Kick Ass is a film that is highly entertaining. Its violent, geeky, crass and occasionally sexy in its way. Its also got deeply embedded morals, values and messages.
As Dave (Aaron Johnson) asks "Why has nobody done it?"
An unnoticed student, nothing special, nothing horrible. A simple query. Lets be honest, its a thought that has probably crossed peoples minds when watching Batman, Spider-Man et al. Why, with the media showing us all of these vigilantes, these crimefighters has noone ever stepped up and given it a go?
Taking away the arguments of superpowers and the obvious legal ramifications, Kick Ass starts to show that anyone COULD do it, just not overly successfully - as our aptly named 'hero' finds out.
The film has its love interest, the oh so popular girl at school. It has our villains: stereotyping the old mafia routines. Its even got our anti-heroes in Big Daddy and Hit Girl.
The character interaction throughout this tale is right on the money, with (for example) Kick Ass worrying about Hit Girl and her background, whilst she breaks the rules and shows that while she has had a tough upbringing and may be a product of such, shes not your average 'victim'. In actual fact she shows that she's become anything but, allowing her to become a very strong character - only occasionally lapsing into the little girl she's been denied.
There's humour in abundance. Light and Dark.
Can't say too much more without spoilers but to say this is not your average comic book storytelling. It's cool, it's awkward. It's well worth your viewing time.
Wednesday, 28 April 2010
Monday, 5 April 2010
[Doctor Who] 5x01 - The Eleventh Hour
So this week marks the return of Doctor Who. It also marks the dawn of a new era: That of Matt Smith and Steven Moffat.
Now allow me to warn you in advance, I am as it happens a bit of a fan of Steven Moffat’s work. It is my opinion that the workings of his mind are only beaten by that of the late Douglas Adams. Which is a nice symmetry since Douglas used to write for Who back in the day.
As always when I look at a piece of art – whether it be book, television, film, dance or music – I look for character, story and soul. So lets start with the story.
Is this episode a story about an intergalactic criminal known simply as Prisoner Zero, or is it a story about a little girl meeting a strange man who she is drawn to for the very reason we are? He’s intriguing, confident yet eccentric and to cap it all he knows about as much about himself as we do – very little.
Little Amelia Pond (brilliantly portrayed by Caitlin Blackwood) is swept away by the stranger who suddenly invades her quiet if depressing life – no parents, living with an Aunt who, judging by her lack of appearance during the madness, shows little interest in her – and treats her with a certain respect.
Matt Smith’s Doctor is a little of what we’ve come to expect and some we haven’t. The first point of note is that he does have some similarities to David Tennants Doctor. Well of course he does. The most recent memories he retains or of his previous regeneration, a persona and look I might add that this time around he was very upset to be losing. The new aspects of Smith’s roll of the dice were clearly beginning to emerge towards the end of the episode, a strange seriousness that didn’t quite fit the rest of what was coming forth. I choose to believe this was intentional and we’ll see Eleven mature into a new character over the next couple of episodes as he accepts the loss of Ten.
Not so little Amelia Pond has grown up into Amy played by the lovely Karen Gillan. Or has she? She’s grown to be a little cocky, a lot smart-mouthed and to not be ashamed of who she is or how she looks. She accepts who she is – which is going to be a good influence on the Doctor due to the previously mentioned problem. However, in the moments when they truly connect it appears Amy hasn’t grown up as much as she likes to think. A nicely acted scene with her storming away from The Doctor, throwing a bit of a childish tantrum is proof enough and falls nicely alongside the fact that without the guidance she’s needed in her life – that she likely thought even he could give her when he showed up that night years earlier – she’s rebelled.
The kiss-a-gram job. The attitude. Her playing at reality yet not quite seeming to live in it. These are all things that Moffat excels at creating in his writing. Yes, Moffat likes to use sex. He likes to talk about it, joke about it, even show it off a little as with the police womans outfit. However he doesn’t do it for no reason. In fact he does very little without thoroughly laying out his ideas first.
This story, while as a standalone action tale it may have been a little weak, has been a success. It has introduced The Doctor, Amy and her social structure but as well as this it has spread a few breadcrumbs for the rest of the series: Use of Prophetic dialogue.
Sure the CGI had its faults. The alien threat was a little sketchy, until the end at least and of course people are going to have problems letting go of the amazing Mr Tennant. All in all though? You can’t deny its got people talking. A good start in my opinion and I’m looking forward to seeing where we go next. After all, there’s the whole universe at the push of a button…
Now allow me to warn you in advance, I am as it happens a bit of a fan of Steven Moffat’s work. It is my opinion that the workings of his mind are only beaten by that of the late Douglas Adams. Which is a nice symmetry since Douglas used to write for Who back in the day.
As always when I look at a piece of art – whether it be book, television, film, dance or music – I look for character, story and soul. So lets start with the story.
Is this episode a story about an intergalactic criminal known simply as Prisoner Zero, or is it a story about a little girl meeting a strange man who she is drawn to for the very reason we are? He’s intriguing, confident yet eccentric and to cap it all he knows about as much about himself as we do – very little.
Little Amelia Pond (brilliantly portrayed by Caitlin Blackwood) is swept away by the stranger who suddenly invades her quiet if depressing life – no parents, living with an Aunt who, judging by her lack of appearance during the madness, shows little interest in her – and treats her with a certain respect.
Matt Smith’s Doctor is a little of what we’ve come to expect and some we haven’t. The first point of note is that he does have some similarities to David Tennants Doctor. Well of course he does. The most recent memories he retains or of his previous regeneration, a persona and look I might add that this time around he was very upset to be losing. The new aspects of Smith’s roll of the dice were clearly beginning to emerge towards the end of the episode, a strange seriousness that didn’t quite fit the rest of what was coming forth. I choose to believe this was intentional and we’ll see Eleven mature into a new character over the next couple of episodes as he accepts the loss of Ten.
Not so little Amelia Pond has grown up into Amy played by the lovely Karen Gillan. Or has she? She’s grown to be a little cocky, a lot smart-mouthed and to not be ashamed of who she is or how she looks. She accepts who she is – which is going to be a good influence on the Doctor due to the previously mentioned problem. However, in the moments when they truly connect it appears Amy hasn’t grown up as much as she likes to think. A nicely acted scene with her storming away from The Doctor, throwing a bit of a childish tantrum is proof enough and falls nicely alongside the fact that without the guidance she’s needed in her life – that she likely thought even he could give her when he showed up that night years earlier – she’s rebelled.
The kiss-a-gram job. The attitude. Her playing at reality yet not quite seeming to live in it. These are all things that Moffat excels at creating in his writing. Yes, Moffat likes to use sex. He likes to talk about it, joke about it, even show it off a little as with the police womans outfit. However he doesn’t do it for no reason. In fact he does very little without thoroughly laying out his ideas first.
This story, while as a standalone action tale it may have been a little weak, has been a success. It has introduced The Doctor, Amy and her social structure but as well as this it has spread a few breadcrumbs for the rest of the series: Use of Prophetic dialogue.
Sure the CGI had its faults. The alien threat was a little sketchy, until the end at least and of course people are going to have problems letting go of the amazing Mr Tennant. All in all though? You can’t deny its got people talking. A good start in my opinion and I’m looking forward to seeing where we go next. After all, there’s the whole universe at the push of a button…
Friday, 26 February 2010
[Blade] The House of Chthon
Spike TV's Blade series was short-lived.
The House of Chthon was the pilot episode, in movie form.
While not the greatest show on earth it had a lot of the aspects that we look for in a good one.
First up, it was very honest and true to the original Blade film. One bad-ass vampire hunting daywalker with very snazzy shades stalking his way towards the big bad.
Next up, a couple of flawed sidekicks, one the tech guy, the other in over their head. Techie Shen also tries to liven things up as the slight comic relief - although the stereotypes of a vampire genre, as usual, do this to a certain extent. As far as Krista goes she is the plot device that drives the show and Blade.
Trying to find out about her twin brothers murder of course proves to be a big mistake, as these things often do, and Krista finds herself in the position of being turned into a vampire newborn by the 'big bad' Marcus. Torn between doing the right thing (due to an injection or five of Blade's serum to quell her bloodthirst) and what she is starting to learn about her abilities and her benefactor Marcus, Krista is of course set up as the weakness in Blade's armour.
In the end, the pilot/movie ends up as a setup for the show more than a tale of its own, with many loose ends that prove why these things take time. It is however what Spike TV would expect from a Blade series - Violence, blood and sex. Oh and a splattering of plot thrown in too.
The House of Chthon was the pilot episode, in movie form.
While not the greatest show on earth it had a lot of the aspects that we look for in a good one.
First up, it was very honest and true to the original Blade film. One bad-ass vampire hunting daywalker with very snazzy shades stalking his way towards the big bad.
Next up, a couple of flawed sidekicks, one the tech guy, the other in over their head. Techie Shen also tries to liven things up as the slight comic relief - although the stereotypes of a vampire genre, as usual, do this to a certain extent. As far as Krista goes she is the plot device that drives the show and Blade.
Trying to find out about her twin brothers murder of course proves to be a big mistake, as these things often do, and Krista finds herself in the position of being turned into a vampire newborn by the 'big bad' Marcus. Torn between doing the right thing (due to an injection or five of Blade's serum to quell her bloodthirst) and what she is starting to learn about her abilities and her benefactor Marcus, Krista is of course set up as the weakness in Blade's armour.
In the end, the pilot/movie ends up as a setup for the show more than a tale of its own, with many loose ends that prove why these things take time. It is however what Spike TV would expect from a Blade series - Violence, blood and sex. Oh and a splattering of plot thrown in too.
Cancelled TV Shows
More and more shows with potential work their way towards our hearts and then get torn away by a cancellation sequence.
Many of my favourites, I have managed to procure the DVDs for.
What has caused these shows to disappear from our screens when other less worthy shows survive? Who knows. One main cause is likely patience.
Yes, we like to think we have patience but the fact of the matter is that there is only one show that people have truly allowed to take up their limit in recent times: Lost.
Lost began as a show that was told to be something it wasn't and because of this, we knew we would have to wait for its answers, its mysteries to be revealed. What did this do? It allowed the viewers to actually bond with the characters, to decide that yes Sawyer's story was one they wanted to find out, why was Jin how he was or what was Kate truly running from?
All of these answers have gradually made their way to the forefront in due time. This is the problem with the more shortlived shows. Often they know from the start where they're heading and lay the foundations but feel compelled to push the storyline due to their networks demand for ratings. The balance between true characterisation and plot is truly difficult to attain. Joss Whedon's Firefly being the prime example: He had worked hard on developing the players in his world into fully 3 dimensional personalities that you would be hard pushed not to love or hate as demanded, and then was forced to change the order of his episodes, destroying smaller plot developments or any chance of a true overall arc.
This is the other main issue I have with shows cancellations, dvd sales prove the following that these shows have, these that have been labeled as failures. Viewing figures are misleading in themselves for one overlying reason - if there are two shows on at the same time, human nature is to record, in whatever form, the show they prefer. Whether to rewatch or to pass along to other fans who didnt have the chance to watch it. Surely this is the mark of a better story? A more worthwhile concept.
So don't be surprised to see shows commented upon in this blog that have disappeared from your screens, whether recently or long since.
Many of my favourites, I have managed to procure the DVDs for.
What has caused these shows to disappear from our screens when other less worthy shows survive? Who knows. One main cause is likely patience.
Yes, we like to think we have patience but the fact of the matter is that there is only one show that people have truly allowed to take up their limit in recent times: Lost.
Lost began as a show that was told to be something it wasn't and because of this, we knew we would have to wait for its answers, its mysteries to be revealed. What did this do? It allowed the viewers to actually bond with the characters, to decide that yes Sawyer's story was one they wanted to find out, why was Jin how he was or what was Kate truly running from?
All of these answers have gradually made their way to the forefront in due time. This is the problem with the more shortlived shows. Often they know from the start where they're heading and lay the foundations but feel compelled to push the storyline due to their networks demand for ratings. The balance between true characterisation and plot is truly difficult to attain. Joss Whedon's Firefly being the prime example: He had worked hard on developing the players in his world into fully 3 dimensional personalities that you would be hard pushed not to love or hate as demanded, and then was forced to change the order of his episodes, destroying smaller plot developments or any chance of a true overall arc.
This is the other main issue I have with shows cancellations, dvd sales prove the following that these shows have, these that have been labeled as failures. Viewing figures are misleading in themselves for one overlying reason - if there are two shows on at the same time, human nature is to record, in whatever form, the show they prefer. Whether to rewatch or to pass along to other fans who didnt have the chance to watch it. Surely this is the mark of a better story? A more worthwhile concept.
So don't be surprised to see shows commented upon in this blog that have disappeared from your screens, whether recently or long since.
Friday, 19 February 2010
[Lost] Time for me to retire now, and become John Locke
After a couple of weeks of smashing through Lost I finally caught up with the current timeline (oh dear, bad choice of words there). Just in time too, finding out what the numbers mean and as fast paced as the show has suddenly become.
It's nice that they have been able to become the show they wanted to after such beginnings - the network not allowing them to be a sci-fi show. Even better they have managed to keep the personalities and characters plots interesting despite essentially being unable to move forward.
The old - find the answer, create twelve more questions formula is finally breaking and its being done well. That being said I'm glad the show is in its final season, they've timed it right and - hopefully - planned well their ability to tie things up.
Oh, and in other more spoiler-ific news. Some casting for you:
Do not mouseover if you dont want to know
thats all for now, mostly because I rushed this one out, so I leave you with the inspiration for the title of this post...
As you can see that song still amuses even now.
It's nice that they have been able to become the show they wanted to after such beginnings - the network not allowing them to be a sci-fi show. Even better they have managed to keep the personalities and characters plots interesting despite essentially being unable to move forward.
The old - find the answer, create twelve more questions formula is finally breaking and its being done well. That being said I'm glad the show is in its final season, they've timed it right and - hopefully - planned well their ability to tie things up.
Oh, and in other more spoiler-ific news. Some casting for you:
Do not mouseover if you dont want to know
thats all for now, mostly because I rushed this one out, so I leave you with the inspiration for the title of this post...
As you can see that song still amuses even now.
Introduction
This is the place where I'll be posting about the tv shows, films and DVDs that i watch. Sometimes thoughts, sometimes spoilers. Occasionally a review just to keep myself in shape.
I'll try not to link people back here until I know theyve seen or dont care about knowing things.
I'll try not to link people back here until I know theyve seen or dont care about knowing things.
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