I was really worried that director Harmony Korine would reach the lower depths of Larry Clarke levels of exploitation with his dramatic crime thriller “Spring Breakers.” But thankfully, while “Spring Breakers” is often exploitative and completely gratuitous, it succeeds in also exploring the recklessness of youth, and the ticking clock that will inevitably catch up to four young women convinced they have life in their hands, that will more than likely blow up in their faces.
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Stoker (2013)
Gifted auteur Chan-wook Park has made his US cinematic debut with “Stoker,” a film that is easily one of the most brilliant horror films of 2013. Park is one of the few Asian imports that’s managed to really debut with a bang, and “Stoker” shows that Park is well worth making it to the states. As well, he has potential to deliver a high pedigree of genre films if he has the chance.
Sharknado (2013)
Tara Reid. Killer Tornadoes. Man eating sharks. Sooner or later, someone was going to combine them to form the sweet piece of junk food cinema known as “Sharknado.” The Asylum almost seems proud of the title, flaunting it in film festivals and even presenting the title in big bold silver letters in the opening credits. With a title like that, you don’t even need to hear what it’s about. You just need to know that Ian Zeiring kicks ass. Who could resist this opportunity?
Some Girl(s) (2013)
“Some Girl(s)” is trademark Neil Labute. It’s a cynical, unforgiving, and mean little gem, and I absolutely loved it. Adam Brody disappears in to the role of a young man who is one of the most lecherous individuals ever conceived by Labute. He’s despicable, uncompromising worm who takes it upon himself to go on a journey. After being published in a major magazine for recalling the most important affairs he’s had in his life, he decides to visit his old flames and ex-lovers one last time before he gets married. You assume he’d be filled with guilt, and absolute regret, but for the most part, “Some Girl(s)” views this womanizing schmuck as a man consistently dodging responsibility.
Superman Returns (2006)
Countdown to “Man of Steel”!
I’m still not too sure what Warner was expecting with “Superman Returns.” I mean it made just as much as “Batman Begins” in its theatrical run, and director Bryan Singer does the best to connect this reboot to the successful Richard Donner films, so what is it that makes this film the bane of the Superman movie verse? Very few people understand Superman, nor do they really understand why he’s such an amazing character. I’ve experienced no end of people complaining that “Superman Returns” didn’t feature Superman punching things and fighting bad guys. In reality, that’s been the downfall of the character.
He’s become the lug head of the DC Universe. He’s become the bouncer in the club who punches people and never thinks ahead of time. Director Bryan Singer understood that Superman faced an immense dilemma and above all else, “Superman Returns” is Superman’s battle to become relevant again. Superman is not only about fighting intergalactic bad guys, and punching buildings. Superman, above all else, cherishes life. He is tasked with preserving it thanks to the amazing abilities he possesses in his genetic code. He could very well dominate the world if he wanted to, but he instead uses his super breath to snuff out a fire, and implores his laser beam eyes to blast away shards of glass that threaten to kill innocent bystanders on the ground below him.
Superman is a guardian angel first, and a fighter second. If the film has its fault, it’s that director Bryan Singer paints too much from the Palette of Richard Donner. He wants his film to be a Richard Donner entry, thus he takes the opportunity to recall many of the famous lines and scenes from Donner’s films. The film also is much too long in the tooth, with a heavy emphasis on Parker Posey’s character for some inexplicable reason. But like every comic book movie ever made, you have to forgive some elements, and enjoy the ride as a whole. “Superman Returns” is not so much an adventure, as it is a character’s journey back in to the world. Superman took his very first journey of selfishness, seeking his home world and looking for perhaps a family he always dreamed of having.
He never realized he belonged on Earth the whole time. Now that he’s returned, he realizes that Earth not only moved on without him, but that they no longer need a Superman. It’s the classic adage “You can’t go home again.” Ma Kent is dating a new man, Jimmy Olsen is a bolder photographer, Lex Luthor is still a slimy worm trying to build a new empire for himself, and Lois Lane has moved on more than Clark can comprehend. She is now dating the nephew of Perry White, and has a son. To make matters worse, Richard White (as played by James Marsden) isn’t just a good man, but he’s a noble one. He treats Lois with patience and love, he’s become the surrogate father to Lois’ son, and he is a kind individual. If given powers, he’d be his own Superman. He even has his own means of flight, as an aspiring pilot.
So Superman (as well as the writers) have to tip toe and figure out if Lois really even wants Superman anymore. Superman not only has to battle Lex Luthor once again, but he has to earn his way in to the minds and hearts of Metropolis once again. In doing so, he shows that there’s always a need for a protector, even if they’re not always a necessity. Brandon Routh does a fantastic job as Clark Kent and Superman, giving way to the social awkwardness, and alienation that Clark is accustomed to. Routh has the look and dashing bravado of Superman, and really grasps the role with his charisma and charm. Kate Bosworth is also a fine Lois Lane with a soft beauty and grace that makes her this bolder mother figure, while James Marsden’s portrayal of Richard White is dignified and likable.
We want Superman to win Lois back, but we also don’t want Richard to walk away a loser. Kevin Spacey also has a blast in the role of Luthor, giving him a demented bent that makes him menacing and deadly. “Superman Returns” plants the seeds for a future storyline when we slowly realize who Lois’ son’s father is, and allowed to continue further, I think Singer could have developed a fine narrative. It’s a shame that “Superman Returns” is given the brunt of the blame for stalling of the Superman movie-verse because, in spite of its flaws, it’s a wonderful and beautiful look at Superman’s re-emergence in to a darker world in need of hope.
Superman IV: The Quest for Peace (1987)
Countdown to “Man of Steel”!
“Superman IV: The Quest for Peace” is an abomination of the character known as Superman for the reasons that Superman fans know. Superman, above all else, is not supposed to decide the course of human events. Sure, he can stop a bank robbery, or save a drowning child, but he’s not supposed to be stop wars. He can’t stop them, interfere with them, nor can he decide which side he wants to battle on to help win a war beside humanity. The minute Superman fights for nuclear disarmament he no longer becomes a hero for the people, and now becomes a partisan tool. The minute Superman decides to fight for one group, he alienates everyone else.
Superman III (1983)
Countdown to “Man of Steel”!
For the third installment of the “Superman” movie series, Clark Kent is now Dean Martin and Richard Pryor is Jerry Lewis. Pandering to the comedy crowds, the Salkinds cast Richard Pryor as the villain of the film, Gus Gorman. I don’t know why they couldn’t have cast a bad boy or big action star of the seventies and made him the villain, but what’s done is done. Richard Pryor plays Richard Pryor as Gus Gorman, an out of work computer programmer who becomes the unwitting nemesis to Superman.