Zack Snyder finally did it. Despite taking on a heist movie and a zombie picture in a major action movie, he wrote a script and delivered the type of action blockbuster he has not yet been able to create. Army of the Dead is his first movie to get it right, a load of tropes, a mash-up of genre ideas, a tightly written story with a great cast, and wall-to-wall fun. Not a comedy like Shaun of the Dead or iZombie,Army of the Dead features the right amount of humor for this story, while incorporating all the expectations of any fan of the father of the genre, George A. Romero. Rivaling the incredible action and effects in 6 Underground, it also rises to become one of Netflix’s most promising productions.
Could an aircraft carrier support that kind of weight?
Warner Brothers released its new trailer (below) for the next Godzilla movie this weekend–Godzilla vs. Kong–the follow-up to the 2019 sequel Godzilla: King of the Monsters (reviewed here at borg). It’s one of the hundreds of movies delayed by the COVID-19 pandemic, this one originally scheduled for a Thanksgiving week 2019 release. The next effort of U.S. studios to one-up the Japanese kaiju genre doesn’t try to hide what it is: what the director calls a “massive monster brawl,” a straightforward mash-up of MUTOs (massive unidentified terrestrial organisms). It merges the 2017 King Kong reboot Kong: Skull Island, and the Godzilla reboot story centered around the secret agency Monarch, which began with the 2014 Gareth Edwards-directed Godzilla. For this fourth film in Legendary Pictures “MonsterVerse,” young director Adam Wingard brings back Godzilla storyline characters played by Millie Bobby Brown and Kyle Chandler and adds familiar action stars new to the franchise Eiza González (Bloodshot) and Brian Tyree Henry (Spider-Man: Into the Spider-verse). It doesn’t look like any characters are being brought over from the Kong franchise.
It’s been 35 years since we first heard the message from Kyle Reese given to Sarah Connor, “There’s no fate but what we make for ourselves.” Producer James Cameron is back in the franchise for the first time since Terminator 2, with Tim Miller (Deadpool) directing the November release Terminator: Dark Fate. This time we’re told audiences are supposed to ignore everything that came after Terminator 2, and substitute this next chapter, similar to the “picture hopping” the Halloween movie franchise has become known for. The original Sarah Connor is back with Linda Hamilton reprising her role also like Jamie Lee Curtis has done for Halloween. (Although this is only Hamilton’s third movie as Connor, compared to Curtis logging four leading performances as Halloween’s Laurie Strode plus two more in the works–not that we’re keeping score).
The CGI-heavy action sequences we’ve seen so far look closer to the original film The Terminator than Cameron’s groundbreaking effects on Terminator 2: Judgment Day–we’re not sure that is what audiences were hoping for. Newcomer to the series Mackenzie Davis is “almost human,” and Gabriel Luna plays a villain, making them the faces of the next Terminators, following in the footsteps of Jason Patrick, Kristanna Loken, Byung-Hun Lee, and Jason Clarke. And, best of all, Arnold Schwarzenegger will be back, as promised. Although it’s difficult not to cringe when Hamilton says she hasn’t seen Davis’s kind of Terminator before, since audiences have, with Loken’s great Terminatrix in Terminator 3: Rise of the Machines.
Wouldn’t it be great if they just brought back Michael Biehn as a parallel timeline Kyle Reese? The studio has announced Edward Furlong returning as John Connor, so anything is possible with Cameron and Miller here.
First here’s the new poster, followed by the brand new trailer just released, and seven additional teaser reels released yesterday, August 29, the franchise’s “Judgment Day”–
In 1984 The Terminator introduced us to Linda Hamilton′s young Sarah Connor and her first encounter with Arnold Schwarzenegger′s now classic T-800 “Terminator” cyborg. In Terminator 2: Judgment Day, director James Cameron amped up Hamilton’s role, resulting in arguably the best female character in all of science fiction movies (in a close heat with Sigourney Weaver’s Ellen Ripley in Aliens, also from Cameron), while making Arnold’s T-800 a good guy. In Terminator 3: Rise of the Machines, we watched Sarah’s son John Connor (played by Nick Stahl) and his future wife (played by Claire Danes) as they approached Judgment Day–the day of the technological apocalpyse. In the fourth film Terminator: Salvation, audiences saw an older John Connor (Christian Bale) fighting the machines after the series’ Judgment Day, along with a young Kyle Reese played by Anton Yelchin, recounting the origins of the T-800 Arnold would embody later in the timeline. With Terminator: Genisys, John (next played by Jason Clarke) and Kyle (played by Jai Courtney) arrive at the future point where humans travel back in time to prevent Skynet, and in that timeline John encounters his own problems, and Kyle returns to a modified version of the past where Sarah (played by Solo: A Star Wars Story and Game of Thrones star Emilia Clarke) is working with a T-800 (again played by Arnold, and again as a good guy) to prevent the Skynet future apocalypse from happening.
Welcome to the day after Judgment Day.
It’s now 35 years since we first heard the message from Kyle Reese given to Sarah Connor, “There’s no fate but what we make for ourselves.” Producer James Cameron is back, with Tim Miller(Deadpool) directing the autumn theatrical release Terminator: Dark Fate. This time we’re told audiences are supposed to ignore everything that came after Terminator 2, and substitute this next chapter, similar to the “picture hopping” the Halloween movie franchise has become known for. The original Sarah Connor is back battling a Terminator. Newcomer to the series, Mackenzie Davis is one, “almost human.” And Gabriel Luna plays another, making them the faces of the next Terminators, following in the footsteps of Arnold, JasonPatrick, KristannaLoken, Byung-HunLee, and Jason Clarke.
Check out this new poster for the film and the first trailer for the sixth Terminator flick, Terminator: Dark Fate:
Norwegian film director Roar Uthaug (Escape, The Wave) and writer Geneva Robertson-Dworet (ROM, M.A.S.K., Sherlock Holmes 3, Captain Marvel, Dungeons & Dragons, Gotham City Sirens) are returning to the core of the character designed and created by Toby Gard to become one of the world’s best-selling franchises in the new trailer released today for the reboot of the Lara Croft franchise. Even more than the last trailer for the film, clips from today’s preview mirror some of the same kind of cliffhanger scenes found in each of the original trilogy of Indiana Jones movies–the same kind of adventure that made the original video game a success.
If you have any doubts that Vikander looks the part, just check out the comparison video discussed here earlier, which shows just how closely Vikander matches the Lara in the video gameRise of the Tomb Raider. Lara Croft has been around since 1996, in various versions of game play, based on at least eight different real-life models, and even voiced by the likes of Ashes to Ashes star Keeley Hawes and Good Will Hunting and The Riches star Minnie Driver.
All you need to do to tell Alicia Vikander can not only act but has star power is watch her as the dramatic yet humorous secret agent in 2015’s The Man from U.N.C.L.E. Or you could watch her portray a reality without a soul as a borg in 2014’s critically acclaimed sci-fi film Ex Machina. Or how about her Oscar-winning performance awarded last year for her work in The Danish Girl? She’s in theaters right now opposite Christoph Waltz in Tulip Fever and it seems more than fitting that the critically acclaimed dramatic actress is stepping into what could be a lucrative, major action hero role for her, taking over for Angelina Jolie in the reboot of Tomb Raider.
This week started with the first official look at Vikander as video game franchise character Lara Croft in the first teaser poster for the film. With the first trailer for the movie now available it’s clear that Norwegian film director Roar Uthaug(Escape, The Wave) and writer Geneva Robertson-Dworet (ROM, M.A.S.K., Sherlock Holmes 3, Captain Marvel, Dungeons & Dragons, Gotham City Sirens) are returning to the core of the character designed and created by Toby Gard to become one of the world’s best-selling franchises. Gard said he left the company he created Lara Croft for because he was opposed to the idea and marketing of Lara’s sex appeal, with ever-increasing breast size in the game sequels after he left. The sex appeal is still there but the film in the first trailer looks to be all about the adventure, exploring environments, solving riddles, and navigating traps with villains on her tail. Clips from the trailer mirror some of the same kind of cliffhanger scenes found in each of the original trilogy of Indiana Jones movies–the same kind of adventure that made the original video game a success. If you have any doubts that Vikander looks the part, just check out the comparison video after the clip below, which shows just how closely Vikander matches the Lara in the video game Rise of the Tomb Raider.
Lara Croft has been around since 1996, in various versions of game play, based on at least eight different real-life models, and even voiced by the likes of Ashes to Ashes star Keeley Hawes and Good Will Hunting and The Riches star Minnie Driver. The new film co-stars Walton Goggins, who always plays that half-cocked villain you are pleased to see get crushed under the hero’s toes, popping up in films like Predators, Cowboys and Aliens, Django Unchained, G.I. Joe: Retaliation, and The Hateful Eight. A big surprise–one of our favorite genre actors, Nick Frost (Attack the Block, Doctor Who, Shaun of the Dead, The World’s End), is in the film, plus Hannah-John Kamen(Killjoys, Star Wars: The Force Awakens, Ready Player One, Ant-Man and the Wasp),Dominic West (The Hour, John Carter, The Wire), and Kristin Scott Thomas(Mission: Impossible, The Golden Compass, The English Patient).
What Ant-Man was for Marvel Studios’ Avengers franchise, Deadpool is for 20th Century Fox’s X-Men franchise, proving that a good story and good delivery can outperform big budget, team-up blockbusters. Ant-Man stepped away from the standard superhero movie tropes to give us a flawed human trying to do right by way of some good tech, and Deadpool went to the next step and took the superhero story that much further away from the norm. As the #1 box office success of any Rated R film, it also proved you cannot predict what will fail and what will succeed.
But all the press that distinguished Deadpool as something completely new and different was really just feeding into the marketing hype. Seemingly collectively shocked by the impending change-up of “the first Rated R superhero movie,” press and critics ignored so much. From an over-the-top action standpoint was Deadpool that far different from RoboCop, The Crow, or V for Vendetta–all also carrying the R rating? And from a crude humor standpoint, is Deadpool any different from the similarly hilarious Kick-Ass and Kick-Ass 2, or if darkness is your thing Sin City or Watchmen–also Rated R?
The reality is that the success of Deadpool can be found in the melding of all the elements you need for any good superhero movie. If you skipped this one or only watched it in the theater, now is a good time to revisit it on Blu-ray or DVD. You no doubt missed some great elements during your first watch, and the special features that accompany the home release point out plenty that will likely elevate whatever view you already have about this release.
The Blu-ray we reviewed included both the Blu-ray and DVD as well as a digital Ultraviolet code for viewing on your Vudu or Flixster account. Deadpool includes the best behind the scenes coverage of any Blu-ray we’ve reviewed this year in its “From Comics to Screen… to Screen” segment. Who knew how much stunt work was required for all the elaborately choreographed action sequences and how much was actually CGI? Sure, we knew star Ryan Reynolds was in the “Deadpool red” supersuit for part of the film, but his two stuntmen really carried a lot of the film with one stuntman tearing his ACL for one of the less-involved sequences. And like the movie’s in-joke, the two other X-Men that appear may well be lesser characters when compared to the team in X-Men: Apocalypse, yet the fact we get to focus on far fewer means we got to know Colossus that much better. Plus director Tim Miller and costume designer Angus Strathie made sure Negasonic Teenage Warhead wore the classic X-Men yellow supersuit.
How do you like your post-apocalyptic nightmare? Hot or cold?
This month brings the release of Max: Max Fury Road on 3D Blu-ray, standard Blu-ray, digital HD Ultraviolet, and DVD. We reviewed the 3D Blu-ray and found it to be one of the best of the converted 3D Blu-rays to come to Blu-ray from a pure quality of film standpoint. Story aside, 3D fans will have plenty of in-your-face explosions and old school 3D gags, like a steering wheel flashing out of the screen and into your lap, as well as other unexpected oddities–and a whole lot of bleak, ugly, and sand, in perfect clarity.
Nine behind-the-scenes featurettes accompany the home release, including Maximum Fury: Filming Fury Road, Mad Max: Fury on Four Wheels, The Road Warriors: Max and Furiosa, The Tools of the Wasteland, The Five Wives: So Shiny, So Chrome, Fury Road: Crash & Smash, I Am A Milker, Turn Every Grain Of Sand!, and Let’s Do This.
If you haven’t seen Mad Max: Fury Road, trust your instincts and skip this one. If Fury Road is for you, you would have seen it in the theater already. As post-apocalyptic storytelling is concerned, Fury Road is thin and uninspired. As world-building goes, Fury Road adds nothing to the mythos in the original Mad Max and Road Warrior. It is less silly than Mad Max: Beyond Thunderdome, but Fury Road cries out for humor, or any other pleasantness of the third film in the series. When humor arrives it is absurd (the lead bad guy takes along a turbo-charged guitarist and over-sized timpani band) and reminds us we’re well outside the realm of any possible future reality. How did these repulsive creatures become leaders so soon after the downfall of today’s reality? How was a religion based on cars so quick to arrive in the same lifetime let alone the few years since the young star was a police officer in today’s world? The number of unanswered questions are endless. Writer/director George Miller, who directed each entry in the series, would have done better directing someone else’s story. This is definitely a “story” in need of a backstory, which is available in prequel comic books for those wanting to delve further into the “revisited” Mad Max universe.
Miller’s success is his ability to nicely copy the cinematography from epic scenery-laden films like those of the great John Ford–the technical production is top-notch (Oscar winner John Seale will likely net another Oscar nod for his efforts here). But Fury Road is nothing but a Western updated for an ugly future, one long “cowboy and Indians” race to escape the Indians, and one shorter race back to the fort again, and a B-Western at that. Sure, spiked and retooled 1960s and 1970s cars are inexplicably swapped for horses, but plenty of stuntwork is piled on as with the old Westerns. We see some similarities: instead of wise old men mentoring John Wayne how to avoid the noose, here it’s wise old women helping to save the day at film’s end. Miller’s other success is his selection of Tom Holkenborg aka Junkie XL to compose the film score–this is a rousing, pulse-pounding score worthy of a much better film.
