Anomalisa is a tough stop-motion act to follow (to be fair, Charlie Kaufman typically sets the bar pretty high), but if anyone is suited for the task it’s Laika, the studio behind delightful animated features like ParaNorman and The Boxtrolls. Their latest effort blends Laika’s usual wit and charm with stunning visuals matched by an equally remarkable journey, making Kubo and the Two Strings an epic worthy of the eponymous character’s vibrant mythology.
“In a democracy,” says Holly Hunter’s Senator Finch in Batman v Superman: Dawn of Justice, “good is a conversation, not a unilateral decision.” The 32 minutes added to the movie’s “Ultimate Edition,” now available digitally and released on Blu-ray and DVD July 19, include a lot of unnecessary shoe leather, and fills in gaps that don’t need the extra gob of narrative spackle.
Here’s the thing about this Fantastic Four movie: it was supposed to be horrible. This movie has been riding an almost unprecedented level of bad buzz since earlier this year. Strangely, it seems to have started over literally nothing. Fans were upset they hadn’t seen anything official from the movie and began to suspect it stunk. Then, depending on who you talk to, the director was fired, the actors were upset and the script was a mess. But, the days of speculation are over and none of that bad buzz matters any more; there’s an actual film that can be judged on its own merits. Sadly, Fantastic Four, on its own merits, is still horrible.
Opening on November 7 is the new Disney animated hullabaloo titled ‘Big Hero 6.’ In ‘Big Hero 6,’ five regular human beings are brought together to fight crime alongside an inflatable robot doctor. I swear that all of this will make sense, kind of. Ahead, as a service to the world, we answer every question that you could possibly have about ‘Big Hero 6.’
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 2 will 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.