Okay, let's get this out of the way: I don't care if Wonder Woman, the character, is a feminist icon. Nor do I care if Wonder Woman, the movie, is flying an invisible plane through the glass ceiling, or breaking any ground whatsoever. I just want to watch a good movie.

(Although she is, and it does. And I did.)

Honestly I'm starting to wonder--you might brace yourself for this--if the day will come when the physically strong, kick-ass woman character will become a tired, cliched trope that makes people yawn. Hasn't happened to me yet. But my daughter watched Buffy the Vampire Slayer, and the generation before me had Emma Peel, and I watched, well, Wonder Woman, who hit TV in her own series when I was thirteen. You bet I watched that show. I mean, as a comic book fan.

(Now that I think about it, my first literary hero was Dorothy Gale, Princess of Oz, who could be something of an action hero herself.)

Still, to paraphrase Buffy creator Joss Whedon, I suppose the reason we keep getting awesome female heroes is because people are still asking why we don't have them. And that ties right in with why I go to the movies, because Wonder Woman, while not the overwhelmingly perfect superhero movie some claim, is indeed awesome--largely because of one particular Gal.

The various incarnation of Princess Diana.
Gal Gardot is Diana, Princess of--you know, come to think of it, she's never called Wonder Woman at any point in the movie. The flick starts with Diana in modern times, receiving (by courier from Wayne Enterprises) a photo that sends her mind back to her childhood among the Amazons, on an island with no men. Sure, when you're a kid having no one of the opposite sex around is a paradise ...

Diana's mother, Queen Hippolyta, doesn't want her to train to be a warrior, as every other woman there does. She thinks something very bad will happen if the island's only child develops her ability. Sure enough, just when the grown up Diana has reached the peak of her training, an airplane falls out of the sky and delivers *gasp* a man to the island.

Luckily Diana somehow knows what a man is--that saved some awkward exposition.

The pilot is America spy Steve Trevor, (Chris Pine), who's being pursued by German soldiers. Turns out the rest of the world is mired in World War I, and Steve holds intel on a new German weapon that might cost tens of thousands more lives. Diana is convinced the war is the work of Ares, the god of war, who the Amazons have been training all along to someday face. Clearly, all the world is waiting for her.

Wonder Woman originated during World War II, and setting the movie further back in time was the first smart idea of the filmmakers. Let's see: A red, white, and blue costumed hero, rather naive but eager and determined, gathering a band of misfit commandos to take on a German army with secret weapons during the second World War? Surely no one would draw any comparisons to Captain America.

Their next bright idea was the cast.

What a Gal!

With Batman vs. Superman, the naysayers were already out, complaining Gal Gadot was too scrawny to be a proper Wonder Woman. Did they learn nothing from the anti-Michael Keaton outcry with Batman? No? Oh. Well, just as Christopher Reeve owned Superman, Gal Gadot has now taken over from Lynda Carter as the perfect Wonder Woman. Sorry, it's true, and I love Lynda Carter.

Chris Pine is his usual charming action hero self, often reduced to stupified stammering by this innocent warrior who doesn't seem to understand the whole traditional woman thing. The rest of the cast is first rate, especially Connie Nielsen as the Amazon Queen who just doesn't want to give her daughter over to the world. I especially liked the band of misfits Steve assembled for their behind the lines mission. Also of note is David Thewlis (currently menacing everyone on Fargo) as a British military leader trying to broker a peace treaty between the warring nations.

 While this doesn't rank as my favorite superhero movie (although it's well into my top ten), Wonder Woman is a great movie period--of any genre, or at least of any kind of action flick. The stakes are high, the emotions are great, the effects first rate. Really the only complaint I have is that if the next Wonder Woman movie is set in the present, we won't be able to see any of the sparkling supporting cast (who would be well into their second century by now). Maybe we should have them all frozen at the North Pole for several decades? That's never been done.

My score:

Entertainment Value: 4 M&M's, the good brown ones. I'm getting a little worried about this series of first rate movies I've been seeing the past couple of years. Granted that Wonder Woman is even more first rate than many of the others, but sooner or later I'll get hit with a disappointment.

Oscar Potential: 3 M&M's. It's worthy of a best picture nomination but, being based on a comic book, it'll be a supporting characters cold day in the North Pole before it gets one.


Warning: a gently spoilery for Batman vs. Superman. Also, you should be warned if you’re one of those automatic haters: I liked it.

Okay, I didn’t love it, and as we all know I’m easily entertained. Still, I don’t get the extreme hatred being doled out with a scoop shovel. The dislike, that I do understand.

The plot was “huh?” inducing. Basically Lex Luthor, for some reason long-haired and apparently a scientific genius who got all his dough from a not-nice dad, decides he has to destroy Superman. Why? My best guess is that Luthor is up to something down the road, and knows Superman will try to stop him.

Meanwhile, Grandpa Batman is still Dark Knighting away, as brooding as ever but even more violent. Evidence suggests he’s darker than ever partially because Joker killed Robin. In addition, the knockdown-dragout in Metropolis during Man of Steel led to the deaths and injuries of Bruce Wayne’s friends and destruction of his property. Bruce blames Superman for this, because, after all, Batman never caused injury or property destruction while fighting off villains.

So Luthor tricks Superman and Batman into slugging it out, while also quite literally raising his own supervillain, who DC fans will be chilled to know is Doomsday.

There’s more to it than that, of course. Like, two and a half hours more to it.

So, the dislikes? Okay, what is Luthor’s actual endgame? I don’t think even he knows what he’s trying to do. Kill Superman, yes—or at least get rid of Batman in the attempt—but then? What does he think Doomsday’s going to do after the big battle? Go raise chickens? Also, Luthor discovers an even Bigger Bad is on the way, a dark presence that always sides with evil, and he has to know that only superheroes might be able to fight it off. So … why is he intent on killing off the superheroes? (For you non-DC fans, the oncoming storm is one of the biggest of the DC bads.)

If it sounds like I’m saying the foundation of the plot makes no sense, that’s what I’m saying. The rest is mostly about Superman and Batman being emo, and generally with good reason, although at least Sups is getting laid.

Other problems:

Seriously D.C.: just a little humor? It doesn’t have to be Tony Stark funny all the time, but could we lighten up just a bit? It’s a comic book movie, for crying out loud.

I’m still not entirely sure how everyone figured out who everyone else secretly is.

How did Alfred, the butler, get such mad technical skills? Who’s dusting the furniture?

Lex Luthor isn’t Lex Luthor. It’s as if Luthor is doing his best impression of Joker, or maybe Joker disguised himself as Luthor to hide from an increasingly homicidal Batman. It’s a fun performance, but it’s not Lex Luthor.

Was it really necessary to pad an already padded movie with another look at the murder of Bruce Wayne’s parents? Haven’t we pretty much got that down by now?

They should have waited to throw the rest of the Justice League in—it made the movie too long and added too much unnecessary stuff. I say this despite the fact that Gal Gadot stole the show as the unnamed Wonder Woman.

Which brings me to the things I did like:

See this movie on the biggest screen you can possibly find: It’s visually stunning. We watched it in 3D, and I jumped back more than once.

In your face, Ben Affleck haters! I held judgment, remembering how much everyone hated Michael Keaton as Batman—until the movie came out and he silenced the critics. As Grandpa Batman, Affleck does the same.

In fact, the cast as a whole was outstanding. That includes Jesse Eisenberg, playing some Bizaro version of Lex Luthor with Joker DNA in him. Holly Hunter was especially great, and it was nice to see a cameo by someone we thought dead.

For you Walking Dead fans, here’s a head-exploding cameo: Bruce Wayne’s parents are played by Maggie and Negan. *boom* That means Bruce’s dad is also the father of the Winchester brothers on Supernatural, where he also died while they were young. No wonder the guy got targeted, leading a double life like that.

There are nice shout-outs to the comic book fans, which don’t interfere with non-comic fans enjoying the flick.

Hans Zimmer’s music: Loved it. I have no idea how much Junkie XL contributed to the score, but he needs to slap his parents for giving him that name.

My wife swore she saw Chris Pine in a briefly glimpsed 1914 photo. She was right.

So, overall, yes—worth seeing. One of my major problems with Man of Steel was the huge amount of collateral damage, and I’m glad that was addressed in Batman vs. Superman. I just hope they put some script doctors to work on Justice League.



Well, he said he’d be back.

Terminator Genisys brings back “Ahnald” Schwarzenegger as a Terminator, who is continually sent back in time to kill someone who will eventually defeat a machine revolution, or to defend that person from another Terminator who’s sent back to kill … it gets very confusing.

Even more so in this movie, in which resistance leader John Conner sends his second in command Kyle Reese to 1984 to protect Sarah Conner, John’s future mom, in the past. It’s exactly what happened in the first movie. But this time, instead of getting there just after the original Terminator does, Reese arrives to discover that Terminator has been around for many years—and instead of killing her, it’s been protecting Sarah the whole time.

Then it gets complicated.

Reese, like the audience, flails around, trying to figure out what’s going on. Why can’t he can’t just blow away this oddly aged Terminator and get it on with Sarah? Turns out he’s John Conner’s father (Reese, not the Terminator), which comes as something of a shock to him. The timeline is fractured as the movie, and sometimes the characters, jump back and forth in time, blowing things up and generally causing chaos.

Just sit back and you may find, to your surprise, that it is enjoyable. Yes, there are logic problems along the way and moments that stretch credibility, but think of it this way: You’re watching a movie about time traveling robots. How much credibility do you really have the right to demand?

(Having said that, it’s never explained just who messed with the original timeline.)

Terminator Genisys is probably the third best of the Terminator movies, which according to some isn’t saying much. The cast and effects are first rate, and as popcorn movies go it’s one of the better ones. Emilia Clarke holds her own against the strong Sarah Conner actors who came before her, and look for J.K. Simmons as an older cop still reeling from a decades old involvement in a Terminator battle.

Best of all: Matt Smith, in a small role that made me smile like a loon every time he appeared. Casting a guy who played the eleventh time-traveling Doctor Who in a time travel movie was inspired, even if he didn’t get all that much to do. It makes me want to go write a fanfiction crossover.


ozma914: mustache Firefly (mustache)
( Aug. 10th, 2015 04:21 pm)

It was movie franchise marathon night when Emily and I decided to go to the drive-in. Although it’s a little late now, I thought I’d give my thoughts on two summer flicks that might cleanse your palate if you mistakenly stumbled into a showing of Fantastic Four.

Whether a movie is good is both personal and relative, of course. I’m easily entertained and, at least when it comes to Mission: Impossible—Rogue Nation, had low expectations. Truth is, I considered skipping the latest Tom Cruise charm-fest, having mistakenly thought it was the second feature. It wasn’t.

I’d seen only the first Mission: Impossible movie, along with bits and pieces of the second one. Honestly, I remember it as being very loud, with more scene cuts than an MTV video directed by a coke addict. In the early James Bond movies, it took five minutes for a car to go down the road (but with that great guitar riff!) These days, in that same five minutes Tom Cruise kills off an army, takes down a third world government, gets the girl, and still has time for three breaks with his hair stylist.

None of that changes with Rogue Nation, so maybe I’m just getting used to it—because I really enjoyed this movie. It had a great cast and action sequences, and lots of humor, which can make or break a movie for me (and in this case certainly made it). The plot? Um … something to do with Ethan Hunt and his Impossible Missions Force taking on one of those evil organizations bent on controlling the world. And there’s a woman.

Many people refuse to watch a movie starring the not-always-there Cruise. Me, I despise Alec Baldwin, who plays the Director of the CIA here. But I can separate my feelings about a person from their product, and that’s good, because there are plenty of reprehensible people in Hollywood. Overall I liked this movie, and I have to add: Cruise hanging on the side of an aircraft 5,000 feet in the air, without a stunt double, may prove he’s crazy—but it was still cool.

Still, you have to wonder how Ethan Hunt’s team would handle contact with a Terminator … subject of drive-in night part 2.



We saw a movie in 3-D today, by accident.

I can take or leave 3-D, and since it costs more I usually leave it. But we’d misread the schedule, and rather than wait around another half hour we chose to watch Ant-Man in three dimensions. It was in a theater which just replaced its seats with power recliners, which makes it a far cry from the movie-going experiences of my youth. I can take or leave the recliners, too. It’s nice to not worry about a tall guy sitting in front of you, though.

Happily, in this case the movie uses 3-D without relying on it. Sometimes moviemakers overthink the format, throwing everything from arrows to crashing vehicles at the viewer in the hopes of setting a new audience jump record. I wonder if the same thing happened with the first talkies, or the color films? Probably early movies in those formats threw their newfangled tricks at viewers, just as the early 3-D movies did.

But the day will come when 3-D will be just another part of every movie experience, regardless of how much some hate it now. Having things jump off the screen at you will be no more remarkable than hearing Johnny Depp’s newest accent, or seeing the primary colors of a superhero’s costume. I’ll probably choose 2-D for some time to come … just as people chose the less garish black and white movies decades ago. But I can go either way.

As for the movie itself? Ant-Man was great fun, and I highly recommend it in the dimension of your choice.



I was feeling stressed the other day, so Emily and I watched … Batman.


The 1966 Batman. Yeah. Adam West, Burt Ward, a cadre of great actors as costumed supervillains … Alfred hiding his identity with just a mask … “Get me the Bat-Shark repellent!” … and one my favorite movie lines:


“Some days you just can’t get rid of a bomb.”


I guess camp and deliberate silliness just don’t cut it in today’s movies (It sure didn’t work in 1997’s Batman and Robin), which maybe says something about society. But it sure was a fun “Pow!” from the past.


*sigh* Well, back to shameless self-promotion.







            As I mentioned earlier, I’m going to post a new story every week or so about Ian Grant’s journey to Indiana, where the events of The Notorious Ian Grant take place. The first one I posted some time ago, and it records the moment he made that life-changing decision:




            This one actually takes place a short time before that. Ian, in keeping to his reputation, crashes a party—but not just anyone’s party. It may be he’s there for more than living it up … but either way, he’s about to meet his match in Tony Stark.


Title: Party Crasher
Author: ozma914
Summary: Tony Stark's parties often attract characters. Sometimes they're not invited ... and sometimes they don't even know why they came.
Rating: PG
Length: 1,900 words







            “Sir, someone is climbing the cliff below the house.”



Over the years – especially the last few – Tony Stark had seen so much that he often thought he'd seen it all. Just as often, he was proven wrong. “Climbing—the cliff? This cliff?” He gestured toward the overhang railing, which almost made his martini spill. He stilled his hand just in time, preventing that tragedy. )


            Am I so much of a geek that I care when actors from some of my favorite shows come together in one movie?


            Yes. Still, this movie doesn’t need the help.


The consensus was that Guardians of the Galaxy, based on a comic book that most people who don’t read comics have never heard of, would be blockbuster or complete bust. Chris Pratt, the guy from “Parks and Recreation”, as a leading man action hero? Marvel going into space? A raccoon with a gun? Disaster looms.


            But this is Marvel. And yes, Marvel is bound to have another huge dud sooner or later … but not this time.


            Despite being known for its humor, the movie actually starts out with a tear jerking scene in which a little boy named Peter Quill sees his mother die of cancer—then, immediately after, he’s abducted by a UFO. Fast forward 26 years, and we find the adult Quill dancing—literally—into what looks like an Indiana Jones set on an alien planet.


            There Quill finds a strange orb that you just know everybody’s going to want. He’s ambushed by a bad guy who also wants the orb, and from then on it’s a slam-bang series of fights and flights as just about everyone in the galaxy battles for the power that resides inside the artifact.


            One of the most fun fights is also where most of the fellow guardians gather for the first time, all intent on taking the orb. Zoe Saldana’s performance as Gamora is killer—literally. But even she loses the screen when Rocket and Groot—an engineered Raccoon and a walking, talking (a little) tree—show up.


            Rocket Raccoon should have been ridiculous. Instead, the sarcastic rodent, voiced by Bradley Cooper, makes everyone else step up their game just to keep up. Later we meet the last member, Drax, played by a pro wrestler—apparently wrestling really is fake, ‘cause the guy can act.


            All the GotG members are damaged anti-heroes, who reluctantly decide to protect the orb from various bad guys. (Their motivation? For one thing, they do live in the galaxy, after all.) You have to pay attention as characters come and go, motivations are revealed, and wises are cracked. Luckily, paying attention is fun.


            Guardians is certainly the best I’ve seen this year, and I’ve seen some pretty darned good movies. Why? It’s a good story, and funny, and naturally the special effects are amazing. I’m fairly convinced at this point that they really did find an intelligent, if mean, raccoon and a slightly less intelligent moving tree to play Rocket and Groot.


But in the end it’s the cast that makes the movie. Chris Pratt is a revelation as Quill, fighting and cracking wise with equal skill. Saldana is amazing, and we get great performances from actors such as John C. Riley and Glenn Close, among others. I take it Close thought she was slumming for this roll, but she gives it her skill and it shows.


On a note relating to my earlier comments, it was great fun seeing Michael Rooker, playing an intergalactic version of his redneck bad boy character from “The Walking Dead”, and Karen Gillan, playing someone just as tough but way more evil than her “Doctor Who” role.


Oh, two more things: First, Peter Quill’s oddly timed abduction as a child does make sense. Second, there is indeed an extra scene at the end of the credits, which I suspect will leave many younger movie goers scratching their heads.



            Entertainment Value: 5 out of 4 M&M’s. My review, my rules.


            Oscar Potential: 3 out of 4 M&M’s. Hollywood muckity-mucks hate SF, especially funny SF, although they don’t hesitate to take the money. Just the same, it would be a shame if Guardians of the Galaxy doesn’t get nominated for something, even if it’s a technical Oscar.



            Side Note:  If Guardians is sold out, check out Lucy or Planes: Fire and Rescue. One is thrilling and mind blowing, the other truly fun family fare. On a personal note, whoever scripted the Planes movie took the time to research firefighting, which I appreciate.

They look a little different in the movie ...



            I love a good time travel movie.


            Wait, didn’t I already say that in a previous review?


            “Edge Of Tomorrow” sounds like a daytime soap opera, but it’s actually a rollicking fun science fiction about a cowardly military officer (Tom Cruise, at his better), who’s forced to participate in a battle against aliens taking over Europe. After saying the wrong thing to a general, Major Cage finds himself a private in a techno battle suit, crossing the English Channel to invade, yes, Normandy.


            (The movie was released on the 70th anniversary of D-Day, the Allied invasion of Normandy during World War II. Coincidence? Duh.)


            Soldiers expecting a cakewalk instead are ambushed and massacred, in a thankfully not too gory but plenty scary scene. Cage has just enough time to glimpse a female soldier wielding a huge sword before a spinning, tentacle alien … kills him.


            Wait … huge sword? Techno battle suits? Yep, “Edge Of Tomorrow” is based on a Japanese manga, with Normandy filling in for Tokyo. (“All You Need Is Kill”, by Hiroshi Sakarazaka.)


            But a last second encounter gives Cage a do-over—I did mention this was SF, right? He wakes up the previous morning, and finds himself going through the same crap all over again, with the same outcome. Then he wakes up again. And again.


            After a while, he gets better at fighting through sheer repetition. Then he discovers exactly one other person who believes his story, because it happened to her—and she just happens to carry a big honkin’ sword. Now all they have to do is make it a little further off the beach, time after time, until they track down the Big Bad alien and kill it before the human race is wiped out. No pressure.


            Time travel’s hard to pull off well, and it’s especially hard not to bore the audience to death with “Groundhog Day” style repetition. Taking a cue from the Bill Murray, this warlike version plays funny, or as funny as it can considering Cage only resets when he dies. Cage is at first confused and terrified, then messes with people, then gives in to despair before his increased skill and caring for the warrior Rita (Emily Blunt) leads to determination.


            Blunt, by the way, gets to shoot Tom Cruise in the head repeatedly, and who hasn’t wanted to do that?


            Despite its subject matter—it’s basically another movie about the apocalypse—“Edge Of Tomorrow” is great fun and certainly action packed. Cruise, who I’m no fan of, is perfect for the role and proves he really can act. Of course, you’d act scared too, if you knew you were about to die—again. Blunt does well, the effects are great, and I loved the supporting cast—especially Bill Paxton, who I actually didn’t recognize. He’s a tough and sometimes befuddled Master Sergeant who delivers one of my favorite lines … although maybe you have to be from the Bluegrass State to truly appreciate it.



            Entertainment Value: 3 ¾ out of 4 M&M’s. Being too easily entertained, I’m trying to avoid giving out too many perfect ratings.



            Oscar Potential: 2 out of 4 M&M’s. It could pick up a nomination in the effects area, or something along those lines. The acting is pretty good, but would have to be better than perfect for an SF film to get a nomination.


            Time travel, yay! I love a great time travel movie. Heck, I love a bad time travel movie.

            Good news: X-Men: Days of Future Past is a great travel movie.

            The movie, which has a title so long it exhausts me to say it, is about mutants in our future who send one of their own back to our past to prevent a war that destroys our present. Can I just say X-Men? Assume I’m not talking about one of the previous ones.

            More specifically, a small group of characters from the comics have been surviving ongoing attacks from Sentinels by detecting when the mutant hunting robots are approaching, then psychically going back a few days in time to warn themselves to flee. In other words, they’ve been time traveling constantly, which can take quite a toll on a person.

            The solution, naturally, is to go back in time half a century or so and stop the murder that eventually leads to the government funding the Sentinel Program, and doesn’t the government always end up behind these things? Unfortunately, the person who committed that murder is one of their own: Mystique (Jennifer Lawrence), and why has no one noticed that she runs around totally naked for half this movie? Oh, sure, she has weird blue skin that looks like rubber gloves, but still …

            Anyway, the only person who can survive a trip that far back is Wolverine (Hugh Jackman), whose mind heals as quickly as his unaging body does. Kitty Pryde (my favorite mutant from the comic books) is given specific instructions: Send Wolverine back to a moment where he’s in bed with a lover, so he’ll get up and treat the audience to full (if not frontal) nudity.

            I didn’t care all that much myself, but my eardrums popped from the simultaneous intake of air among all the females in the movie theater.

            And then we’re in the 70’s, where Wolverine realizes all the mutant powers in the world can’t protect him from polyester.

            I’m so glad we aren’t in the 70’s anymore.

            This is one of the best of the X-Men movies, and one of the best of the superhero movies, too. It’s true that you should be a fan of the comic books to get all the little winks, and this is one time when seeing the other movies is a prerequisite. On the other hand, the moviemakers have done a fantastic job of jumping back and forth in time without confusing the audience, and that’s an amazing accomplishment.

            The story’s great, the acting strong, the special effects (of course) mind blowing, and X-Men fans get at least a cameo from almost all of their favorites. Also, as with Star Trek, this story has the advantage of erasing almost all the canon that canon’d before this, giving them a clean slate for the next movie.

            I’m left with just one question: If Halle Berry once received a half-million bucks to drop her top in a movie, how much did Hugh Jackman get for baring his bottom?


Entertainment Value: 4 out of 4 M&M’s. That’s two wins out of two trips to the theater.

Oscar Potential: 4 M&M’s for something, even if it’s special effects

            Years ago I did a review of movies just out on video, which I called “Amateur Armchair Review” because … why not? I stopped because the paper apparently no longer needed the filler, but you really miss me, don’t you? Go on, say it …

            Fine. I’m back anyway, because doing a regular review of new movies gives me an excuse to go see new movies. I’m starting late with “Godzilla”, the reboot of my favorite childhood monster movies. Instead of bad dubbing and a guy in a rubber suit we get spectacular effects and excellent production values, but I liked it anyway.

            Unlike the last American attempt at the franchise, which I didn’t hate but also didn’t like much, this version has the feel of a Japanese monster movie. That’s a compliment, by the way. The biggest criticism I’ve seen is that the main character just kind of floats through, letting things happen to him. That’s true. At least, it’s true for the main human character.

            Aaron Taylor-Johnson is Ford Brody, who reluctantly heads to Japan to bail out his obsessed dad, Joe (Bryan Cranston … why do they never give acting Oscars for monster movies?) Joe is obsessing over a nuclear accident that killed his wife years ago, and it turns out Joe is right that the whole thing is a cover-up … there’s a monster in them-there ruins.

            But the monster is not Godzilla, who at 60 was probably convalescing at the Old Monster’s Home. It’s a MUTO (don’t ask), a giant monster that happens to wake up just when our heroes break into the place. What are the chances?

            Things go south very quickly and soon Godzilla is chasing the MUTO, because he’s apparently employed by Mother Nature to bring balance back to the Force, or maybe I’m mixing up my franchises. Luckily Brody’s wife, played by Mary Kate and Ashley Olsen’s less scary sister Elizabeth, is safe with their son all the way across the Pacific, in San Francisco. The monsters will never end up there. Will they?

            This is not the perfect monster movie, mostly because I’m not getting a cut. It’s true Ford Brody tends to go along with whatever challenge tends to pop up in front of him—and he certainly isn’t as much fun as the 1998 “Godzilla” character played by Matthew Broderick, who along with a great cast was trapped in a movie with no heart. (Could that be related to movie maker Roland Emmerich saying he didn’t like the original Godzilla movies? That’s who you want making one.)

            Although Brody manages to save the day in the end—somebody’s day—sort of—I suspect his bouncing around was on purpose. Yes, he’s just trying to get back to his family, and later protect them, but his and all human activity is a subplot. (And sometimes not an interesting subplot.)

This isn’t about humanity, which to the monsters is no more important than ants on the ground being trampled during a fist fight. This is very much about humanity’s helplessness in the face of forces of nature that care not a bit what people do. It’s a dark film, very much a disaster movie, with absolutely mind-blowing special effects. But it brings back the spirit of the original films, in a way that’s hard to explain.

            And yeah, for all the destruction, it’s fun. Don’t judge me.

            My score, going back to my old review days:

            Oscar potential: 3 ½ out of 4 M&M’s, if only for special effects, or the score.

            Entertainment value: 4 out of 4 M&M’s. The good green ones.

            Next: I slice into the X-Men


ozma914: new novel cover art by Kelly Martin (Default)


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