Director James Gunn's Guardians Of The Galaxy is a big gamble for Marvel Studios. It's an unknown quantity even to most comic fans. It's a space opera at a time when non-Lucasfilm space operas don't perform well. It's a movie with a talking raccoon at a time when even Disney princess movies don't have talking animals.
Of course, all of Marvel's movies have been gambles. Iron Man wasn't a household name, despite how we think of the character now. Thor was a sci fi fantasy movie -- what could be worse? Captain America seemed an impossible sell for overseas markets. Bringing those franchises together for Avengers? Insanity. Marvel Studios' safest bet was probably Hulk -- a household name and a proven quantity -- and that's been the studio's weakest performer. So it looks like the big gambles are where Marvel excels. If Guardians Of The Galaxy is the studio's biggest gamble to date, it makes a weird kind of sense that it's also one of the studio's most delightful successes.
I love my job. I make Transformers vs. G.I.Joe comics on a monthly basis (with the help of my co-writer John Barber). As part of due diligence, it's my duty to see Transformers: Age of Extinction. My ticket is a business expense. I'm making my comic not just for fans of Transformers and G.I.Joe, but for the rest of planet Earth, too. As a Transformers author I need to know how the larger world percieves Transformers so that I can play up to certain expectations and run counter to preconceived notions. In that capacity, I documented my observations about the film.
On the occasion of the film’s 25th anniversary, ComicsAlliance represents our in-depth commentary and review of Tim Burton’s Batman ’89, the father of modern superhero cinema. Originally published in 2011 as part of our exhaustive Cinematic Batmanology series (which also included a massive five-part analysis of Christopher Nolan’s The Dark Knight), this piece by Chris Sims and David Uzumeri strips the fan favorite Batman ’89 down to the bone to get at what works, what doesn’t work, and what’s just plain crazy about Burton’s enduringly influential film.
On the occasion of the film's 25th anniversary, ComicsAlliance represents our in-depth commentary and review of Tim Burton's Batman '89, the father of modern superhero cinema. Originally published in 2011 as part of our exhaustive Cinematic Batmanology series (which also included a massive five-part analysis of Christopher Nolan's The Dark Knight), this piece by Chris Sims and David Uzumeri strips the fan favorite Batman '89 down to the bone to get at what works, what doesn't work, and what's just plain crazy about Burton's enduringly influential film.
Directed by Bryan Singer, X-Men: Days of Future Past is the thirty-seventh in 20th Century Fox’s series of X-Men films based on the Marvel Comics franchise originated by Jack Kirby and Stan Lee. It is owing to the series’ bitterly old age that the new film is almost totally devoted to reconciling the conflicting plots and divergent timelines of its predecessors. In this very hilarious way, Days of Future Past is the most faithful adaptation to date, having actually translated to film that most core concept of X-Men comics: hopelessly confusing and eternally jacked up continuity.
Director Sam Raimi's Spider-Man 2will be ten years old in June. It's an important movie for fans of the superhero genre -- the first movie in this present generation to be "good", rather than "good, but..." The commitment, pathos, and unabashed joy in Sam Raimi's sequel made it nearly everyone's favorite superhero movie -- until The Dark Knight, or Avengers, or Captain America: The Winter Soldier.
Now there's another Spider-Man 2, an "Amazing" one, the second movie in director Marc Webb's reboot for Sony's Columbia Pictures. It is definitely not more amazing than Spider-Man 2. It is resolutely and in every way a sequel to 2012's Amazing Spider-Man, for better and for worse.
When the first Captain America movie came out in 2011, the character seemed like a tough sell. His earnest patriotism felt dated to many and was alienating to some.
Marvel Studios has made a habit of landing tough sells. Neither Iron Man nor Thor were the obvious calls that they look like in retrospect, while the plan to tie the characters together in The Avengers was an ambitious gamble. Yet if Marvel ever has any doubts, it never shows in their movies. As Captain America returns to the screen in The Winter Soldier, Marvel Studios has never looked more confident.
There is a new Batman movie coming out in theaters this weekend, and it's easily the best Batman movie yet. It's also a great sci-fi movie, and a great Western, and a great Matrix remake, and it's especially a great comedy.
But first and foremost, it's a Lego movie. And it's the Lego movie. It does everything you want a Lego movie to do. And that's awesome.
If you boiled down Marvel's movies to a basic formula, the first Thor film would be a perfect example of it. It's got some decent superhero action, a lot of shoehorned-in S.H.I.E.L.D. stuff, and one huge feather in its cap: A sense of humor about itself and its characters.
Luckily, the new sequel, Thor: The Dark World, is like its predecessor in that it's not afraid to include some levity. As long as that keeps up, it's a jaunty, enjoyable flick. It's only when the movie gets capital-s Serious -- and luckily that's not too often -- that it gets into some trouble.
So, what family obligation will you be ignoring to watch Marvel's Agents of S.H.I.E.L.D.tonight? Well, ComicsAlliance gives you permission to ignore the guilt: wedding anniversaries happen all the time; greatest moments in television history only happen once every fifteen years. To celebrate the newest greatest moment in television history, we hereby present our review of the original one: 1998's television film Nick Fury: Agent of S.H.I.E.L.D., written by David S. Goyer and starring the greatest actor in television history, the one and only David Hasselhoff. Read on if you can handle all the greatness.
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