Avengers-Age of Ultron: A huge cinematic step almost resulting in psychic groin pull

Once upon a time, a boy built a toy robot.  This robot was to be a friend and guardian to all humankind, protecting us from those big threats he knew awaited us.  The boy was good with building machines and he had complete confidence his creation would serve us well.  The problem is, his creation was a bit too smart and had its own ideas on how to "serve".  Big explosions and snarky quips followed.

Thus, we have the cliffiest of Cliff Notes versions of the plot of Avengers-Age of Ultron, the follow-up film to Joss Whedon's sophomore motion picture effort, The Avengers.  For those who haven't been following closely, Marvel Comics has been doing a sensational job bringing its comic book universe to the silver screen (and now small screen, with Agents of SHIELD, Agent Carter, Daredevil and more to come). Whedon came on board with a few script doctorings (he is well known for that) and then, with his creative, offbeat talents demonstrated years before, his love and knowledge of imaginative tales such as comics well established and with a name that carries weight and cultural currency with legions of fans, he was given keys to the Marvel kingdom.  With those, he unlocked the Avengers.  And when that one went on to do record breaking box office business, he naturally was offered the follow-up.  He accepted.

And now, we have Avengers-Age of Ultron burning up the movie charts.  Starting out overseas, it began making bank immediately.  Hitting the US shores, it has pulled in serious bucks for both its opening night and debut weekend and has fans taking in the spectacle in droves.  Despite all of that, does Avengers-Age of Ultron prove itself a worthy film all its own?

Yes.  But that yes does come with some buts.  It is truly a worthwhile spectacle.  The huge budget clearly wasn't wasted.  In a story that takes it clear across the globe, it shows the Avengers team as a global force, taking the fight to evil wherever they are.  They aren't just a New York or even a team that just concerns itself with stateside threats.  So the action is huge, epic and amazing, with shots clearly choreographed to evoke comic panels.  But...it is an assault on the senses and it is so...much at times, it becomes almost physically exhausting.

Fortunately, things are broken up with plentiful well written character moments.  Not only are they recognizably in character, acknowledging the characters' comic roots as well as their past cinematic adventures, they establish these characters aren't just costumes.  They are hearts and souls, wounded ones in many cases.  However, the snark does come across a little heavy at times.  The first Avengers movie had only a couple of moments where Whedon seemed to be reaching a bit far for the joke.  The sequel, though most of the jokes hit home, had a few that made you feel that Whedon was trying a bit too hard for the funny.  A straight line, or perhaps just grim silence might have been better for a couple of moments.

Lots of new characters were introduced in this film, as well as new ones previously introduced were brought on board for the follies.  Again, in the hands of a lesser storyteller, this movie would have taken on a Batman and Robin level of bloat.  Joss Whedon knows these characters, loves them, knows what makes them tick.  So they all had moments and they all rang true.  But you did get the sensation of an overstuffed sausage at moments, filled to bursting.  Whedon has said he left over an hour of film on the editing floor.  With more film, this movie might have felt a little less stuffed.  However, it would have clocked in at over three hours at that point.  Here's hoping we see what didn't make the cut on the Blu Ray.

Finally, the movie does have some great poignant comments about modern world situations.  Raw power is not necessarily enough to set things right alone.  Technology and tools don't necessarily bring you the results the designer intended, as Tony Stark is loathe to admit.  Ultimately, this is a human world needing human solutions.  Even the machines acknowledge our power, seeing us as either the great threat to be exterminated (Ultron) or unique creations not to be dismissed (The Vision, played immensely by Paul Bettany).

Avengers-Age of Ultron is huge.  It is a grand chapter in the world of the Marvel Cinematic Universe and a satisfactory film through which Joss Whedon can exit his part in this play.  It is not problem free, but if the Marvel Universe is one you want to follow, this is a step you can take with satisfaction.

Chappie-Not Really a Short Circuit Remake At All

Neil Blomkamp fascinates me as a filmgoer and science fiction fan. In a day and age where we are inundated with remakes, sequels, adaptations and all kinds of manifestations of what a jaded film goer might call, “been there, done that”, Mr. Blomkamp is a filmmaker who made his mark with the 2009 film District 9, painting a unique, dark vision of the future in a tail of interstellar refugees layered upon entirely Earthbound and human social strife. Not only that, Blomkamp opened a more populist look at South Africa, which he has stayed with in his follow up films, both Elysium and Chappie. District 9 exploded onto the psyches of science fiction film fans, presenting a unique vision of a truly alien visitor knitted with unfeeling human bureaucracy and the heroism sometimes found at the end of one’s rope.


There is a problem when you are this good right out of the gate, however. It sure makes you an act that is tough to follow. Elysium, though I thoroughly enjoyed it, even more so, considering it was not a prequel, sequel, et al, was considered ham-fisted and thin its characterization and world building by some. So…Blomkamp then decided to remake Short Circuit.

Well, no, not really. Chappie is no more a remake of Short Circuit than it is a remake of Robocop, though it does have elements of both movies. That is, it posits humanity building robots to help protect itself from itself on the streets of the future, in this case, robot cops to help patrol the streets. Like Short Circuit, there is a set of events with one of them which results in it developing consciousness. Rather than destroy it, like some would seek to do, this machine is nurtured through both kindly humans and later happenstances and allowed to become a fully self-aware, self-actuating being.

On the surface, sure, Short Circuit-ish. But the actual details of Chappie’s journey take several departures from that of Johnny 5. Cute on the surface at times, in the unspooling of its narrative, it goes both darker and deeper, especially the way it ends; with Chappie contemplating his own destiny before him and the fact that he won’t be facing it alone.

Plus, there’s less Ally Sheedy and De Barge. Not to slight Ms. Sheedy, but I definitely don’t miss De Barge.

Take a chance on Chappie, a film that is not a sequel, prequel or remake.

I just realize after watching all the seasons, True Blood really is not a good show.

At all.

Thought I'd throw that out there.

Bettie Page Reveals All-The Soul Behind the Smile, the Heart Behind the Hooters

In the early 90s, I picked this up at Excalibur Comics and Games, State Line, Texarkana, Texas...

The jungle girl with the amazing curves in the cover illustration drew me, but the photos within had me riveted.  

Inside were pictures like the above and more.  Admittedly, my experience with female physicality was not extensive at the time, despite being in my early twenties and just out of my first two years in the US Army.  Just so that the little glimpse they showed of one of her nipples in one of the photos at the same time embarrassed me, yet enchanted me.  So the next time I saw her nude (I would later find out that Bettie took nudes aplenty), it wasn't nearly so much of a shock.  And I began to see the female form as something more than an object of lust (though there was plenty of that and I began to be much more confortable with that).  I began to appreciate the portrayal of female physicality as an art subject all its own.

                                                                                                                                                                            
And thus, a long distance fanciful love affair ensued.  Over time, I amassed a nice collection of photos, books, pieces of art and became intimately familar with the form of Betty, no, BETTIE PAGE.  But I knew very little of the substance of her.  I knew nothing of her soul.  Back then, no one knew if she was even still alive, having had her time in the sun in the 50s (1952-57).  Various figures were working behind the scenes to find her, to find out what happened to her and if she was aware of the fandom that had rediscovered her in the late 80s and still to the present day.

In Bettie Page Reveals All, this fun, funny and touching documentary talks to many of those who knew her in various stages of her life, and she went through many of them.  She started out as poor southern girl in unfortunate family circumstances.  She seemed to be interested in a more traditional life (marriage, normal job, kids).  But the circumstances that happened and that she found the most success at, beyond being a great student, was the world of pinup, cheesecake and stag films.  This is especially interesting that it happened in the fifties in America, an era known for discomfort with open displays of human sexuality beyond a very sharply circumscribed perimeter.  Add to that, Ms. Page was a spiritual woman, who felt the call of God in her life and manifested that in various ways, though not always the way she wanted.  She never felt that her work due to her physical allure was sinful in any way.  And, as a Christian, I don't, either.

If what you want is photos and video, oh yes, you get plenty of that in this documentary.  Tons of Bettie material as well as other women who worked with her or were inspired by her.  The point of this exercise is not cheesecake and titilation, though.  That's just a bonus for being a Page fan.  This is about getting to know the girl behind the glory.  That is the magical thing about this documentary.  Even though she died in 2008 (RIP), and her funeral is depicted, this film was a long time in the works and the producers got extensive interviews with her on tape before she passed away.  Much of this story is in her own words.

The way she tells her tale is that she was not trying to be a showstopper.  She was not trying to be anyone's icon or political statement.  She was not out to change the culture.  She was just being herself.  She was just having fun.

And that is how true magic happens, when it manifests from just simply who you are.

Thank you for the memories, Bettie Page.  I for one truly miss you and appreciate the gifts you shared with the world.

Coming Review: Bettie Page Reveals All

She was erotic poetry physically manifest.  Bettie Page Revealed her in all her sexy humanity.  Review coming tomorrow.

The Frame-When Our Stories Become Aware

In 2009, an intriguing indie fantasy film called Ink came out.  Sure, it was a low budget affair, perhaps some dodgy acting here and there, but it was a wonderful flick with powerful writing, about a convergence and conflict between denizens of the dream world and how their conflict encroaches upon ours.  The visuals were compelling, the soundtrack was terrific (composed by writer and director Jamin Winans) and enough of the actors were strong enough to transport viewers into the otherworldly scenario being laid before them.

Well, Mr. Winans is keeping on with another mindbender, 2014's The Frame.  Winan's craft has improved with this film, in that the cinematography has gotten more sophisticated in the way he stages and frames his shots and action.  His actors have seemingly upped their game even more.  Structurally, the story is, at first, seemingly smaller than Ink, as it primarily involves two people, one a professional thief looking to leave the trade and another a paramedic.  What they both don't know is that they are watching each other on TV.  The paramedic is in a reality TV show in the thief's world, while the thief is a character in a drama in the paramedic's "frame". 

The real kicker happens when one day, the two notice they can talk to each other through their TVs.  This begins the foundation of a love story and an exploration of art and reality.  What is real?  When does something become real?

And when characters get out of hand in their reality, is there anyone else to rein them in?

The Frame.  Check it out.

The Zero Theorem-Tearing at Illusions, Grappling with God

In the future, we still grapple with the essential questions.  We are pretty good with the "what" of things, even decent with the "how" of things.  But the "why" of things, the big questions of purpose and reason, continue to elude.  Or at least, elude the preferred singular approach of science (the process of figuring out the physical workings of things) and even philosophy (or at least, the approach of which uses language to parse ad infinitum and break things down into their tiniest pieces parts in concept).  The whys continue to defy.  There have been attempts in some materialistic and philosophical circles to dismiss the importance of the whys entirely, that they are all just creations of our inner  electrochemical workings.  But no one buys that.  Not even the proponents of such views.  Because, you wait long enough...some of them waffle publically.  When we look into the outer dark or the inner light, no one can be long term satisfied by the idea that it is all for nought.

Nonetheless, it is reasonable to assume some will still try and will turn our greater and greater technological prowess to the purpose of the same.  In the future, it is reasonable to assume that computing power will be greater.  Fortunes will be more immense (for some) and those managing said fortunes might find talented individuals, such as a Mr. Quohen Leth (Christoph Platz), an obsessed loner waiting for a phone call to give him a purpose in his life.  Well, Management does not have a purpose for him.  But it does have a job.  Management wants to hire him for his computer operating and number crunching skills to solve an immense mathematical formula, the Zero Theorem, whose resolution will put this God question to rest, once and for all, one way or another.  Or so they hope.

Is the universe purposeless and meaningless?  Are we eventually just lazily spinning our way to the Heath Death of the universe?  Or is there something more going on here?

We live in a curious time now where our technological prowess is stunning and growing.  Our knowledge is expanding.  Yet, idealogically, assumptions seem more unstable than ever.  Traditional religion is being openly questioned, and yet, contrary to those asking those questions, religion and spirituality is pushing back, both in ways terrifying and against the spirit of Spirit (terrorism, militant fundamentalism) and hopeful (ordinary people finding the answers offered by the materialists have been found wanting and people have begun to look at religion and spirituality anew).

One of the most stunning is the release of The Principle, a film that seemingly asks for another look at the pre-Copernican idea of the universe.  Such a view has been reacted to as "heresy" among the materialists and has been called one of the most negatively reviewed non-viewed films.  Now, that is a nutty idea, the idea that perhaps Copernicus took civilization off the rails in ways.  However, the idea the filmmakers had is that Copernican theory was a platform that science then launched off of in ways that evidentially and philosophically are increasingly unsupportable.  That is, the universe as a big, mindless machine.

The Zero Theorem, contrary to what some might expect, is not an embrace of  the mindless materialism, the God-null.  In fact, Terry Gilliam's religious and spiritual views are far more complex than that.  He allows for a universe of mystery.  Of active engagement.

Of where we mere mortals need to look to the outer and inner, we need to wonder and seek it out.

The Zero Theorem almost is a call to action to just that.  That spiritual auto-pilot, our inner sleep, is a big part of what is messing us up.

Good film.