Brave (2012)

Pixar Animation's 2012 effort is Brave, a fantasy adventure set in Scotland directed by Mark Andrews and Brenda Chapman (who was replaced in the middle of production). Kelly Macdonald voices the flame-haired protagonist, Merida, while Emma Thompson, Billy Connolly, Kevin McKidd, Robbie Coltrane, Julie Walters, and Craig Ferguson also provide voices.

The film opens with a very young Merida, our tomboyish hero, playing hide and seek with her mother (Emma Thompson) while her father, the king (Billy Connolly), looks on. Shortly after recieving her birthday present, a bow, they are attacked by a large bear. Cutting to years later, Merida and her mother can now barely stand each other and her father is missing a leg from their encounter with the bear. Merida spends every spare moment she has practicing archery in the forest, when she doesn't have to practice being a proper, passive princess with her mother. Upon Merida finding out she is to be betrothed very soon (she isn't told until the suitors are practically on their doorstop), her contentious relationship with her mother comes to head. So, naturally, she encounters a witch and accidentally gets her mother turned into a bear, she gets a deadline to reverse the spell, and mother/daughter bonding ensues.

Firstly, I have to say, the animation is up to the usual high standards Pixar sets, though just about every other animation studio now active is up to those same high standards. The Scottish landscapes, in particular, are quite beautiful and detailed. The characters are expressive and fairly realistic looking, but some of the designs are distorted enough to provide a more wacky feel at times. The animation in the action-oriented sequences is very fluid, while not scrimping on the level of detail to be found in the landscapes.

The story, however, is extremely slight and seems like a first, and nowhere near a final, draft. The main problem with the script is that none of the characters are, well, likable: Merida is a spoiled brat, her mother is a tyrannical shrew, and her father (a king no less) is essentially a non-factor in her life aside from approving of her archery. Other issues with the film include no true villain, except for a bear with a way too convenient connection to the main plot, and a vague, poorly defined system of magic that doesn't seem to be a part of the universe at all aside from being a plot contrivance once or twice per act. The moral of the story, parents and children should talk to, not at, each other, is solid but the means of getting to that point are illogical. Merida and her mother both seemingly cave from their previous positions out of guilt, not understanding, when neither has been given a proper reason to do so.

The voice acting is solid, though it seems a bit exaggerated when it comes to the Scottish-ness of it all, even though most of the voice actors are Scottish (or at least British), so I may just be hearing things. Kelly Macdonald is a convincing teenaged girl not wanting to be betrothed to an idiot (all of her choices are very much idiots) but she can't change the content of the paper-thin material she was given to work with. Every one else is competent but not extraordinary in voicing their roles.

In the end, Brave is probably the weakest Pixar film to date, and after a couple of mediocre outings, this is the first film they have done I would say is legitimately bad. Though the spunky heroine and the beautiful animation should keep kids entertained, even if it may be a bit dark for the very young, adults will probably wonder why a ninety minute film could have  been able to have had forty minutes cut without losing any of the plot.

3/10

Grosse Pointe Blank (1997)

John Cusack is one of the true greats when it comes to playing a relatable every-man,  so it should come as no great surprise when he is able to make a deadly assassin fit into the same mold. Grosse Pointe Blank, directed by George Armitage, casts Cusack in the role of a hit-man returning home for his ten year high school reunion and a job, only to take up with his lost love once more, portrayed by Minnie Driver. Others in the cast include Alan Arkin, Jeremy Piven, Hank Azaria, Joan Cusack, and Dan Aykroyd as a rival assassin.

Martin Blank kills people and he is rather good at it, but after an encounter with a "colleague" who is in favor of unionizing their trade and a visit to his terrified therapist (who wouldn't be with a hit-man for a client), he decides to go home for his high school reunion. Blank had disappeared on prom night ten years prior in order to join the army, surprising everyone he knew and leaving Debi, his girlfriend dumbfounded and crushed. Reconnecting with some old friends and, especially, Debi, Martin is forced to take stock of what his life has become and maybe find his way back to something akin to a normal life, though not until he kills a bunch of (bad) people, of course.

This is a film that lives and dies on the lead performance, and, luckily for the producers of Grosse Pointe Blank, Cusack knocked it out of the park. Cusack imbues Martin with regret, a touch of neurosis, a certain amorality, and a deep, icy calm that only seems to appear when someone is trying to kill him, which is rather often. Blank is not particularly torn up about what he does, even if he is a little tired of it: I get the sense that he sees himself as the murder weapon, and not the murderer, which is understandable from a certain point of view. Minnie Driver is charming and appealing as Debi, the girl Martin left behind, though she is a bit thinly drawn compared to Martin. Alan Arkin is very funny as Martin's disturbed therapist, though he is onscreen for only a few scenes. Dan Aykroyd is solid as Martin Blank's rival, though I feel he is miscast as an assassin.

Grosse Pointe Blank's greatest strength, aside from John Cusack, is the whip-smart dialogue present throughout the entire film. Consistently funny and clever, the script manages to maintain its witty tone without becoming overbearing in its execution, which can certainly be an issue in cases where dialogue is written as such (cough, Sorkin, cough). The plot, however, goes from refreshingly unique to shockingly derivative over the course of a third act where all is resolved and everyone good is happy and bad is dead, which is a shame, because it was almost great.

George Armitage's Grosse Pointe Blank works competently as a romantic-comedy and superbly as a vehicle for John Cusack. The film is definitely worth watching, and is indisputably fun, but an uninspired final act prevents it from becoming a classic. Oh, and the soundtrack is pretty good as well (hooray for Ska).

7/10

Harry Potter and the Deathly Hallows - Part 1 (2010)

The adventures of Harry, Ron, and Hermione begin to come to a close in Harry Potter and the Deathly Hallows - Part 1, the first installment of the two-part conclusion to the eight film saga. Directed by David Yates (director of the final four films in the series), it stars Daniel Radcliffe, Rupert Grint, and Emma Watson, along with a regular who's who of quality British thespians.

Dumbledore is dead, Voldemort grows stronger by the day, and Harry Potter, left only with the vague mission of destroying the remaining horcruxes (pieces of Voldemort's soul embedded in hidden objects that make him, effectively, immortal). Joining him, as always, are his best friends Ron Weasley and Hermione Granger, as they both choose to leave behind their homes to help Harry fight the battles to come. A series of trials and tragedies befall the trio, including an aerial escape, a daring heist, and a fight with a rather large snake, as their bonds of friendship are tested and their wills are pushed to the limit. All the while, Voldemort is putting the final pieces on the board for his final push to controlling the wizarding world.

The acting in Harry Potter and the Deathly - Part 1 may be the best in the entire series, despite a noticeable lack of Alan Rickman. Radcliffe, Grint, and Watson have grown as actors as they have aged, and all give excellent performances. Warner Brothers got truly lucky when they cast these actors a decade (or so) ago, because all of them have serious chops and all of them still look like the characters from the book. Additionally, Ralph Fiennes is wonderful as Lord Voldemort the few times he's onscreen: he is charismatic, darkly funny, and indisputably terrifying, all without a proper nose. Considering the large cast I will just list off some of the other  fantastic actors working in this movie: Alan Rickman, Jason Isaacs, Brendan Gleeson, Julie Walters, Helen Bonham Carter, Bill Nighy, Imelda Staunton, John Hurt, Rhys Ifans, and many more.

Harry Potter, while ostensibly a series for children, got progressively darker as its protagonists aged, and this is the darkest one yet. Harry's snow-white owl Hedwig gets killed as collateral damage, Ron's brother loses an ear, the three are forced to abandon friends to potential imprisonment and death: it is not light fare, fantasy or no (which is a very unfair stereotype, by the way). I don't mean to spoil, but there is a scene where a derogatory term is literally carved into someone's arm. The interpersonal issues the group face are less superficial and more personal and befitting of seventeen-year-olds; essentially Harry, Ron, and Hermione are sexual beings by this point and are preoccupied with such things (also saving the worlds and overthrowing dark lords).

This seventh film is the most restrained, though still possessing a substantial amount of special effects (handled beautifully), and is more reliant on atmosphere and mood then any of the previous entries. Whereas before the films would take place in a brightly lit castle, this one is set primarily in sparse, cold locations, from the dismal home Harry inherited from his godfather (Gary Oldman, we do so miss ye) to the forests they flee to. As the penultimate entry in such a vast franchise, much of the film is spent moving the pieces into place for the grand finale to come, which causes the film to lack a clear resolution, though it picks a good place to end.

This seventh of the eight films making up the Harry Potter epic is the most down to earth (relatively) and the most personal (definitely), but it still can't help but feel like it's missing a third act, which is to be expected considering that there is also a Harry Potter and the Deathly Hallows - Part 2. In the end, though, Harry Potter and the Deathly Hallows - Part 1 works as one of the stronger entries in an already very strong franchise.

8/10

Captain Marvel #1 Review

The cover is pretty cool, too.

Following the death of Mar-Vell, the original Captain Marvel, Carol Danvers has shed the name Ms. Marvel to take on her namesake's mantle and a less overtly sexy outfit. Written by Kelly Sue DeConnick, and drawn by Dexter Soy, this seems to be a part of a significant push to make Carol Danvers an A-list female character, which Marvel sorely lacks currently.

Despite opening with a fight in which Carol and Captain America take down the Absorbing Man, the issue is primarily focused on Carol's reluctance to take on Mar-Vell's mantle. After a conversation about it with Captain America, and a somewhat flirty sparring match with Spider-Man, Carol goes to visit a sick friend and recalls the first time she met on of her idols: Helen Cobb, a pioneer in female aviation. As the title to this comic should make clear, Carol eventually decides to stop being a Ms. and become a Captain after spending some time high (in terms of elevation) in the atmosphere.

This first issue is short on action, but long on character development and world-building, which is arguably more important at the beginning of a new ongoing series. Kelly Sue DeConnick has a good grasp on the character of Carol Danvers and what makes her tick, especially the disappointment she has at not being able to truly live up to her potential as a pilot, due to her lack of any actual need for a plane. The moments between the Captains America and Marvel are well written, if a bit by-the-numbers for inspirational pep-talks. I liked the continuation of the friendship/flirtation between Carol and Peter Parker (who is drawn to look a lot like Andrew Garfield), though I worry about the prospect of him potentially overshadowing her in her own book.

The art by Dexter Soy is interesting, and certainly well-drawn, though I am not yet sold on it for this book. The dark hues are intriguing, but every image seems like it needs to be a little bit lighter. Carol certainly has her demons, but she isn't like dark like Daredevil or the Punisher, there needs to be a certain vibrancy in her world. Soy has a good grasp of the human anatomy, though his faces seem a little bit off, though it is nothing I can pinpoint and is hardly noticeable. I also liked the frantic feel his action sequences had, though there really wasn't much action in this first issue.

Captain Marvel by Kelly Sue DeConnick has a decent first issue, though I am wary of the art not really fitting the material on hand, and should do well if it stays interesting (which it should). I am a fan of the character (and glad she got a less ridiculously revealing outfit) and certainly look forward to what comes next, though hopefully there will be some more action next time.

7/10

Avenging Spider-Man #14 Review

Avenging Spider-Man is essentially, a re-titled new volume of Marvel Team-Up, so it is nice to finally see a good, old-fashioned team-up between superheroes in the mighty marvel manner, and by that I mean, it starts with them trying to beat each other senseless. Written by current Venom scribe, Cullen Bunn, and drawn by artist Gabriele Dell'Otto, this issue is the start of two-part story teaming Spider-Man with Devil Dinosaur and Moon Boy in the Savage Land.

Spider-Man is fighting dinosaurs in the Savage Land while on work trip for Horizon Labs (just another day at the office), when he is attacked by a group of mutated fire-breathing pterodactyls trying to harvest his genetic material. He then runs into Devil Dinosaur (a red Tyrannosaurus Rex) and Moon Boy (an intelligent, ape-like humanoid) who, despite earlier friendly meetings, see him as an enemy and proceed to attack him. After realizing they are on the same side, Spider-Man attempts, and fails, to communicate with the prehistoric duo due to Moon Boy only speaking lizard, and Spider-Man's drawings in the dirt being indecipherable. They then proceed to attack those mutating the dinosaurs (and those who have kidnapped Peter's Horizon Labs coworkers) with all the subtlety a T. Rex and two friends can muster.

The story is simple, but the dialogue is sharp and Spider-Man's jokes are genuinely funny, so there is nothing really to complain about. Certain scenes, like those of Peter Parker being the only one of his think-tank coworkers not in awe of the Savage Land (he's been there at least a few times by now) are quite funny. It is interesting seeing Cullen Bunn take on lighter fair than that found in his current Venom run, but he handles it well and produces a genuinely fun comic. 

The art is, in a word, beautiful. Gabriele Dell'Otto might just be my favorite artist in comics, and he reaffirms the reasoning behind my admiration here. Everything visual in this comic, from the Savage Land setting to Spider-Man and Devil Dinosaur, works superbly. I would have bought this comic even if there was only the art, and no writing, assuming it was Gabriel Dell'Otto drawing it.

This issue is just a fun romp in the jungle, with some good humor and some truly amazing art, if you like the character of Spider-Man (or Devil Dinosaur or Moon-Boy) it is well worth picking up, though expecting anything substantial will certainly leave you disappointed. 

8/10

Arrow S1/E05: "Damaged" Review

Arrow has been a certifiable hit for The CW, and "Damaged", the series' fifth episode, makes a pretty good case as to why. Picking up where the previous episode left off, Oliver has been arrested for being "the Hood" (what a ridiculous notion) by Detective Lance, who is not keeping his personal feelings separate from his work. As always, spoilers ahead.

Oliver's stint as a vigilante may be at an end as he had been caught on camera with some of his Green Arrow-gear...or not, most likely not, especially since getting caught is all a part of his larger plan. Flashing back to his time on the island, the show reveals the first time he shot an arrow (badly), how he met Deathstroke and recieved some of his first scars (painfully), and indicates that the Oliver of the old was not completely the selfish cad he had been indicated to be. In the present, however, Oliver has drafted Laurel as his defense attorney (despite the six or seven conflicts of interest) and is planning to throw a prison-themed party while under house-arrest. Meanwhile, Walter is uncovering some of his wife's dirty secrets, Moira is still dealing with the cryptic "well dressed man", Thea is becoming suspicious of Oliver, and Diggle dawns the hood while Oliver is trapped at home.

The series, though still maintaining a villain of the week, seems to be moving towards a more a serialized narrative. The focus in this episode is on character progression, with the taking down of a nasty arms dealer seeming to be more of an afterthought than anything. The only major character actually not receiving any sort of legitimate development is Tommy, who is onscreen only briefly. The episode's A-plot is predictable, though solidly handled, but the subplots are more surprising, which keeps the episode tense throughout.

The episode also addresses some issues with the characters I had noted from the previous episodes, and new wrinkles to characters at risk of becoming stale. Laurel has finally asked if Oliver suffered like she did during the five years he was on the island (he definitely did), which, for a character seemingly quite intelligent and compassionate, was overdue. Thea has become legitimately skeptical of Oliver's story, and appears to be researching the arrowhead "trinket" Oliver gave her, despite his assurances that it was bought at the airport. In addition, Moira may not be the villain she originally appeared and Walter seems to be a legitimately good fellow (which was a nice surprise). And maybe most importantly, this episode establishes that Diggle is going to be a partner, and not a sidekick: he had very little trouble donning the hood and stopping an arms deal all by himself.

Two of the highlights of "Damaged" were the fight scenes between Oliver's island mentor and a silent Deathstroke, as well as between Oliver and an assassin sent to take him out. The fight choreographer deserves special praise for the sequences: they lack the fast cuts and use of stunt doubles so common in television hand to hand sequences. There is also some good attention to detail: Oliver and Lao Fei, his mentor, both use a couple of the same moves during their bouts.

The acting on the show has improved as the characters have become more fleshed out, particularly the performance of Stephen Amell as Oliver Queen. Amell, who I had thought a bit wooden, ably plays the different versions of Oliver: the naive and immature Oliver of five years ago, the brutal and confident vigilante Oliver, and the light-hearted, slightly withdrawn Oliver he presents to his family and the world. Katie Cassidy, as Laurel, does good-work, though she tends towards the melodramatic. Willa Holland, as Thea, is doing a good job with the limited screen time she gets and Paul Blackthorne is solid in the somewhat thankless role of Detective Lance.

Arrow is improving as it goes, and considering it was good to start with, the CW may have something special on their hands should they keep up the good work.

8/10

Additional Notes:

• Laurel: "Ah, yes. I wore those horrible fishnets." (if only she knew the outfits to come)
• Oliver: "You know us billionaire vigilantes, we do love our toys."

Hit-Girl #1 (of 5) Review

Superheroes don't wear helmets.

Mark Millar and John Romita Jr. follow up the success of Kick-Ass and Kick-Ass 2 with Hit-Girl, a new series that bridges the gap between the two previous installments. Hit-Girl finds Mindy struggling to come to terms with her family life, which is surprisingly not based around the Punisher-esque vigilantism, but rather, becoming normal girl.

Picking up a little while after Kick-Ass ended, Hit-Girl's first issue seems focused on establishing the relationships that currently define Mindy's life: including her mentoring of Kick-Ass, trying to be a normal girl for her oblivious mother, and trying to convince her (good) cop stepfather that she has hung up her weapons for good (she hasn't). Bullied at school, by a group of popular girls unknowingly playing with fire, Mindy turns to Dave Lizewski, better known as Kick-Ass, to help her better assimilate in exchange for making him, well, a competent hero. As Hit-Girl, she sets her sights on a new mob boss who runs several crime families from behind bars, and all the while Red Mist begins to assemble his gang.

Millar seems to have brought the series back down to reality after the breakneck-hyper-violent tone of Kick-Ass 2, which is a relief, because these characters are in desperate need of character development, though there are still four issues remaining for Millar to amp up the fighting. Focusing on Hit-Girl rather than Kick-Ass is refreshing, because the extant of her character up until now seemed to be her being a pint-sized, foul-mouthed ninja, in a wig; so seeing inside her head and what makes her tick was certainly a nice change of pace.

The art done by John Romita Jr., finished and inked by Tom Palmer, seems to be crisper and more detailed than in the previous installments. The art was technically fine, though the book seemed overly dark, not in tone, but in regards to the color palette, some scenes taking place in the middle of the day look like they are set in the early evening. The series tends towards the dark anyways, but the dark coloration seems to make the book less fun than it should be, though that is a minor quibble.

The main issue thus far with this comic is that it seems so unnecessary, I am not averse to prequels, but it seems too many of the book's plotlines lack any sort of tension seeing as Kick-Ass 2 takes place after and was released before. In addition, having Red Mist be a major character again seems redundant, when his character did not change all that much between the first and second volumes. Though, I have still have hope this series' plot will become relevant to the overall plot Millar and Romita have been building, aside from some character development for Mindy.

On the whole, this comic is just okay and that isn't okay, okay? What I am so eloquently trying to say is that for Hit-Girl to have a reason to exist, it should be good, if not great, and certainly not redundant. And at this point it is, even if the focus on Mindy rather than Dave is refreshing.

6/10