A few things about “Beginning’s End” that annoyed the crap out of me. Numero uno: They show the hounds of hell! Why? Why did they feel the need to show us the hounds of hell in their glory when the genius of the character was that we never saw what they looked like or their actual features? Does imagination mean nothing anymore? Numero dos: There’s nothing to be said here that hasn’t been said in the entire run of the series already. Sam is the one who is actually like John. Dean is just a guy trying to live up to his image of perfection and really is the outcast of the family. We knew that. “Beginning’s End” however is a solid mini-series to read.
Tag Archives: Adaptation
Sweeney Todd: The Demon Barber of Fleet Street (2007)
Much like Tim Burton’s most recent films, “Sweeney Todd” looks brilliant, but beyond that you’d be hard pressed to find any material here worth taking home with you. Like Burton’s previous films, there’s not much beyond the gorgeous coating of colors and tones, it’s all hollow inside filled with one-dimensional characterization and actors so out of their element it’s astounding. While Depp is gritty as Sweeney Todd he can’t carry a single tune to save his life, so Burton and co. rely on him talking as he sings to mask the fact that he can’t truly vocalize. The same can be said for Helena Bonham Carter who is just average as a singer and nonetheless very forgettable as a character.
Resident Evil (2002)
Back in 1996 when Capcom and Playstation released “Resident Evil,” the horror and gamer world were awash with buzz and raves of a game that while lacking in voice acting department (seriously if you’ve ever seen the filmed intros to the American game, you’ll laugh non-stop), was an all around horrifying and inventive survival horror game that begged to be made in to a movie. It featured all of the tropes of the classic horror genre from a large spooky mansion, a bunch of mercenaries called out to investigate strange goings on all of which lead them to clash with undead dogs, birds, ravenous monsters and–worst of all–hordes of flesh eating zombies.
30 Days of Night: Dark Days (2010)
While I did really enjoy the original vampire film from David Slade based on the award winning graphic novel from Steve Niles, it wasn’t a masterpiece. Though everything about it was very tight and sharp, the film just didn’t end up being the groundbreaking game changer it promised. Not surprising, it spawned an inevitable sequel and thanks to the uselessness of vampires who are menacing monsters (Thank you Stephanie Meyer), this sequel entitled “Dark Days” is Direct to DVD fodder that is about as routine as you’d expect for a sequel to a major horror film that came and went before anyone knew who Steve Niles was.
Superman/Batman: Apocalypse (2010)
For what it’s worth Lauren Montgomery really does manage to compose some magnificent fight sequences, one of which involve Big Barda and Wonder Woman on Apokalips fighting his female warriors. While the finale is meant to be nothing more than a throwdown between strong women, it’s definitely a nice touch to a lackluster film that is often exciting and memorable to watch, especially with the sleek animation style. Summer Glau is always good, and as Supergirl she provides her trademark meek voice that’s undermined by a strong sense of independence and wonder that keeps her as a strong portrayer of the Supergirl character.
Wanted Dead or Alive (1986)
In the eighties, Rutger Hauer was king. He was a man who managed to impress as both villain and anti-hero in many movies from the classic “The Hitcher” and “Bladerunner” to the not so classic but memorable “Blind Fury.” And as is the case, with every generation of bad asses, there’s always someone Hollywood is looking to peg as the next McQueen. “Wanted: Dead or Alive” is based on the excellent Western series starring Steve McQueen as a lone bounty hunter in the old west who travels along the land with his shot gun acquiring his next catch and teaching them lessons along the way while fighting the local bad guys. As is the case with the eighties, director Gary Sherman completely diminishes all of its period settings and sets its hero down in to modern times coating him with black leather, slicked back hair and teaming him against local terrorists as played by the tongued one Gene Simmons.
The Long and Winding Yellow Brick Road
When you get down to it, Toto is the most important aspect of the entire epic. He discovers the Cowardly Lion, The Wicked Witch, The Flying Monkeys, he marches in place with the incognito troop from Oz, and surely enough he is the one who manages to uncloak The Wizard and reveal him to be nothing but smoke and mirrors. He’s the twisted government official who is little more than a sniveling little man hiding behind a sheet and some smoke. Toto has always managed to be regarded as something of a secondary element to the overall narrative of this adaptation, but when you get down to it he’s pretty much the audience, the one who watches and goes along with all of the other characters in hopes of making heads or tails of this whole charade. He’s the watcher, and surely enough, he’s the one who keeps Dorothy and the group’s moral center in tact the entire time they’re fighting with apple throwing trees and that dreaded field that puts the entire clan to sleep.