Here Come the Planes

Today is Laurie Anderson's birthday. Her "O Superman" remains an old favorite that's worth repeating in this context.

Links roundup: Iron Man 2, Toy Story, and Vanilla Ice

Having undergone the mirthless, witless, and generally worthless Iron Man 2 recently, I attempted to write short pieces on it a few times. But I found myself overwhelmed by the staggering pointlessness of the film, and moreover somewhat disinclined to contribute to the inevitable 'debate' on its values (or conspicuous lack thereof). Suffice to say therefore that IM2 is typical of the very worst kind of contradictory, redundant Hollywood franchise, with Mickey Rourke's effortless charisma the only thing even approximating a redeeming feature.

This post however is less about my obviously pointless criticism of the summer's biggest superhero film, and more about a roundup of recent links to clever images and mash-up clips. The niftiest superhero-related post I came across in a while is Chris Sims' Periodic Table of Superhero Elements, which cleverly sums up the generic powers and origin stories into an elegant overview of elements. (Just for the record: Superman breaks down as OAFSISpVxVhSn...)



In the ongoing series of witty mash-up videos, Iron Man has been by far the most-repeated figure, as a quick look at the most recent posts on this blog will attest. But although they all play up the hilariously inappropriate homoerotic subtext the films work so hard to avoid, none managed to be quite as ridiculous (and weirdly fitting) as the latest one, which pits Tony Stark against Ivan Drago in Rocky IV and that manages to throw in Jim Carrey, James Brown, Apollo Creed, Vanilla Ice, and -so help me- the Teenage Mutant Ninja Turtles for good measure.



Meanwhile, the upcoming reboot of the Spider-Man film franchise gave occasion to a fast-paced short that puts Spidey on the operating table, with his surgeon calling for a 'gritty reboot.' To illustrate the success rate of the proposed procedure, an image on the wall briefly flashes by with stills from Batman Begins, Hulk, Casino Royale and Star Trek.

See more funny videos and funny pictures at CollegeHumor.

Finally, the Joker may no longer be the ubiquitous video mash-up figure he was two years ago, but that didn't keep one person from getting creative with the trailer for The Dark Knight. In this mash-up, images from the two first Toy Story movies are edited together with the audio from that intensely familiar to amazing effect.

The Iron Man Mash-Up Meme

We're now just days away from the much-hyped international premiere of Iron Man 2, the sequel that appears to offer more of the same, but -as per the logic of franchises- bigger, louder, and with more colorful celebrity bad guys. And as 'fanticipation' reaches fever pitch, the video mash-up meme that incorporates Iron Man's CG exoskeleton (along with his signature AC/DC riff) into an iconic movie scene continues to proliferate. Following the well-done appropriation of Hugh Grant getting his ass kicked in Bridget Jones's Diary, the man in red has now also appeared in similarly skillful mash-ups of wonderfully inappropriate scenes from Titanic and Dirty Dancing. What's next, you ask? Hopefully, at some point, Iron Man vs. Precious Based on the Novel Push by Sapphire...

Having your cake, eating it, and KICKing its ASS

The more time I spend on the subject of superheroes, the more boring my research becomes. As a 21st-century movie trope, nearly every new release seems dedicated to repeating the same old fantasies over and over again without adding anything new to the discussion. But being -or, at the very least, feeling- professionally obliged to sample enough of every new major superhero item that raises its head within the pop-cultural arena, a new comic book adaptation that promised to pull superhero fantasies into 'the real world' was a bit of a no-brainer, especially once it managed to offend Roger Ebert. In spite of Walter Chaw's enthusiasm and Ebert's outrage, I was still expecting Kick-Ass to deliver something decidedly mediocre, especially having just read Mark Millar's smart but strangely depthless comic book. And having so recently ingested the graphic novel's narrative twists and turns, I was looking forward even less to what would surely be not only an annoyingly snarky riff on superhero geekdom, but a boring and predictable one to boot.

Imagine my surprise therefore when Kick-Ass turns out to be not only a smart, literate take on overly familiar themes, but also one hell of a comic book adaptation. Since the release of Sin City in 2006, the prevailing wisdom for Hollywood adaptations of successful comic books has been to recreate the source text's aesthetics as closely as possible, using the comics panels as an insecure, inexperienced director would a prefabricated storyboard. (Zack Snyder and his obsessively slavish adaptations of 300 and Watchmen may perhaps be held most strongly accountable, his films having embalmed rather than adapted their source material.)

By contrast, the most impressive thing by far about Kick-Ass is how director Matthew Vaughn and his co-screenwriter Jane Goldman have taken a text that functions within the serialized context of its comic book medium, and have transformed it into something that lives and breathes as a piece of cinema. Not only have the filmmakers successfully transformed the design of these characters and the version of New York they inhabit into something that feels more of a piece with the superhero movie genre (esp. the past decade's Spider-Man and Batman films), but they have also managed to spin, re-organize and expand the original narrative in interesting and productive ways.

Protagonist Dave Lizewski (an outstanding Aaron Johnson) is here made less of a loner, his generic banter with his limited group of geeky peers a credible and functional expansion of both character development and narration, which is in the film somewhat less dependent on non-stop voice-over. The basic story structure has also been streamlined to fit the three-act setup of classical Hollywood cinema, again making it less reliant on medium-specific end-of-chapter cliffhangers that defined much of the comic book's reading experience.
Some of the changes however may be viewed as a bit problematic: I waited in vain for Nicolas Cage (impeccably cast here) to voice the reactionary arch-conservatism of the comic book's Big Daddy character, while his formulaic vengeance-driven motivation is elevated from the realm of psychotic fantasy to a sentimental flashback (although its 'animated comic' presentation is again very cleverly done). Also, the hero winning over the object of his affection so easily was an element I was reluctant to accept, even if it does make more dramatic sense given both the film's resolution and its embodiment of teenage hormone-induced fantasies. The violence meanwhile felt like it had been toned down slightly, but on reflection I suspect that it seems like there's less of it simply because there are more other (and more interesting) narrative components at play here than in the sometimes determinedly gory comics.
But mostly, the film's complete grasp of the language of cinema makes it such a kinetic and aesthetically satisfying experience, with director Vaughn demonstrating an uncanny ability to riff on John Woo, Quentin Tarantino, and Sam Raimi all at once. After an increasingly despondent series of big-budget superhero films that have either boringly 'come of age' (Nolan's Batman cycle, Bryan Singer's Superman Returns, Ang Lee's Hulk), or that recycle equally boring CGI bonanzas (Leterrier's The Incredible Hulk, the last two X-Men ventures), Kick-Ass thankfully returns the genre to its teenage roots: with the Id represented by that stunning whirling dervish Hit Girl (the instantly iconic Chloe Moretz), a ten-year-old who successfully channels the Kill Bill Vol. 1 incarnation of The Bride, Vaughn's film is all about the unchaining of (pre-)adolescent energies, and the magnetic power of violent fantasies. Misinterpreted by many either as satire or as realism, Kick-Ass operates instead where superheroes have flourished for the past six decades: in the domain of popular myth.

(Speaking of the film's authentic-feeling connection with subversive, angry teen culture, its use of Joan Jett's 'Bad Reputation' at a perfectly chosen moment of cathartic, Tarantinoesque ultra-violence was one of several moments in film that actually gave me goosebumps - and not just because it was previously used so effectively over the opening credits of that best-ever TV narrative of teenage anxiety, Freaks and Geeks.)

Iron Man vs. Hugh Grant

A short but sweet home-made mash-up video in which Iron Man takes care of the come-uppance of Hugh Grant's character in Bridget Jones's Diary.

Ryan Reynolds: professional superhero

While Green Lantern fans hold their breath in anticipation of Ryan Reynolds' much-hyped turn in next year's major superhero blockbuster, the double-R heart-throb has meanwhile appeared as another goofy superhero character: Kieran and Michele Mulroney's Paper Man has been making the rounds at film festivals for a while, without apparently making much of an impact. It stars Jeff Daniels as a troubled, friendless writer whose loneliness is compounded by the fact that he has an imaginary superhero friend, played by Reynolds as a goofy send-up of Superman. The whole thing looks like it suffers from the usual list of indie clichés, but Jeff Daniels may be game enough to pull it off, and despite the obviousness of the ploy, Reynolds looks like fun.

Deconstructing the Star Wars Prequels

Red Letter Media's epic seven-part video essay on Star Wars prequel The Phantom Menace has been making the internet rounds for quite a while now, and seemed like a bizarro one-off tour de force that somehow combined genuine film criticism with a deconstruction of the kind of sociopathic nerd culture associated with this kind of obsessive fandom. But just as George Lucas succeeded in confounding fans' lowered expectations with Attack of the Clones by writing and directing a film that managed to be somehow worse than the first prequel, the second epic YouTube take-down is longer, more coherent, and at least as funny as the its predecessor.

Arnold Schwarzenegger: Master of the Snappy One-Liner

For funny stuff on April 1, I say you can't go wrong with this great collection of patented one-liners and come-backs from the Austrian Oak. All the classics are there, from the orgasmic satisfaction of The Pump in Pumping Iron to the hysterical hijinks from Jingle All the Way, peppered throughout with his infamous nonstop punning as Mr. Freeze in Batman and Robin.

Best of the 1990s

The only remaining film decade from recent memory is a tricky one, because it's the ten-year period in which I 'came of age' as a film student, and where my film-watching habit seriously got out of hand. My relationship with the films of that decade is therefore perhaps the most mercurial, as I began to develop a perspective on film (and film criticism) that I soon started to call my own, and my response to new films became all the more opinionated. With cinema established as more than a somewhat obsessive hobby, I approached it with something resembling religious zeal, often either enraptured by some films on the basis of expectations inflated to the point of hysteria, and dismissive of others because I thought I knew it all and developed a sense of arrogance toward the unfamiliar.

My number one film for the decade right now is a film I liked from the start, but that kept growing on me as I returned to it again and again. Linklater's film has become a cult object for many others, perhaps due in part to the fact that it captures a vaguely optimistic sense of aimlessness that sets out to capture the 1970s (which it does better than any other 'period' film about that decade), but which seems equally appropriate to the disembodied fin-de-siècle of the Clinton years.



1. Dazed and Confused (Richard Linklater, 1993)
2. Jackie Brown (Quentin Tarantino, 1997)
3. The Straight Story (David Lynch, 1999)
4. Miller's Crossing (Coen Brothers, 1990)
5. Pulp Fiction (Quentin Tarantino, 1994)
6. Lost Highway (David Lynch, 1997)
7. Goodfellas (Martin Scorsese, 1990)
8. The Big Lebowski (Coen Brothers, 1998)
9. Little Dieter Needs to Fly (Werner Herzog, 1997)
10. Husbands and Wives (Woody Allen, 1992)
11. Fargo (Coen Brothers, 1996)
12. Ed Wood (Tim Burton, 1994)
13. Short Cuts (Robert Altman, 1993)
14. Lone Star (John Sayles, 1996)
15. Hoop Dreams (Steve James, 1994)
16. Toy Story 2 (John Lasseter, 1999)
17. Casino (Martin Scorsese, 1995)
18. The Silence of the Lambs (Jonathan Demme, 1991)
19. Barton Fink (Coen Brothers, 1991)
20. Twin Peaks: Fire Walk With Me (David Lynch, 1992)
21. The Thin Red Line (Terrence Malick, 1998)
22. Being John Malkovich (Spike Jonze, 1999)
23. Se7en (David Fincher, 1995)
24. The Player (Robert Altman, 1992)
25. Groundhog Day (Harold Ramis, 1993)
26. Riget I (Lars von Trier, 1994)
27. Quiz Show (Robert Redford, 1994)
28. Reservoir Dogs (Quentin Tarantino, 1992)
29. 12 Monkeys (Terry Gilliam, 1995)
30. Dead Man (Jim Jarmusch, 1996)
31. Sling Blade (Billy Bob Thornton, 1996)
32. Princess Mononoke (Hayao Miyazaki, 1997)
33. Starship Troopers (Paul Verhoeven, 1997)
34. The Insider (Michael Mann, 1999)
35. Howards End (James Ivory, 1992)
36. The Nightmare Before Christmas (Henry Selick, 1993)
37. L.A. Confidential (Curtis Hanson, 1997)
38. The Iron Giant (Brad Bird, 1999)
39. L.A. Story (Mick Jackson, 1991)
40. Before Sunrise (Richard Linklater, 1995)
41. Donnie Brasco (Mike Newell, 1997)
42. Batman Returns (Tim Burton, 1992)
43. Nixon (Oliver Stone, 1995)
44. Fear and Loathing in Las Vegas (Terry Gilliam, 1998)
45. Heat (Michael Mann, 1995)
46. Unforgiven (Clint Eastwood, 1992)
47. Eyes Wide Shut (Stanley Kubrick, 1999)
48. Election (Alexander Payne, 1999)
49. Rushmore (Wes Anderson, 1998)
50. True Romance (Tony Scott, 1993)

Saturday Morning Watchmen

Teaching Watchmen alongside Jamesonian theory again this week prompts me to revisit this appropriately bizarre take on Alan Moore's classic text.

1% Inspiration, 99% Cliché

A pretty seamless montage of 'inspirational' moments from Hollywood history.

"Eponymous: The Movie"

A surprisingly amusing montage of characters saying the name of the movie they're in.

Look Behind You!: the Mirror Scare

A collection of shots that illustrate one of the most enduring visual clichés of the horror film genre: the mirror scare.

Zombies vs. Vampires

Now that the horror genre has been entirely mainstream for several years now, the zombie trope is slowly being eclipsed by the vampires of True Blood, Twilight, etc.

An essential starting point for understanding the zombie genre is this piece by the master of the video essay, Matt Zoller Seitz.



Sam Leith's excellent article for Prospect productively relates the zombie figure to the vampire by way of the class implications both tropes represent: "Vampires are monsters of the right; zombies are monsters of the left."

Meanwhile, vampire expert

Visual Effects in Film History

The Dialectics of Do the Right Thing

Another brilliant video essay courtesy of Matt Zoller Seitz, this one on the dialectical nature of Spike Lee's classic Do the Right Thing, which is indeed about 'more than race.'

"There's not many happy superheroes, are there?"

Finally, an amusing superhero-related YouTube clip -this one from The Ricky Gervais Show- spurs me back to long-delayed blogging. My habit of posting every link of interest that I come across to Facebook and/or Twitter is meanwhile making me re-think my blogging habits, as it's becoming increasingly frustrating to retrieve those links a few months down the line. Perhaps it's time to start relaxing my 'superhero material only' policy for this blog and start using it as a public archive for more general stuff of interest.

Superhero movies: if you've seen one...

How long has it been since my last blog post that had anything to do with superhero movies (supposedly my object of research)? A long time. And why is this? Because obviously all superhero movies are exactly the same. See below for evidence...

See more funny videos and funny pictures at CollegeHumor.