While deep down Sony engineered a reboot of “Spider-Man” in an effort to secure the rights, “The Amazing Spider-Man” uses the opportunity to correct the mistakes made by previous franchise runner Sam Raimi. Where Raimi opted for camp and schlock with his installments, “The Amazing Spider-Man” launches a more dramatic approach. Where Raimi opted for the traditional Spider-Man, Marc Webb constructs a more radical re-thinking of the Spider-Man mythos. And unlike Raimi, director Marc Webb opts to side step the camp flavor as much as humanly possible. This reboot is much more true to the Spider-Man we all know and love, and thankfully it’s a superior film that promises to age better than Sam Raimi’s films.
Tag Archives: Reboot
Mockingbird Lane
This is one of the few times where my fandom has kind of come back to bite me in the ass. I am a fan of “The Munsters” and from day one was opposed to this radical reworking of the series. The darkly comic tone with a violent dramatic atmosphere made me irritated beyond belief. “Mockingbird Lane” surprising enough ends up being a wonderful re-imagining of the series that doesn’t quite alter the comic tone of the original series so much as it adds a lot of menace to it. Instead of a sitcom it’s a dark comedy drama, and instead of the eccentric tone there’s a more menacing and brooding color palette. What makes this special even better is that it completely changes the dynamic of the Munster family.
Dracula 2000 (2000)
Back in the late nineties if you attached 2000 or Extreme to anything, it automatically meant it was going to be the best thing since the invention of gravity. Incidentally, for some reason Dimension Films felt adding 2000 to their new Dracula film meant it’d be an amazing new entry in to the endless films about the fanged master of the vampires. It wasn’t. “Dracula 2000” only promises certain new elements to the story, but in reality it’s just another mediocre Dracula film. It’s not awful, but it surely didn’t re-invent the wheel in terms of Dracula or vampire films. In reality much of it is influenced by “The Matrix” so much of the vampire foes bred by Dracula flip around, jump off walls, and battle their foes with martial arts.
The Mask of Zorro (1998)
As a fictional character, Zorro is the original superhero. He inspired Batman, The Shadow, and the like, a masked man with a dark persona who uses his wits and wily cunning to win battles in a world where evil men rule. Zorro is a man whose entire origin resembles Bruce Wayne, The Batman. An aristocrat by day, Don Diego is a playboy who lives in the period era of California who hobnobs with yuppies of his ilk and authorities. By night he’s a masked man with a faithful servant who wields swords and weaponry alike to fight crime and take on bandits and warlords of all kinds.
The Muppets (2011)
When last we saw the Muppets, it was 1999, we were following the muppets in to space and we were finally learning the secret behind Gonzo. And, let’s face it, audiences weren’t exactly clamoring to learn about Gonzo and his origin. Especially in the midst of game changing movies like “The Matrix” steamrolling theaters. This 2011 reboot basically acknowledges how antiquated the muppets have become in a society bred on computer animation and 3D and how dusty their parts have been in the face of a new generation. In spite of the nostalgia, the muppets aren’t exactly the most popular property out there and the makers behind this fully acknowledge that and create in the process a revival that’s both a tribute to the muppets and a hopeful restart of the franchise once and for all. I can’t be the only one hoping for new Kermit and Fozzy films.
The Three Musketeers (2011)
You can usually tell when you’re watching a Paul WS Anderson film. For one, you can often hear him salivating at the presence of his wife Milla Jovovich, an untalented waif of a woman who Anderson persists in turning in to an action star, placing her on the highest of pedestals. And secondly, most of the best fight scenes are filtered through some of the most painful slow motion imaginable. I’m still not sure what Anderson fetishizes more at the end of the day, Milla or slow motion, but surely enough he revisits both corners with his re-working of “The Three Musketeers.” Anyone expecting a sophisticated, adult, and masterful adaptation of the Alexandre Dumas novel will have to wait a lot longer as Anderson is mostly content with subjecting audiences to a brutally infantile and wholly bland version of one of the greatest stories of all time.
A Tribute to Superman: The Superman Movie Report Card
From the best and worst from the Superman mythos, I mull over all of The Man of Steel’s cinematic offerings including his DC Universe Animated films, and beyond. Superman has the distinction of being one of the very first superhero movies that became a blockbuster showing critics and skeptics alike that a superhero movie can depict the lore of its character with an adult tone and dramatic tension. With a fine director like Richard Donner at the helm, and a cast like Marlon Brandon, Gene Hackman, Margot Kidder, and Christopher Reeve, “Superman: The Movie” was the start of something big, and also showed what could happen when a studio lost sight of its goals for franchise success. Beyond the live action films there were also the mixed animated efforts that were hit or miss for most fans, but still gave us the man of steel in all of his glory. With “All Star Superman” on the way, we hope for big things and yet another fantastic depiction of the Last Son of Krypton.