Green Lantern (2011)
★ / ★★★★
When Hal was young, he witnessed the death of his father due to an aviation accident. Almost twenty years later, we came to discover that Hal (Ryan Reynolds) followed his father’s footsteps and became a successful test pilot. Meanwhile, two entities had been in war for a millennia: a group of warriors known as Green Lantern Corps, powered by will, and Parallax, powered by fear. The latter was quickly gaining the upper hand by literally eating the souls of its enemies. When one of the leaders of the corps, Abin Sur (Temuera Morrison), made an emergency landing on Earth after being attacked by the evil Parallax, he managed to pass his powers onto unsuspecting Hal. “Green Lantern,” directed by Martin Campbell, was sloppily put together. A myriad strands were introduced but not one achieved an above average level of thought nor a minutiae of common sense, so the film ultimately felt flat. Let’s take the romance between Hal and Carol (Blake Lively) as an example. Supposedly, the two of them had known each other for more than half their lives. I found that very hard to believe. While the two obviously cared for each other, perhaps even on a romantic level, I found it frustrating that they didn’t know how to communicate as adults and as close friends. If you’ve been friends with someone for a very long time, that certain connection, which often defies explanation, should be palpable to a third party. But I never felt that special connection when Hal and Carol were on screen. In fact, the whole thing felt forced. There were a lot of puppy dog eyes and polite smiles, like I was watching some teenage soap opera where characters pretend to be dumb yet they have the nerve to complain about the fact that no one is getting what they want. The screenplay, by Greg Berlanti, Michael Green, Marc Guggenheim and Michael Goldenberg, came off as rather desperate in injecting a human element into the story. I actually would have enjoyed the movie more if Hal and Carol were given the time to sit and talk about their feelings for up to three key scenes and defined their relationship once and for all. Then focus on the action, without the hammy and frivolous will-he-or-won’t-she interruptions, because 1) I wanted to see the war between good and evil and 2) watch things blow up in the city. The decision to put petty romances between action sequences made the project disjointed. As a result, the momentum failed to build and I ended up not caring. Another one of Hal and Carol’s childhood friend was Hector (Peter Sarsgaard), a formerly corpulent boy who preferred to stay indoors and read books rather than to play outside. Eventually, Hector became an agent of evil after being infected by an alien life form. But why was his transformation necessary? Since the writers offered no answer to that question, it was pretty much implied that brainiacs were less than so they deserved to be punished. That wouldn’t have been the case if we had a chance to observe Hector being black-hearted as a child in the first place. “Green Lantern” need not have been too serious nor abound with grand special effects to qualify as a decent superhero movie. It just needed to tell its story with clarity.
Captain America: The First Avenger (2011)
★★ / ★★★★
America was at war with the Nazis and Steve Rogers (Chris Evans) wanted to enlist in the army. There were multiple problems. He had been rejected from joining for the fifth time because of his short stature, frail demeanor, and various health problems. When Dr. Erskine (Stanley Tucci), a German-American scientist, overheard Steve telling his best friend, Bucky (Sebastian Stan), about why he wanted to serve his country, he was convinced that Steve was the right man for his experiment: creating a super soldier. Based on the comic books by Joe Simon and Jack Kirby, “Captain America: The First Avenger,” directed by Joe Johnston, suffered from a lack of focus in terms of characterization and motivation. For instance, Johann Schmidt (Hugo Weaving), also known as Red Skull, worked for Adolf Hitler by searching for artifacts which could help the Nazis win the war. Naturally, Red Skull eventually wanted all the power for himself but his methods confounded me. In order to take over the world, he wanted to destroy it by attacking most of the world’s major cities. But why? It was confusing to me because I didn’t have a picture of what kind of world he wanted. If he wished to lead a world lacking in technology, making the cities go boom would somewhat make sense. But it didn’t seem like that was the kind of world he wanted, especially in the way he depended on technology to gain more power. He was megalomaniacal but the reasons behind his actions should not have been confusing. If I was a super villain, it’d be simple: I would assert my power by making sure that everyone paid attention to the one city I intended on destroying. The film was action-packed, gorgeously shot, especially the slow-motion montages where Captain America and the American troops demolished Nazi camps like an unwavering tornado. It was almost like watching a well-done commercial aimed to convince young people to sign up for the military. However, character development done right was critical for this movie because it had an underlying message about the costs of war. That is, in terrible times of war, the umbilical cord of friendships could be cut in the blink of an eye. All it takes is a bullet, wild or perfectly aimed, puncturing the body’s critical spot and the person drops dead. Since the screenplay by Christopher Markus and Stephen McFeely was not efficient in terms of developing supporting characters with subtlety, they were either only good or only bad, the scenes when an important character was about to die felt rather flat, almost unconvincing. To make room for those necessary details, the romance between Steve and Peggy (Hayley Atwell), a woman in the military, could have been either watered down or taken out completely. The scenes in which one of them would get jealous of the other when one interacted with the opposite sex a certain way were not fun and completely predictable. “Captain America: The First Avenger” had several great moments, namely the action sequences, but it needed to work on the story of the man behind Captain America’s mask, through those who cared for him, in the latter half. If those two are equally strong, then the material becomes more than a movie which happens to have a superhero in it.
Iron Man 2 (2010)
★★★ / ★★★★
Robert Downey Jr. reprises his role as Tony Stark/Iron Man who is as narcissistic and self-centered as ever. This time around, he had to face-off with a Russian physicist (Mickey Rourke) who was out for revenge for the wrongs done to his father and an American weapons expert (Sam Rockwell) who craved power in politics. Tony also has to deal with his health, Pepper (Gwyneth Paltrow) being the new CEO of the company, a new sexy assistant (Scarlett Johansson), and Rhodey’s (Don Cheadle) need to deliver the Iron Man suit to his superiors. There was no doubt that “Iron Man 2” was bigger and grander than the original. However, I don’t believe it was one of those sequels that disappointed. What I loved about the first one was the fact that it was an origins story. The first hour bathed us in curiosity and the rest tried to explore the lead character’s depth (although we came to realize he didn’t have much depth at all–which I loved). In “Iron Man 2,” it was more about having fun with the main character and his big ego. I thought it was funny, exciting and I liked that it didn’t try to be darker or deeper than the original. In some ways, I had more fun with the sequel than its predecessor. I was also very into what was happening on screen because of the many hints of The Avengers slowly forming (make sure to stay until after the credits). The tone was different than other superhero films because it made me feel like the superhero that we were watching was not the only one in his universe. I also enjoyed Rourke as Whiplash. He wasn’t given much screen time but every time he was, he generated maximum impact. I thought he was menacing but at the same time I felt somewhat sorry for him. When I looked in his eyes, I saw pain and vulnerability trying to wrestle (pun intended) with anger and thirst for blood. One of this film’s drawbacks was it didn’t spend more time putting Rourke’s character on screen to add some sort of enigma and rivalry between him and Tony Stark. I absolutely loved the race track scene and when Stark visited Whiplash in jail. There was a certain crackle and pop between the two characters when they spoke to each other because Downey Jr. and Rourke knew how to play with certain subtleties in terms of intonations and body languages. Those scenes left me at awe and it’s unfortunate because small moments like the jail scene would probably be ignored since most scenes were loud and bright and glamorous. Bigger and louder isn’t necessarily a bad quality but as the “The Dark Knight” has proven, a nice balance between quiet moments and adrenaline rush makes a superior and ultimately unforgettable superhero film–not just a superhero film but a movie that has the power to stand alone in its own right. Directed by the very funny Jon Favreau, it was apparent that “Iron Man 2” had actors that had fun in their roles so I had fun with it as well. I loved that Favreau put himself in his own movie for kicks. I think most professional critics are wrong about this one because they claimed it was inferior to the first. But I’m saying see it and pretend as if it’s not a sequel. I have no doubt that you will recognize a really good movie in it.
★★ / ★★★★
Aaron Johnson stars as Dave Lizewski, a typical geek who goes to a typical high school with typical hormonal friends (Clark Duke, Evan Peters). But what’s not typical is his dream to be a superhero, serving people at a time of need and rescuing them from bullies or dangerous criminals. I liked the first and last forty minutes of this film. The first forty minutes was amusing because the lead character was still trying to figure out how it was really like being a superhero; that one does not win every battle and sometimes a trip to the hospital is necessary. In a way, it worked as a spoof of those extremely serious adapted-from-comic-books superhero movies. The last thirty minutes was pure action. Comparisons of Chloe Moretz as Hit Girl to Uma Thurman’s The Bride was pretty accurate because both can deliver the eye-popping violence and snarky sense of humor. However, I didn’t like the fact that Moretz’ character overshadowed the lead character. After all, the movie was supposed to be about the blossoming of a nobody to a possible somebody who everyone adored on YouTube. As for the middle portion of the film, I thought it was weak and lazy. The bit about Christopher Mintz-Plasse as a rich boy wanting to be a superhero was very formulaic. I constantly felt that he was trying to be funny but falling flat every single time. I like Mintz-Plasse, especially in “Superbad,” but I thought he was miscast here. A pompous, know-it-all, conniving kid would have been a much more interesting a character instead of a wimpy wannabe. Other fatal shortcomings involved Nicolas Cage as the father of Hit Girl (and also a superhero). There was a history about his character that I wanted the film to get into. Whenever the camera was focused on Cage, “Kick-Ass” had an added gravity that it desperately needed in order to be something other than a spoof of superhero films. Instead, the movie unwisely spent much of its time showing us scenes involving the main character being mistaken for a gay guy by a girl he liked who happened to want a gay BFF. As cheeky as it was, it was also unnecessary; it got old pretty quickly and I wished I had a fast-forward button. Overall, however, I did enjoy “Kick-Ass,” directed by Matthew Vaughn, despite its shortcomings in terms of pacing and not focusing on the more interesting characters that could potentially provide an extra dimension to the project. The film did hint on a possible sequel which I think is a great idea because there were a number of questions that remained in my head by the time the credits started rolling. People compare this film to “Kill Bill” in terms of violence but I think “Kick-Ass” doesn’t hold a candle to Quentin Tarantino’s bloodbath. I think it’s more accurate to say that this is a teenage version of “Watchmen” that is less focused, less ambitious but more amusing with a modern twist.