Posts Tagged 'kick-ass'

Wick-Quoting #39: Sucker Punch

“If you don’t stand for something, you’ll fall for anything.”

=======================================================

Ah, Sucker Punch.  Where to start from? Well, I’m pretty sure most everyone who watches movies at theaters or at least keeps up with movie news online heard about Sucker Punch – a movie with beautiful fight scenes of beautiful, scantily clad girls kicking the ass of random chunky big guys. (Okay, there is more plot, but it pretty much doesn’t make much of a difference whether you know it or not.  And, all these girls live in a brothel and are trying to get out.)  Sounds like an instant must see for guys appreciating hot girls and something that girls can’t argue with because of the whole girls kick ass, girls are strong too thing, right?  Well, we are not even going to touch on those issues, because they’re not the problem of the movie whatsoever.

On stage

The real problem is that director, Zack Snyder, whose background definitely lies in pretty fights, has constructed a movie that has absoulutely no excitement, no anticipation, no nothing. It is purely, a bunch of seemingly plastic figures kicking each other around in midair.  It sounds hard to believe that someone could make a multi-million dollar fight scene between a girl in a miniskirt flashing her panties every other moment and a giant samurai with a cleaver twice the size of the girl boring, but believe me, Snyder has done it.  Each fight scene is a tired debacle of flashy movies culled from every other successful action movie out there – the girls get pummeled around by the baddies every now and then and stand up without even a single sign of damage.  Of course, no one wants to see hot girls in miniskirts getting beat up, but the lack of any reprocussion whatsoever on the girls definitely saps the excitement out of each fight.  The audience already knows the girls are going to win, and when they don’t, Snyder tacks on buckets of tears and philosophical meanderings that make no sense and have no place in the film in a sorry attempt to pretty much force the audience to think the movie has some sort of depth.

bambambambam

And finally, despite the so-called plot twists, the end of the movie seals it all up – Snyder pretty much has no plot, and it seems as if he didn’t even have time to consider how the movie should end what with all the time it must have taken to write up a few lines of philosophical bs.  Yes, the girls are… pretty hot.  Well, this writer honestly thinks that only three of the five main girls are hot, but whether all 5 were mind blowingly sexy or not wouldn’t change the outcome of this movie.

3 out of 5?

Snyder ultimately fails most at where  this movie should have, if anywhere, succeeded – the fight scenes.  Sure, one could argue that these types of action movies tend to be pretty brainless and so the plot can be forgiven. The hotness of each girl can be debated, sure sure.  Maybe someone even got some meaning out of the philosophical self empowerment gibberish that wastes time at the end of the movie.  But no one can convince me that the fight scenes are not tired, cliched, and utterly just boring flashes of very fake computer graphic power.  Many people draw comparisions between Sucker Punch and anime girls and fight scenes.  I think I’d get a lot more entertainment from watching an anime film craft a better, and maybe even more believable fight scene at a fraction of the production price.  As a girl who enjoys action movies and appreciates hot, strong leading ladies, I haven’t been this disappointed in a movie in a long, long time.

5.0

Quoted by Sawazz

MWP: 5.2

Check out my new website at: http://www.mrwickedproductions.com/wickquoting/?p=119

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Wick-Quoting #19: Technology vs. Family

What happens when you replace superpowers with technology?  Well, first of all, it’s not really a replacement so much as it is an addition.  In Shelly Chappell’s essay, “Fantasy Motif Metaphors: Magical Powers as Exceptionality in Disney’s The Incredibles and Zizou Corder’s Lion Boy Trilogy,” we are only interested in what she has to say about The Incredibles, directed by Brad Bird.  “The motif of magical powers as exceptionality,” is what Chappell states as a fantasy motif metaphor in children’s fantasy literature, such as The Incredibles (Chappell 23).  The Incredibles is a film about a family with superpowers that takes down a non-Super (Super being the name that is used to refer to superheroes in the film) villain who uses technology to kill Supers in order to make himself a superhero.  This storyline is the epitome of exceptionality.  In the film, superpowers are rare and a natural born ability, not forced upon people.  Therefore, Syndrome, the main villain of the film, has an inferiority complex that causes him to force exceptionality upon himself through technology.  Syndrome’s efforts in becoming exceptional himself, threatens the Incredible family’s structure of life.  The mother of the Incredible family, Helen’s line, “Everyone’s special, Dash,” combined with his response, “Which is another way of saying no-one is,” tells spectators that even though this is an American family of exceptionality, they are forced to live a normal life, hiding their powers.  Syndrome disrupts this balance with an opposite mentality that even though he is without natural superpowers, he is still exceptional through the advanced technological equipment which he created.  He openly uses his technology physically in order to kill Supers (those with natural exceptionality), forcing the Incredibles to take action—disrupting their “normal” lives.  So, ultimately, it is technology which causes spectators to distance themselves and fear Syndrome.  It is technology which causes characters in superhero films to become so difficult to relate to and threaten family life.

In order to understand the negative impulses which technology brings, we must first discuss how technology impacted lives during the late 19th century in modern cities, from Ben Singer’s article.  During this time, the shock of modernity was common.  The introduction of the streetcar brought a number of concerns and horror.  According to Singer, illustrations of accidents showed not only the body before death, but the look of horror on the bystander’s faces.  These illustrations stressed both the dangers and nervous shocks of city life (Singer 83).  It seems as though technology always comes hand-in-hand with fear.  This is understandable, considering how people fear at first what they do not understand.  Similarly, Syndrome’s physical powers through his technological devices strike fear in the characters and audiences because it is something that all people are not used to.  His technology is an extension of himself, something unnatural which distances him from us as spectators.  And like the streetcars, Syndrome’s weapons cause inconveniences for the one who uses them (even being the cause of Syndrome’s own death in the end from the combination of his jet boots and the jet’s intake).  The fear of the streetcar eventually subsided as the fear of the automobile closely followed (Singer 83).  Fear eventually slips away after a certain amount of time passes, allowing people to confront and overcome the object of fear.  In Syndrome’s case, however, we as spectators are not given enough time to become familiar with and brush off his weapons.  More time is needed in order to dull our senses by hyperstimulus.  After all, we are only given approximately 115 minutes to cope with the fear of the machine.  Re-watching the film only restarts the element of fear from the beginning to the end by secondary identification with the protagonists.

Singer writes in his essay, “Modernity, Hyperstimulus, and Popular Sensationalism,” that “in the modern environment, death could drop from the sky, inexplicably” (Singer 84).  We know this to be true from the example that Singer gives about the death of a little girl whose skull was pierced by a rusty steel rod, atomic bombs used in WWII, and technology shown in fantasy worlds of superpowers.  Therefore, technology constantly makes us aware of the dangers of modern life, and that at any moment it can be the cause of our sudden deaths.  This constant, unpredictable fear is directly linked with technology, meaning that a person who creates and controls technology is a person to be feared.  Syndrome, with his technology, destroys the family life of the Incredibles by giving them constant fear for their lives.  The Incredibles take action in order to rid themselves of this fear.  Therefore, technological advances interrupt normal, family life.  We, as people who live in a modern world and have a family life ourselves, can relate to the interruption that technology brings, siding us with the Incredible family and forcing us to both hate and fear the enemy.  After all, it is the television that causes family members to become quiet and uncommunicative during family dinners and the airplane which literally helps separation between family members.

Syndrome contains, as I mentioned before, an extension of himself in technological form.  For Marshall McLuhan, we must accept technological form as an extension of ourselves, as he states in “The Gadget Lover: Narcissus as Narcosis:”

…use or perceive any extension of ourselves in technological form is necessarily to embrace it.  To listen to radio or to read the printed page is to accept these extensions of ourselves into our personal system and to undergo the ‘closure’ or displacement of perception that follows automatically… By continuously embracing technologies, we relate ourselves to them as servomechanisms.  That is why we must, to use them at all, serve these objects, these extensions of ourselves, as gods or minor religions. (McLuhan 68)

So in one way or another, we all embrace technological form, whether it is through surfing the internet, listening to the radio, or playing the Nintendo Wii.  Syndrome uses his own advanced creations, which are like a mirror images, or projections of himself.  He created his technological weapons in order to carry out his goal of ruining Supers.  His weapons were made for a purpose, the same purpose which he devoted his life to for 15 years.  And as Agent Smith says in The Matrix Reloaded, “There is no escaping reason, no denying purpose, because as we both know, without purpose, we would not exist.”  The reason why Syndrome exists and the reason why Syndrome’s technological creations exist are one and the same.  So, like the Greek myth of Narcissus, Syndrome becomes a closed system with technology.  Narcissus is viewed to be cold and distant of others, only caring for himself (or the image of himself).  Syndrome is similar, but for him, it is technology which causes his unfortunate drift.  To “serve these objects, these extensions of ourselves, as gods or minor religions” is something that should stir fear (McLuhan 68).  It is gods who are portrayed to be all-knowing, being able to control our lives.  It is thus a scary thought to not be able to have control over ourselves and having to treat objects of technology as deities above us.  Even Supers with amazing powers do not strike the same kind of fear in us, because their powers are a part of themselves—it is them.  Their exceptionality is natural, but even so, we know for a fact that Supers are no gods because we as individuals cannot make direct use of their powers.  And even when Supers save people, Supers also use people to build up their own image.  People use Supers to live a little more safely while Supers use people to serve their honor and duty and be loved by the people.  Both sides benefit.  With machines, however, only one side really benefits—the people.  Technology gives a false identity of godlike power; but it is not natural, it is manmade.

Is it really technology that makes Syndrome such an evil, unlikeable character?  The Joker, one of the most popular villains from one of the most popular superhero franchises, Batman, is a likeable character, despite him being a villain.  I remember watching The Dark Knight at the midnight showing where there were three instances of people applauding during the film.  One time was, of course, during the conclusion of the film, when the credits rolled.  The first time was when the Joker first appeared in the film during the bank robbery sequence.  The remaining time was when the Joker offered his services to the mob and left the room with bombs attached in his suit.  Two out of the three times were in direct response to the Joker’s screen time and the last time is partially also due to the Joker’s overall role in the film.  What makes the Joker such an enjoyable figure to see?  The Joker, unlike Syndrome, contains Batman’s secret desires.  Also, the Joker does not use technology to defeat his opponent, but careful planning instead, and of course, knives, which allow him to engage in a much more personal relationship with his victims.  So by just comparing the Joker and Syndrome in a technological viewpoint, what do we get?  Knives vs. zero-point energy.  One is a lot simpler than the other.  The Joker uses his knives and planning to disrupt Batman’s way of justice.  Batman’s family is untouched by the Joker (not that Bruce Wayne has a family).  Syndrome uses his technology and planning to disrupt Mr. Incredible’s family.

Green ligh... not

I never really was on your side

Not only does technology distance Syndrome from the spectator as an unlikeable character, it also distances Syndrome from his opponents.  With his zero-point energy, Syndrome is able to inflict harm on Supers while being a safe distance away.  The Joker, on the other hand, uses primitive knives, which forces him to make direct contact with his opponents in order to inflict pain and kill them.  We as viewers relate with the main protagonists (the Incredibles and Batman) through secondary identification, more so than we do with the villains due to formal techniques and story elements.  An example is a shot-reverse shot with Batman as he talks to Gordon and Harvey on a roof.  So, in a way, we are the protagonists.  We feel the distance that Syndrome puts between himself and the protagonists.  We feel the breath of the Joker on our necks as he is about to knife a defeated victim.  Therefore, our distance with technology and those that use it is also literal.

Towards the end of The Incredibles, the disruption of technology on the Incredible family is literally seen when Syndrome attempts to take Jack-Jack, the baby of the family, away to raise him as a sidekick.  Syndrome is able to undergo this act with the help of his jet boots that give him the ability to fly.  Technology threatens the family by assisting Syndrome in stealing away the baby.  This makes Syndrome an even more hated figure for trying to take a baby away from his mother.  Ultimately, it is Jack-Jack’s natural response with his newfound powers that overwhelm Syndrome and free Jack-Jack from the evil grasp.  Natural exceptionality prevails even between a baby and a grown man with his toys.

Although we push ourselves away from Syndrome due to his pure evilness by technology, Syndrome is still relatable to us spectators in certain ways.  He is not born with exceptional superpowers, so instead, he gazes upon Mr. Incredible as the fan boys inside us do when we watch Superman on the silver screen.  It is only when after his help is rejected by Mr. Incredible and that we learn that this innocent child, Buddy, becomes the unlikeable Syndrome.  His response of falling into technology to get his revenge is something which most of us wouldn’t do.  So, once Buddy got involved with machines, he becomes dislocated with the spectators as one of the evil villains.

As Chappell mentions, Buddy, or Syndrome, can only try to become exceptional by using technology to enhance his limited physical powers.  Syndrome being defeated by the Incredibles gives spectators the idea that people who are born without powers shouldn’t try to become superheroes, or they might become villains; “only those who are authentically exceptional should be allowed to express their individuality and use, rather than gain, power” (Chappell 25).  This is the opposite view that the recent film, Kick-Ass, contains.  However, the reason as to why Kick-Ass works and the characters like Hit-Girl are allowed to express their individuality even though they lack powers is because they also lack technology, of course, not counting Kick-Ass’ use of a jetpack and bazooka.  It’s no wonder Hit-Girl is one of the better characters in the film.  She being a little girl, spouting derogatory words, and lacking advanced technology is what makes her so fun to watch.

Although technology makes our lives better and brings us together online, it also causes us to be distant with one another.  Syndrome is viewed to be pure evil because of his association with technology, making him hated even more compared to more renowned villains such as the Joker.  While the Joker’s motive is to “defeat the Bats,” Syndrome’s is to destroy Super’s way of life from what it already is.  Syndrome’s reason, or irritant, is that he was not born special or exceptional.  His extension is to desire for physical power – to become a superhero and be accepted.  He does so with technology, which is viewed as cheating in the film where Supers are naturally born.  Technology is something to be feared (it can kill you in the modern world, as Singer points out), and it is something that can break the family.  The Incredibles can be read as a criticism of real-life efforts to control and redistribute exceptionality (Chappell 24).  From Syndrome’s example, it is clear that technology and redistributing it only brings misfortune.  Technology in superhero films is ultimately what causes villains like Syndrome to be unlikeable.

Works Cited

Chappell, Shelley. “Fantasy Motif Metaphors: Magical Powers as Exceptionality in Disney’s          The Incredibles and Zizou Corder’s Lion Boy Trilogy.” 2008. Print.

Macluhan, Marshall. “The Gadget Lover: Narcissus as Narcosis.” Understanding Media. Print

Singer, Ben. “Modernity, Hyperstimulus, and the Rise of Popular Sensationalism.”

Cinema and the Invention of Modern Life. Ed. Leo Charney and Vanessa Schwartz. University of California, Berkeley: California, 1995. 72-99. Print

Wick-Quoting #9: Iron Man 2

Director, Jon Favreau, did it again with Iron Man 2.   The film carries on a similar attitude that the first one has – witty, bright, and charismatic.  Even though Iron Man 2 looks fun to watch, it has a predictable storyline.  Pretty much, a new bad guy appears and Iron Man takes him down in the end.  Although the film includes popular stars, such as Scarlett Johansson and Samuel L. Jackson, I feel that the film won’t be that satisfying for people who are not Iron Man fans.  Despite all that, it is definitely a film you’d consider to be reliable: you will be entertained, but to what degree depends on many factors.

A flashy film calls for bright lights

Iron Man 2 is one of those big budget films which you know will create huge lines on the first couple of days it comes out.  The reasons for this are simple.  The film has: popular actors, such as Robert Downey Jr. (need I mention more?), good graphics, and a previous success story.  As I mentioned in a previous post, Robert Downey Jr. is a very convincing actor, and he fits the role of Tony Stark perfectly.  Just like for Sherlock Holmes, it’d be fine if you watched the film just to see Robert Downey Jr.

Most moviegoers (mainly guys) will probably watch Iron Man 2 because of the inclusion of Scarlett Johansson.  Johansson played her role well, although she is not a determining factor to watch the film.  Sure, she fits in some cool moves in her fight scenes, but besides that, her character really has no personality.  Characters with no personality = difficult for viewers to connect with = potentially bad film.  Thankfully, she only has a minor role in the film.

With impressive choreography and camera angles, Scarlett Johansson looks like she came straight-out of Kick Ass

All of the other actors have their moments in the film as well.  Mickey Rourke makes a convincing Russian villain (why is it always Russian?), and Jon Favreau helps in some extra comedy (although some of it is admittedly a bit lame).

I vant my pizza!!

And like all modern day films, ridiculous technology is shown being used.  There’s the typical scene where a character is faced with a conundrum,and figures it out just like that .  Who knew creating a whole new element could be so easy?  I guess the excitement of such quick reasoning and invention is what makes those types of scenes acceptable and common among mainstream films.

Overall, the film’s success is due to its actors and past film in the series.  When lookin at its originality, it really doesn’t branch off too far from the first movie, making it bland in story and style.  So if you watched the first one, you won’t miss that much if you skip out on the latest Iron Man.  But still, it’s a good watch, and a much better choice compared to Letters to Juliet or The Losers.

I'll be back... for sure

7.9

Wick-Quoting #6: Kick-Ass

It’s kind of like one of Michael Bay’s films, BUT WITH AN ACTUAL STORYLINE!!

You know how some films have trailers that are just so misleading?  The trailer for Kick-Ass is definitely misleading; it fails to preview exactly how AWESOME it is.  I’m going to cut straight to the point in the beginning here just to make it clear – Kick-Ass is one of the best (action) movies I’ve seen since The Dark Knight.  It has everything that you need for satisfying entertainment: intense action, blunt humor, and a touch of sexual interaction (you can’t avoid that in Hollywood, unfortunately).  Let me first start off with the plot.

The typical high school geeks

Because this film gives off the aura of a comedy/action flick, you’d expect it to be more focused on the action part and less on the story.  This is not the case with Kick-Ass, thankfully.  Although I must admit, the beginning is a bit slow in speed, the film makes sure you know the personalities and backgrounds of the characters.  The plot is not shaken by the intense action sequences sprinkled throughout the film, but rather, strengthened.  Much of why the characters do what they do, such as Damon/Big Daddy (Nicolas Cage), is clear from their stories and only makes the action that much better.

Now, I don’t know about you, but I for one am a fan of Nicolas Cage ever since National Treasure.  Bash on him all you want, but in Kick-Ass, he pretty much kicks ass (not Bangkok Dangerous style, thank god)

 

The smooth connection during this scene was ridiculously good

This film has one of the best action scenes that I’ve ever seen.  And it’s not like there’s only one or two moments of extreme, fighting pleasure; this film is loaded with them.  And each scene is very different from the other.  I didn’t want to blink at moments, because I didn’t want to miss any of the action.

Even though Dave/Kick-Ass (Aaron Johnson) was the main character, Mindy/Hit-Girl (Chloe Moretz) dominates the screen with the best action scenes.  It’s complete nonsense that people don’t agree with the film because a little girl is involved.  Without her, the film definitely wouldn’t have been the same.  There’s something about little girls kicking ass that makes it so much more enjoyable to watch.

 

This film really allowed Moretz to shine

The film contained a lot more shocks for me than just the overwhelming action.  For example, I didn’t think they’d actually show a guy being microwaved.  But they do.  And the finishing blow to the boss is both reassuring and shocking.  Reassuring because they give you doubts before in the film about whether they’ll actually show the bazooka being used.  Shocking because they actually do use it.

The film ties up nicely with the linking of vengeance mentioned first by Kick-Ass in the beginning of the film and later by Red Mist, hinting a possible (and obvious) sequel.

 

Just like what Miyazaki said, "When a girl is shooting a handgun, it's really something."

Just like how they mention in the film, it is amazing how nobody actually tried to become a superhero.  And it’s also amazing why nobody tried to make a film about it.  Thankfully, Vaughn has done a great job with it.  The main drawback is that the film is a bit long (almost two hours).  Even so, this film was worth every cent and second, and I hope you agree too.

 

9.1

 

PS: I realize that not everyone is going to like this film.  The characters aren’t that deep and and are pretty much one-sided; but seriously, you can’t expect them to be deep-ass, complex characters knowing that this film is suppose to be an action/comedy.


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