Avengers are trying to keep peace across the globe.  Iron Man Tony Stark has corporate solutions.  Meanwhile Sin seeks out a frozen Nazi stronghold buried far away by Red Skull, to find a powerful hammer that unleashes the beginning of the end of a great and horrible prophesy.  She unleashes on old, banished warrior called the All-Father from the depths of the ocean with the power of the hammer.  Odin learns of this and leaves Earth with other Gods, despite his son Thor’s protestations.  The fighting between Odin and Thor is not new, and a little humorous because you know how it always ends.  By the end of issue 1 the All-Father summons his “Worthy,” seven objects that come to Earth like meteors…

Issue 2 picks up with each meteor actually a hammer finding a hero on Earth and taking over each of them and turning them into seemingly indestructible beings devasting the planet.  The heroes become the villains, or at least, the tools of their destruction.  This includes Juggernaut, Attuma, Absorbing Man, The Hulk, and my favorite here, Titania, who becomes “Skirn: Breaker of Men.”  By the end of this issue Sin is marching on Washington, DC, destroying the capital building.

In issue 3 we learn that the last hammer ends up turning Ben Grimm aka The Thing into the last of the “Worthy.”  Bucky Barnes, donning the Captain America suit, leads the Avengers into a direct battle with Sin, only to be struck down and killed.

In Issue 4 Odin embarks on his journey to destroy all of Earth in order to ensure destruction of the All-Father–to ensure the terror will end as only he has faced this menace before and he knows the seven “avatars” are more powerful than anything the planet has yet faced.  Nothing trivial for Marvel in this storyline!  The All-Father seems to be thriving on the world’s fear, gaining power.  He summons a sleeping army of the dead, prompting a humorous line from Tony Stark “we’re gonna need a bigger boat.”  In a Luke and Darth moment, the All-Father reveals his true identity to Thor–that he is Odin’s brother and the true King of Asgard.  Thor is left to confront…

In Issue 5 Thor confronts none other than The Hulk and The Thing–sure, not themselves, but a fun brawl and circumstance nonetheless, setting up the money shot for this series in a nice knockdown.  Steve Rogers shatters his Captain America shield in battle and as he realizes the Avengers are going to lose the war in the end, he let’s Spider-man go off try to find his missing aunt.  Is all lost for our super-friends???

By this time, readers have read so many Marvel character ads you need a break.  Sleepwear, gum, even Marvel Slurpees…at least Twilight doesn’t get everyone’s marketing dollars!  Hmm…where’s my DVR for comics…

Issue 6!  The action picks up.  Having told off Odin himself, Tony Stark is allowed to help the Asgard fight, earning Odin’s respect, and gets to fight alongside Thor and Odin at Asgard.  A very cool moment for Iron Man and the second high point of the series.  The issue ends with Steve Rogers, Captain America, ready to have the final stand directly on Earth with the King of Asgard.

Finally, the end is here in a double-sized final issue called “Thor’s Day.”  Tony Stark has used the gods’ workshop to build mystic weapons to help the heroes fight on Earth.  Odin has given Thor the Ragnarok, a powerful sword, and a set of armor for battle…

OK, enough spoilers.  Iron Man brings magic weapons for everyone…except for Captain America, since Stark knows nothing is better than that shield, yet he didn’t know it was lost in battle.  But that doesn’t stop this 1940s era Cap from leading the Avengers anyway…  the rest is full of action, nice pacing all-around and what you’d call a “shocker” ending.

More valuable for the Marvel reader are the several denouements, more than even in Lord of the Rings: Return of the King….the seventh issue is a must read for anyone reading Marvel with the ongoing lead-ins for the rest of the Marvel Universe… like Sin’s fate to be revealed in The Fearless, a strange happening to the Hulk after he recovers in the new Incredible Hulk #1… and a lot more.

I am not sure where Fear Itself stands with respect to past Marvel cataclysm mini-series or even DC Comics big-event Crisis series, but it’s a a fun read and, for the hundreds of characters that the writers and artists attempted to incorporate into this series, the result was pretty successful.  A hardcover version is due out from Marvel soon and now available for pre-order from Amazon.

No sign of any new Iron Man suit yet for Robert Downey, Jr., but Marvel Comics revealed some new photos in the past several hours for The Avengers–the megahit where all the key Marvel Comics superheroes finally come together in 2012.  And cooler yet, the Internet Movie Database revealed that Lou Ferrigno will return again as the voice of The Incredible Hulk.  If you have been lucky enough to meet Ferrigno in person, you’ll know this kind of an opportunity couldn’t happen to a nicer guy.

Here are some of the photos released for the new film, to be directed by Buffy the Vampire Slayer creator Joss Whedon:

Raise your hand if you are looking forward to seeing anyone in this film more than Samuel L. Jackson as Nick Fury.  No hands?  I didn’t think so.

Chris Evans as Captain America and Chris Hemsworth as Thor, reprising their roles from two 2011 blockbuster movies:

Scarlett Johansson reprises her role from Iron Man 2 as Black Widow.  Hey, why didn’t we get a Black Widow movie?

Tom Hiddleston stars as villain Loki:

And here is a look at Johansson and new character Hawkeye, played by Jeremy Renner:

More photos can be found at the Internet Movie Database.

Reviewed by C.J. Bunce

Everyone I know who beat me to Captain America: The First Avenger, recommended this movie.  Of all the summer releases, the trailer seemed a bit ho-hum, so I wasn’t in a hurry to see it.  As for the character, I read back issues of Marvel Comics’ Captain America as a kid and liked it.  His nemesis, Red Skull, was always a great villain.  But since the 1960s for some reason Hollywood has trouble making good World War II movies.  Captain America is not only a good comic book movie, it’s a good World War II movie.  Its basic, good story, solidly bridges the real-life comic book hero from the 1940s with a now modern myth-like Marvel universe and the result is a character we’d all be proud to know, successfully played by Chris Evans.

Just like the lack of a good modern western movie, we haven’t had a lot of modern World War II movies that give us a real sense of time and place.  One interesting recent film that comes to mind is Quentin Tarentino’s over-the-top Inglourious Basterds, a quirky, dark, humorous, revisionist bit about an elite unit trying to take out Hitler.  Next to that, Tom Cruise’s Valkyrie, based on a true story, made for good movie watching, but both of these didn’t re-create the feel you get from tried and true contemporary war films like Captain America does, such as Back to Bataan, Sands of Iwo Jima, The Great Escape, or Stalag 17.  Even giant, modern epic war films like Saving Private Ryan and Schindler’s List–mainly because they cover the darkest periods of the war but also because they seem to have tried too hard—fail to reflect the patriotism of the “greatest generation.”  You really have to go back to the often overlooked but brilliant Memphis Belle from 1990 to see a movie that reflects the American spirit that won the war.  Captain America isn’t “better” than any of those films.  But it is worthy of comparison, and for a film about a comic book superhero to deserve such comparison is a great achievement.

Chris Evans plays Steve Rogers, a skinny everyman, with health issues that result in his “4F” status, meaning he is ineligible for military service.  Subtle state of the art special effects, which would go unnoticed by viewers unfamiliar with Evans more “built” status, show Evans as a puny fellow at first.  (He looks like the star of Superbad or Scott Pilgrim).   He tries five times to make it past the military entrance tests and only on the fifth try does he meet up with an expatriated German scientist played superbly by Stanley Tucci, looking for a few good men as candidates for a “superman” project that only Stan Lee could create.  Here the director lays out a fictional character that borrows from the real lives of soldier heroes Audie Murphy (To Hell and Back) and Gary Cooper in Sergeant York–good, peaceful guys that don’t want to kill anyone, but just want to defend their families from bullies, and end up tougher than the rest.  Captain America, more than anything else, has heart.  For its adapted story to harken back to Frank Capra films but with a more subtle delivery as to his propaganda themes, the writers deserve serious accolades.

   

Several movies come to mind that Captain America borrows from, in ways you want a movie to borrow from great movies of the past.  A siege on a train by Steve Rogers and friend Bucky (Sebastian Stan) has the feel of Von Ryan’s Express, a motley but tough multicultural band of tough fighters is reminiscent of The Dirty Dozen.  And the overall mission to take out evil German organization HYDRA, led by a psychotic Nazi turned into the Red Skull, played perfectly by Hugo Weaving, feels like Guns of Navarone.

   

As superhero movies go its treatment is up there with Watchmen.  As to comic characters coming to life, Captain America is right up there with Chris Evans’ other superhero performance for Marvel as Johnny Storm, the Human Torch in the Fantastic Four.  This Captain America will easily hold his own in next year’s The Avengers among Robert Downey, Jr.’s Iron Man, Chris Hemsworth’s Thor, Samuel L. Jackson’s Nick Fury, or anyone’s rendition of the Hulk.  Evans showed again, as he did as the star of Cellular, that he is up to the task for leading roles.

Other supporting actors of note include Tommy Lee Jones as a crotchety general cut from the same cloth as Patton.  Neal McDonough (Walking Tall, Minority Report, Star Trek: First Contact, Timeline) comes right off the comic page, maybe more than anyone, as the Scottish, larger than life, handle bar moustached Dum-Dum Dugan.  J.J. Feild plays a British member of the team straight out of Bridge on the River Kwai.  Kenneth Choi and Derek Luke are refreshing additions, showing a Japanese- and African-American taking the fight to the Nazis.  The film does its best to avoid a standard romantic subplot, but for those that need it, Hayley Atwell fills the part well (but why again we have another superhero story needing a European-accented leading woman makes no sense to me; she’s an American officer after all).

With all the new composers on the scene this summer, it is also welcome to have a tried and true master like Alan Silvestri (Romancing the Stone, Back to the Future, Predator, Who Framed Roger Rabbit, The Abyss, Forrest Gump, Eraser, The Mummy Returns, Van Helsing, G.I. Joe: Rise of Cobra) with a lively musical score.  Along with the music, the costume design was dead on, and the art and set design was great–including creating futuristic machines of the day that seemed to be derived from World War II airplane engines and parts.

As for the villains, Weaving’s Red Skull and Peter Lorre-inspired Doctor Zola, played by Toby Jones, are the perfect villains we love to hate, straight out of Raiders of the Lost Ark.  For taking a tough sell and turning it into a good story–a 1940s era comic book character with a loud supersuit and trash can-shaped shield, putting him in a modern comic book universe, staying true to the mythos, appealing to a modern audience’s scrutiny, for filling a theater a month after its release, and making us care about the character’s plight–Captain America:  The First Avenger gets 4.5 of 5 stars.

Captain America: The First Avenger is in theaters.

Last weekend Marvel Comics and Feld Entertainment (the company that runs the Barnum and Bailey Circus and major monster truck rallies) previewed a one-day only monster truck event to take place July 14, 2012 at San Diego’s Qualcomm Stadium.  The companies plan to bring the Marvel Super Heroes to life as monster trucks in Marvel Monstergeddon: Super Hero Smash Up.

As part of Comic-Con weekend, Marvel and Feld took over the Culy Warehouse at 335 6th Avenue to preview the event, including an unveiling of one of the 10,000 pound monster trucks that will represent one of the Marvel super heroes, Iron Man, created for Marvel Monstergeddon, as well as a re-created truck flying over the streetside of the building.  No doubt a lot of younger kids will like the Marvel/monster truck link-up.

Feld representatives previewed the storyline, which will include motorsports stunts and the expected loud, destructive, monster truck battles between Marvel Comics heroes and villains.  The trucks will take down giant buildings reflecting comic scenes from various comic titles, including the Amazing Spider-Man, the Fantastic Four, and the Avengers.  The event will include high-tech pyrotechnics and light effects.

Ticket sales began last week and are ongoing.  Tickets are available through Ticketmaster, and include a $50 ticket per person with a minimum of two tickets per order (prices subject to change).  Purchasers will also get a limited edition Captain America #1 variant cover comic book hand signed by Stan Lee, which might result in sales just for the autographed Stan Lee book.

C.J. Bunce

Editor

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