Assessing the Nexus' Summer Movie Preview

Now that the summer is behind us; and "Avengers: Age of Ultron" is coming off its successful $459 million domestic, $1 billion-plus take and out on digital platforms; the time has come to assess how accurate the summer movie preview of this blog was. All the releases will be tallied in the assessment; regardless of where they fell on the preview. Let's see how each one did. (source for all grosses: Box Office Mojo)

Jurassic World
Budget: $150 million
Domestic Gross as of 10/13/2015: $651,128,986

While many expected the film to do well; given its reputation, no one really expected it to be the biggest hit of any movie since the likes of "Avatar" or "The Avengers." With $1.6 billion worldwide under its belt; Universal has wasted no time in greenlighting sequels in the coming years.

Inside Out
Budget: $175 million
Domestic Gross as of 10/13/2015:$354,363,926

With critics and audiences alike hailing the film as the best entry from Pixar since the likes of "WALL-E", "Up" and "Toy Story 3;" the film managed to score the biggest non-#1 opening weekend ever and climbed to the top spot later in its run. While what lies ahead for Riley and her family is uncertain; it's clear that Pixar will continue to be making quality films such as this for years to come.

Terminator Genesis

Budget: $170 million

Domestic Gross as of 9/17/2015:$89,760,956

Yes, in hindsight; it may have been a bit foolish to insinuate this film would match or beat the record set by the 1991 smash it was partially emulating. The film even made less than the much-derided "Terminator Salvation" amid competition from the above two films. The planned sequels have even been indefinitely postponed as a result. Unless DVD sales and stronger international numbers can justify another reboot; the franchise will have been officially terminated.

Minions

Budget: $74 million

Domestic Gross as of 10/13/2015:$334,215,500

Even without Gru; the film still drew massive crowds as the mascots of Illumination Entertainment have become some of the biggest animated characters in recent years. With a proper "Despicable Me 3" in the wings for the coming years; don't expect "Minion Madness" to die down anytime soon.

Ant-Man

Budget: $130 million

Domestic Gross as of 10/13/2015:$178,636,091

Speaking of movie franchises which only seem to be gaining in momentum; Marvel can now celebrate having another successful superhero film under their belt to add to the multi-billion dollar Marvel Cinematic Universe. The film has been hailed as Marvel's biggest surprise since the first Iron Man or Guardians of the Galaxy; and the character of Ant-Man is now expected to play a large part in future entries (such as the two-part "Infinity War;" on track for 2018 and 2019 for both respective entries).

Fantastic Four (2015)

Budget: $122 million

Domestic Gross as of 10/13/2015:$56,086,051

Very public knowledge of the film's troubled production made it that much harder for the reboot to overcome the Tim Story duology's failures; and led to Josh Trank publicly disowning the film via Twitter. Mulligan, please.

Now, in the spirit of good sportsmanship; the other side shall now be addressed with the films that were expected to fail by this blog.

Mad Max: Fury Road

Budget: $150 million

Domestic Gross as of 9/24/2015:

$153,636,354

Warner Bros. seems to not be having much success with science fiction tentpoles that don't involve Batman or Superman in some way in recent years. Despite massive critical and fan acclaim; the film ultimately underperformed amid competition from the a cappella chick flick "Pitch Perfect 2." In fact, for the planned fifth entry in "Mad Max: The Wasteland", Warner Bros. is now tapping director George Miller for a planned sequel to "Man of Steel" in order to secure funding for it. At least the film can revel in its strong international numbers and should perform better in the DVD and home streaming markets.

Poltergeist (2015)

Budget: $40 million

Domestic Gross as of 8/6/2015:$47,425,125

As expected, this pallid remake was largely shunned on principle by devout fans of the 1982 classic; effectively sealing another potential horror relaunch in the depths of a Native American burial ground.

Pixels

Budget: $110 million

Domestic Gross as of 10/13/2015:

$78,202,755

Against competition from "Ant-Man", this high-concept action-comedy is expected to take a $75 million loss for Sony; resulting in yet another misfire for the once-untouchable box office drawing power of Adam Sandler. With the animated sequel "Hotel Transylvania 2" out now and Nintendo now planning to take direct control over any future films using their games; it's now officially "game over" for this '80s retread.

Overall, it's been a successful summer; so be on the lookout for yet more articles from this blog, including a look at the films coming out in the last quarter of the year.

Movie Review: Ant-Man (2015)

Courtesy: Marvel

Starring Paul Rudd, Michael Douglas, Evangeline Lily, and Corey Stoll

Directed by Peyton Reed

Rated PG-13

My Rating: ****/5

In the wake of the massive success of "Avengers: Age of Ultron", it's clear that Marvel can now sell its lesser-known heroes in a manner that makes them accessible to not only the built-in audience of the comics; but also to the average moviegoer in a manner that appeals to both. Nowhere is that more apparent than with the newest film in the Marvel Cinematic Universe, "Ant-Man."

The story begins in 1989, when scientist Hank Pym (Douglas) is voted out of his own company by protege Darren Cross (Stoll) for refusing to relinquish the secrets behind the technology of the Ant-Man suit; which can shrink the wearer to the size of an ant and give them the abilities one possesses.

In the present day; Scott Lang (Rudd) is a thief who has been newly-released from prison and given a new chance to do great things when Pym catches him trying to steal the suit. Along with the help of his daughter Hope (Lily); they train him to use the suit to pull of heists as Cross is attempting to weaponize the technology in the form of a suit known as the Yellow Jacket.

If the above premise sounds silly, you'd be right. While the character may not be familiar with the general public the way Batman, Superman, Spider-Man and the X-Men are (to the point where the film occupied the spot the former two would have had for Batman VS Superman: Dawn of Justice, now on track for March 25, 2016); the film is unabashedly self-aware of the ridiculousness of the concept, and bathes in a modern-day origin story for a hero with roots in Silver age comic book ludicrousness. Cross even mentions the "Tales to Astonish" line that the character was first published in.

The result is a film that's in a world all its own. While there are some sprinkled Easter eggs for fans of the Marvel Cinematic Universe in the form of dealing with the climax of "Age of Ultron" (watch for a cameo from Anthony Mackie as Sam "The Falcon" Wilson); the film is largely at its best when it works as fun escapism. Seeing Lang trying to get the gist of how the suit works leads to some of the most creative action scenes and special effects of the movie; recalling 1950s classics such as "Them" and "The Incredible Shrinking Man." Marvel easily got their money's worth of their $130 million budget; with a plethora of innovative camera work and scale, from when Scott first puts on the suit to when he faces Cross in a climactic battle against him as Yellow Jacket- in the presence of his daughter's Thomas the Tank Engine train set, no less.

One admitted flaw is the pacing. While the film does have a very fanciful tone; it also uses editing in a manner that rarely gives the viewer a moment to breathe before the next scene happens. That said, it does at least take every opportunity to poke fun at the fact, since the characters also react in a manner anyone would at a setup like this.

With the film being a surprise hit; dropping less at the box office in six weeks than the infamous "Fantastic Four" reboot did in three, the character is expected to play a large part in Phase 3 in the Marvel Cinematic Universe; which the film helps set up. In the vein of the first "Iron Man" or "Guardians of the Galaxy," "Ant-Man" is a big surprise as Marvel's biggest little movie ever. With a sense of childlike wonder and thrill in the film's 115-minute runtime; it's the most fun I've had at the movies in a long time.

Movie Review: Fantastic Four (2015)

Courtesy: Fox/Marvel

Starring Miles Teller, Kate Mara, Michael B. Jordan, Jamie Bell, and Toby Kebbel
Directed by Josh Trank
Rated PG-13
My Rating: ***1/2:5

Much like the "Terminator" franchise, the Fantastic Four have had an interesting film history behind them. The first attempt to make a movie out of Marvel's first family in 1994; produced by B-movie master Roger Corman, ultimately went unreleased officially (the film, in its entirety, can be seen on YouTube for those curious). Despite a modest success of two films in the mid-2000s by Tim Story; they ultimately never reached the "Spider-Man" or "X-Men" level grosses that Fox was expecting, leading to this new film by director Josh Trank (whose low-budget film "Chronicle" was a sleeper hit in early 2012, making back its modest $3 million budget twenty times over).

Yet, despite the hype for this entry and the vitriol critics and fans have lambasted it with (the film currently holds a 9% rating on Rotten Tomatoes, making it objectively worse than the likes of "Batman and Robin" and "Superman IV: The Quest for Peace"), this version of "Fantastic Four" does mark a slight improvement over Story's duology even if it never truly lives up to its namesake.

The film begins with a young Reed Richards and Ben Grimm (Teller and Bell) trying to find the key to inter-dimensional travel; but their efforts are met with derision from the public (including a skeptical science teacher played by Dan Castellaneta, conveying qualities normally reserved for his role as Homer Simpson). Undeterred, they find a backer in the Baxter foundation; and allies in Johnny Storm (Jordan; who managed to give a calm response to less than sensitive criticism leveled against his casting) and his adoptive sister Susan (Mara). Victor Von Doom (Kebbel) is also enlisted to help perfect the portal to a barren wasteland known as Planet Zero; despite his misanthropic attitude and reputation as a cyberterrorist in his native Latveria (his introductory scene shows him playing Counter-Strike and listening to classical music; blending his comic portrayal with elements of WikiLeaks founder and rogue journalist Julian Assange with Alex de Large of "A Clockwork Orange").

Of course, the origin story proceeds as follows; with the experiment going awry and the Four getting caught in the crossfire. What begins as a sort of character study of what might happen if four college kids gain superpowers suddenly becomes a haunting and horrific thriller that; while never reaching the heights that The Dark Knight Saga or the Marvel Cinematic Universe have with comic book superheroes; manages to distinguish itself from Story's duology and craft a unique version of the Four that explores how their powers affect them as people and not just vehicles for clever dialogue or explosive action.

Even so; it's understandable where most of the criticism is coming from. Despite the script being co-written by Trank along side "X-Men" alum Simon Kinsberg (with Jeremy Slater later being brought on); the way the film treats the Four as outcasts can get a bit ridiculous at times, as can the way the side characters behave towards them (certain scenes before the cosmic storm and afterward caused unintentional laughter in the theater were this film was being shown). While not abysmally bad as its reputation might suggest; it also lacks the bigger thrills and more elaborate action setups of other dark re-imaginings of superheroes that this film is clearly trying to emulate (notable strains of "The Dark Knight," "Man of Steel;" "X-Men: Days of Future Past" and the bulk of the Marvel Cinematic Universe seem to have been cribbed by Fox for this film).

Inevitably, the Four unite despite their initial rough start in time for the climactic final battle against Doom in Planet Zero. What should have been the ideal way to closeout a summer that featured the Avengers clashing with Ultron in Eastern Europe instead cements the film as a glorified after-school special with a budget of $122 million. Each of the Four somehow have their familiar powers rendered in an even more cartoonish manner than Story's duology despite roughly 8-10 years of advances in special effects. With the combined might of Reed's elasticity, Susan's invisibility, the Human Torch's flames and the Thing's stone body whaling on Doom (whose final form appears to be a cybergoth dancer stolen from "The Matrix" trilogy); it's easily the most overstuffed way to spend 100 minutes in a long time. The CGI starts to wear so thin with each passing minute; it's comparable to a game of "Marvel VS Capcom."

While the Four and Fox remain optimistic at the film's end that they will be there to defend the earth from evil; reality is far less so. Although Fox is confident they will be able to make a planned sequel by 2017; the film has infamously made less than either of Story's films in their respective opening weekends, thus opening up talk of the rights being sold back to Marvel (the film is currently on track to lose at least $60 million of its budget). The saddest thing; however, is that the filmmakers definitely tried to make a distinct take on Marvel's original ensemble, yet ultimately failed to entertain fans of the comic or moviegoers in the way that "The Avengers" or "Guardians of the Galaxy" have; with DC looking to follow suit with the likes of "Suicide Squad" and "Justice League" in the coming years.

Even so, this take on "Fantastic Four" can definitely serve as a teaching tool to any future film versions and directors who might be interested in another reboot in the coming years. Much like Story's films have an aura of products of their time; this film may very well be used as an example of what not to do for future incarnations of the characters. Just as Batman, Superman, Spider-Man and the X-Men have undergone much revision over the past few decades of comics and film (with further re-imaginings of "Teenage Mutant Ninja Turtles" and "Power Rangers" also on tap in the coming years); this could very well become an unintentional period piece in another 10 years or so. If that is the fate of a film which many are claiming is as bad as the Halle Berry "Catwoman" film; then so be it. It could very well represent a time where Johnny Storm is an African-American street racer; Susan listens to Portishead; Ben Grimm is an automobile junker, Reed Richards jerry-rigs a matter transporter out of old Nintendo 64 consoles; and Dr. Doom is a cyberterrorist who blacked out half of Latveria with a keyboard. While by no means fantastic, it's at least marginally better than Story's duology or "The Amazing Spider-Man 2" (which also led to that character being sold back to Marvel for the highly anticipated "Captain America: Civil War"). It's merely that for all its efforts; this new take on "Fantastic Four" still bears the failures of its prior film versions on its shoulders. It's not as bad as its critics would suggest; but it's still ultimately a superhero film with an identity crisis. With only the basic elements of the Four in play in favor of trying to emulate other superhero films; it's a film that has many ideas borrowed from prior versions of Batman; Superman, Spider-Man, and the X-Men but masters none of them. With no identity of its own (not helped by Trank now distancing himself from the film in the wake of Fox allegedly compromising his vision); it's OK, but still much less than fantastic.

Movie Review: Terminator Genesis

Courtesy: Paramount Pictures/Skydance Productions

Starring Arnold Schwarzenegger, Emile Clarke, Jason Clarke, and Byung Hun-Lee

Directed by Alan Taylor

Rated PG13

My Rating: ****/5

More than thirty years have passed since "The Terminator" first graced theater screens. The tale of the machines fighting humanity to near-extinction in a post-apocalyptic world has undergone several films as well as a diverse expanded universe of other media. The series arguably reached its peak with 1991's "Terminator 2: Judgment Day"; which sent the benchmark in terms of storytelling and special effects. Despite 2003's "Terminator 3: Rise of the Machines" being a solid follow-up; 2009's "Terminator Salvation" infamously killed the franchise due to the liberties taken with the series' mythology and the controversial decisions director Joseph "McG" Nichol made as a director. Now, in 2015; the franchise is attempting a soft reboot with "Terminator Genesis."

Even though the film is closely modeled after James Cameron's first two films; the film plays on the events in the entire mythos in a manner that has many twists and turns in this 119-minute reimagining of one of the most beloved science fiction series ever.

The main selling point of the film; however, is easily the return of Arnold Schwarzenegger as the T-101. The film not only handles his age in an amusing and surprisingly poignant manner; but leads with his character dispatching the much-derided CG double of himself in Salvation with ease. This is one of many thunderous action scenes that Alan Taylor has invested the $170 million budget of the film on. Despite Taylor's only prior film credit being 2013's "Thor: The Dark World" (much of his background was in television directing prior to that film); he makes great use of the bleak future after Judgment Day as well as at least three alternate timelines of past films (the settings of 1984, 1997; and the near future of 2017 are all given distinct visual styles to help update the series for a new generation as well as pay homage to its lineage).

As such, the film delivers plenty of bang for its buck. The special effects are top-notch; and there are many spectacular action scenes at hand. The chase on the Golden Gate bridge has an actual school bus flipped into the water and destroyed; and the climactic final battle at Cyberdyne Systems is worthy of the one in "T2" (which remains the best entry in the franchise).

The most notable flaw is the same one that doomed "Salvation:" the PG13 rating. While the lack of blood in many of the action scenes is not terribly conspicuous; the edits to obscure the nudity are fairly obvious. This "Austin Powers" like method of obscuring body parts generated some unintentional laughs at the theater where I saw this film. While not as damaging to the story as it was in "Salvation;" it neuters a lot of potential in a series well-known for its dark tone and speculative fiction about the future.

That said, "Terminator Genesis;" despite not being as good as the films it emulates; is a significant improvement over "Terminator Salvation" and helps reestablish solid footing for a planned trilogy. As the film is one of many offerings on display for 4th of July weekend; I can easily recommend a straight line to the box office to experience this "new mission and new fate."

Movie Review: Inside Out

Courtesy: Walt Disney Pictures/Pixar Animation Studios

Starring the voices of Amy Poehler, Mindy Kaling, Lewis Black, Bill Hader, and Phyllis Smith

Directed by Pete Docter

Rated PG

My Rating: *****/5

The 15th film from Pixar Animation Studios has arrived in the form of "Inside Out". This "major emotion picture" is the ideal film to celebrate 20 years of animation since the original "Toy Story" first graced theater screens in 1995.

The story concerns a young girl named Riley (voice of Kaitlyn Dias) and her parents (voices of Diane Lane and Kyle McLachlan) moving to San Francisco and trying to cope with this change. The emotions that such a change can instill consist of Joy (Poehler); Sadness (Smith), Anger (Black); Fear (Hader), and Disgust (Kaling). With some difficulties (such as changing schools and unsavory pizza toppings); they try to guide Riley through the changes in her life.

Then crisis strikes when Joy and Sadness get lost in Riley's memory banks (literally- the film portrays them as a central hub of the human mind; with a lively environment to match); and the two distinct personalities must find their way back while Fear, Anger, and Disgust try to deal with the chaos of the whole thing.

The situation is instantly relatable to anyone who has gone through the situations portrayed in the film. Not only that; the personified emotions play off each other in a manner worthy of their actors' diverse backgrounds not only in film; but in TV series such as "Saturday Night Live" and "The Office." Pete Docter; who had previously made the wonderful "Monsters, Inc." and "Up," has managed to deliver another film that can easily get you on the same wavelength as the emotions you see onscreen.

The animation is also; as usual, worthy of the studio's pedigree. The way the characters move is slick; and the use of color and lighting is masterful. The environments also make great use of the San Francisco location as well as giving the state of Riley's mind every nuance short of its own zip code in terms of design (a key scene shows how dreams are made in a film studio; even down to scripting situations such as enchanted unicorns).

Of course, the film is also preceded by one of Pixar's traditional shorts; in the form of the film "Lava." A love story of two volcanoes is the ideal curtain-raiser to such a great film.

Even though the revolution Pixar brought along in 1995 has long since become the establishment; "Inside Out" proves to be just as grand in making you feel as any live-action film. Whether it's a group of toys or a midwestern family adjusting to life in the Bay Area; Docter knows how to hit all the right notes for any age group. Whether it's fear of being the new kid in town; joy over bonding with your family, sadness over leaving your old life behind; anger about your belongings being held up by movers, or disgust at garish fashions; it is the ideal family film that will easily be remembered for another 20 years as Pixar continues to build a legacy on par with Disney themselves.

Movie Review: Jurassic World

Courtesy: Universal Pictures

Starring Chris Pratt, Bryce Dallas Howard, Vincent Do'nofrio, and Judy Greer

Directed by Colin Trevorrow

Rated PG-13

My Rating: ****1/2:5

The "Jurassic Park" franchise has been given its ideal successor in "Jurassic World." Director Colin Trevorrow; who previously made the little-seen but much-loved "Safety Not Guaranteed" has not only made what's easily the best film in the franchise in a long time, but also managed to rekindle the wonder and thrill that we all felt when the park first opened its doors in 1993.

The story concerns two young siblings (Ty Simpkins and Nick Robinson) being sent on vacation in the eponymous Jurassic World; where John Hammond's vision has finally come to fruition after 22 years (the genetic lab in the park is named in honor of the character; commemorating Richard Attenborough's passing at age 90). In that time; herbivore dinosaurs are now able to be mounted by children in petting zoos, mosasaurus are fed sharks in a manner similar to that dolphins are fed minnows at SeaWorld; and velociraptors are trained by the finger snaps of Owen (Pratt, "Parks and Recreation," "Guardians of the Galaxy").

Seeking to "up the wow factor;" Claire Dearing (Howard) is supervising the creation of a new species known as the Indominus Rex, with the cloning process from the first film now having made way for outright gene splicing of numerous species. As Ian Malcolm warned; however, things can go awry with that power in one's hands.

Sure enough; the I-Rex gets smart enough to wonder why it has to be in captivity, and begins a rampage in the park that puts humans on the main course. The action scenes that ensue "up the wow factor" in their own way; showing off 22 years of advances in paleontology and special effects at hand. To describe how the film captures the chaos and sheer thrill a setup like that promises: imagine a little boy playing with dinosaur models in a homemade diorama. Now imagine if that boy grew to be a man; and you gave him a camera and a budget of $150 million. That is exactly what Trevorrow has done with this film; reinvigorating the franchise with a sense of terror and childlike wonder that the previous sequels (most infamously "Jurassic Park III") notably lacked.

The script he has crafted alongside Derek Connolly, Rick Jaffa; and Amanda Silver also slyly satirizes the state of the film industry in the form of audiences' love for showy effects; as well as corporate backing for many films. What began as simply using the tie-in merchandise as props has expanded to pteranodons making meals out of panicking patrons of the park's local Starbucks and Ben and Jerry's (a park worker in a bit part notably laments the state of the whole thing, all while wearing a vintage t-shirt from the park's early days).

The only real flaw of note is that sometimes; the villains of the film can be a bit too cartoonish, as can the complacency of some of the patrons; most notably Robinson's jaded teenage character. That's OK, however; as you get to watch the dinosaurs devour them, and he does genuinely love his brother (Simpkins) warts and all. 

The heroes' dialogue is worthy of the late Michael Crichton, volleying witty remarks back and forth throughout the 123-minute visit to the park (even despite Joss Whedon's criticism of Pratt and Howard's dynamic). Much like the characters in "Safety Not Guaranteed;" Trevorrow never forgets to imbue his characters with heart and soul; nor the film.

Forget everything you know about the term "thrill ride." Much like the original film; "Jurassic World" manages to take that clichéd term of praise, chew it up; spit it out, and crush it into the mud. It is a film that redefines it in a manner where you actually do feel the experience of everything that goes through the film. In the course of one showing; it can easily channel a feeling of nostalgia for "Jurassic Park" from the moment you hear Michael Giacchino's arrangement of the theme music and leave you with an experience that successfully reimagines it for a new generation. The park is open.

Video Game Review: Pokémon Shuffle

Courtesy: Nintendo/The Pokémon Company

Publisher: Nintendo/The Pokémon Company

Developer: Genius Sonority

Platform: 3DS eShop

ESRB Rating: E

My Rating: ***1/2:5

Puzzle-based spinoff games have always been fun diversions for the Pokémon series.

Notable ones include the Nintendo 64 game “Pokémon Puzzle League” (based on the classic “Tetris

Attack, which in turn was based on the Japanese “Panel de Pon”) and the Nintendo DS “Pokémon

Trozei” (A “Bejeweled” clone of sorts where Pokémon heads are swapped instead of jewels). Now,

they are joined by the 3DS eShop title “Pokémon Shuffle.”

While the “freemium” model has been a divisive one for gaming (essentially; it involves

giving you a set number of time and items for play free, with you paying for more if you desire); this

game has managed to make it work by being generous with free items and playtime via the 3DS'

Streetpass and Spotpass features. When you meet other players via that function; you can easily gain

more ways to play.

The gameplay echoes the likes of “Bejeweled;” and also adds that mechanic to a

surprisingly fun method of battling and capturing Pokémon. The result is a game that's not too tough

for casual players and also not too easy for hardcore ones.

While the graphics and sound are minimalist at best; they are also colorful and bouncy,

as befitting the franchise. It also has quite possibly the most cheerful “Game Over” music ever heard

in a video game.

Yet, the main draw of the game is also arguably its biggest flaw: the freemium model.

Depending on your play style, it might be difficult to spend actual money to get in-game currency and

items needed to excel on later stages. While not everyone minds this; the freemium model in itself

has been highly divisive among gamers for being a sort of double-edged sword for the more well-off.

Be that as it may; “Pokémon Shuffle” is definitely an entertaining game regardless of

what you might think of its business model. It's definitely worth downloading if you own a 3DS.

Summer Movie Preview: Dinosaurs, Cyborgs, and Moods; Oh my!

"Avengers: Age of Ultron" has clearly been a force to be reckoned with at the box office; with its second weekend utterly crushing the comedy "Hot Pursuit" and bringing its domestic total to over $427 million. It has also added another $1 billion worldwide gross to Marvel's wheelhouse.

Yet, it's more than an ensemble cast of heroes easily washing away last year's disappointment of "The Amazing Spider-Man 2". Summer 2015 looks to be one of the most competitive ones ever; so today we're going to be going over the biggest releases of the season as well as a few to avoid.

The Heavy Hitters


Jurassic World (June 12)

Courtesy: Universal Pictures

The latest entry in the long-running "Jurassic Park" franchise is sure to add yet more millions to its already successful earlier entries. With the dominant belief for the first film in 1993 is still the most well-regarded; new director Colin Trevorrow ("Safety Not Guaranteed") seeks to not only build on nostalgia for that film, but also wow a new generation of fans with rising star Chris Pratt ("Parks and Recreation", "Guardians of the Galaxy") and many advances in special effects and paleontology in the 22 years since that film. With original director Steven Spielberg serving as executive producer; the film should easily make millions and be a sure thrill in the vein of the massive 1993 hit.


Inside Out (June 19)

Courtesy: Walt Disney Pictures/Pixar Animation Studios

As the latest film from the venerable Pixar animation studios; this film should easily do well with families and animation fans with 20 years having passed since the original "Toy Story" first hit theaters. The premise consists of manifestations of emotions inside a young girl trying to guide her through life. They are Joy (voice of Amy Poehler); Sadness (voice of Phyllis Smith), Anger (voice of Lewis Black), Disgust (voice of Mindy Kaling), and Fear (voice of Bill Hader). Director Pete Docter, who already impressed with "Monsters Inc." and "Up" is aiming to once again make a film with loads of humor and heart. As the studio's 15th film; expect large turnouts of many kinds.

Terminator Genesis (July 1)

Courtesy: Paramount Pictures/Skydance Productions

The "Terminator" franchise has had a very interesting history in the more than 30 years it's been running. While the first three films were generally well-received; they hit a snag in 2009 with "Terminator Salvation." The attempt to tell the conflict with the machines may have been an interesting premise on paper; but director Joseph "McG" Nichol did not utilize the concept to its full potential, with a PG-13 rating and a well-publicized viral video where star Christian Bale berated his assistant director did not help matters. With this film, Alan Taylor ("Thor: The Dark World") is aiming to capture the look and feel of the first two entries as well as offer a new angle on the timeline of the near future. With the return of Arnold Schwarzenegger as the iconic T-101 (who publicly criticized "Salvation" on Good Morning America); it should easily prove the phrase that he first uttered in 1984: "I'll be back."


Minions (July 10)

Courtesy: Universal Pictures/Illumination Entertainment

Before there was Gru, there was the era of Jimi Hendrix and ugly sweaters. In this prequel to the "Despicable Me" franchise (whose proper third entry will be out in the coming years); the journey of the Minions is chronicled throughout history until they reach New York in the 1960s. As the Minions have essentially become the mascots of Illumination Entertainment; the film should inevitably be a fun diversion for families and animation fans when it opens.


Ant Man (July 17)

Courtesy: Marvel

With the continuing success of "Avengers: Age of Ultron," it is clear that Marvel is now capable of selling their lesser-known heroes in a manner that makes them accessible to not only the built-in audience of the comics; but also give them a broader appeal that many others are hoping to replicate. With "Ant Man", Marvel is hoping to once again catch lightning in a bottle the way they did with the first "Iron Man" in 2008. Thief Scott Lang (Paul Rudd) is recruited by scientist Hank Pym (Michael Douglas) to use a suit of his design in order to pull off heists and again a chance at redemption. The advertising not only hints at an even darker tone than Phase 2 of the Marvel Cinematic Universe, but also shows off the trademark humor of the brand as well as a plethora of creative action scenes and special effects. With the film now in the slot that would have been home to "Batman VS Superman: Dawn of Justice" (now on track for March 25, 2016); expect another hit to add to their diverse wheelhouse of superheroes.


Fantastic Four (August 7)

Courtesy: Fox/Marvel

Ten years have passed since the first big-budget version of "Fantastic Four" was released. While the film and its sequel; "Rise of the Silver Surfer" were financially successful, they were highly polarizing among critics and fans for the liberties taken with the source material and the sillier tone of the films. Reasons often cited included the film came out in the wake of more serious superhero films such as "Batman Begins" and the first two "Spider-Man" and "X-Men" films. For this film; director Josh Trank ("Chronicle") and "X-Men" alum Simon Kinsberg aim to put a greater focus on the Four as characters and craft a film with a darker tone. With "Chronicle," Trank made a superhero story on a budget of just $3 million; which became a sleeper hit in early 2012. With that on the table, he can easily transition to big-budget action fare of this kind with such a big team as the Four.

The No-Hopers


Mad Max: Fury Road (May 15)

Courtesy: Warner Bros. Pictures/Village Roadshow Pictures

Is "Mad Max" a film that needs reimagining? This is a highly doubtful notion. Yet, director George Miller feels a need to follow up his trilogy of boffo 1970s and 1980s action films with a project that screams more "zombification" than "resurrection." Despite Max's (Tom Hardy; coming off more like Bane without the charm, grace, wit or talent) claims of it being "a lovely day;" the film looks ugly as sin. In spite of surprisingly good reviews; this smells of a desperate attempt to remake a film that didn't need remaking. If there is a lesson to be learned from the Marvel Cinematic Universe and The Dark Knight Saga; it's that an action film can be beautiful; intelligent, and moving. "Fury Road" looks to be a crass; noisy, and ungainly machine designed to give teenagers and young adults the impression they are seeing a movie. With the continued success of Ultron, box office prospects are dismal at best.

Poltergeist (May 22)

Courtesy: Fox/MGM

To add another film to the growing list of "movies that don't need remaking but they are anyway," for your consideration;  the new "Poltergeist." The 1982 film is one of many that came out that year that's a classic of the horror genre, thus there is little reason for Gil Kenan's take to exist. Didn't we already get that with "Monster House?" Couple that with a preview that seems pulled from Heather O'Rourke's cold dead hands (pictured above); and you have one of the most pointless remakes in recent years. Expect this to be left in the cold on memorial day weekend.

Pixels (July 24)

Courtesy: Columbia Pictures

There is a scene in this film where the creator of "Pac-Man" is eaten by his own creation. Let that be an indication of what you're in for if you see this film. This wannabe "Wreck-It Ralph" attempts to cobble together a plot from classic video games and 1980s nostalgia; then toss in Adam Sandler in yet another attempt to appeal to the teenage "dudebro" demographic. When Sandler starred in the underrated gem "Reign Over Me," he bonded with Don Cheadle over the modern classic "Shadow of the Colossus," coming to terms with losing his family in 9/11. Yet; Sandler feels little need to take advantage of his hidden talents, and would rather make lousy cash-grabs like this. Despite the reported $110 million budget; the high concept effects work appears downright terrible, even if it's trying to capture the feeling of the likes of "Pac-Man" and "Donkey Kong" in live-action. You're better off watching "Wreck-It Ralph" again; then buying a ticket to "Ant Man."

Even with the good and the bad in mind; the ideal mantra for this season is as follows: "Just repeat yourself, it's just a show; I should really just relax!"

Interview with the Librarians

The library is one of the most vital resources a student has at LBCC; like any school. It provides key materials and help for students whenever they might need them.

One of the men in charge, Brian Yagashima, helps students whenever he can with "research assistance; technology assistance, training; and some curriculum development." "They come to me asking for help," says Yagashima. "Asking lots of questions and doing lots of listening is no problem."

Yagashima also gets a kick out of helping people. "I started as a teacher, so I enjoy seeing them develop seeking a different venue." He says, "Just ask anytime you want to get involved."

The library is also going to be going many places in the coming school year.  Yagashima points out that one of the main priorities is "Helping faculty advance, this coming school year has several main priorities; such as open educational resources (OERS)."

Other librarians on campus share Yagashima's desire to help those in need; such as Laura N. and Alf Price. Laura is a reference librarian that helps with research; and Alf works at the student help desk with email access and tech problems. Laura can help find information related to their topic; and Alf can help with forgotten passwords and login trouble. "It feels good to make sure people are connected to the things they need," says Laura. "I enjoy making sure people fulfill their dreams and desires," says Alf.

Laura says "libraries will continue to serve very well;" while Alf points out they will be "making great strides technologically in the next year."


With all this on the table; the library is easily a place you can count on when you're in a need for some help and resources. All you need to do is ask; and anyone can come in at any time. The door is always open, much like a good book. They're just waiting for you to turn the page.

Movie Review: Avengers: Age of Ultron

Courtesy: Marvel

Starring Robert Downey Jr., Chris Evans, Chris Hemsworth, and Mark Ruffalo

Directed by Joss Whedon

Rated PG13

My Rating: ****1/2:5

The summer movie season is off to a spectacular start with “Avengers: Age of Ultron.”

The sequel to the massive hit superhero film is everything a sequel to “The Avengers” needs to be.

Director Joss Whedon has not only managed to deliver a satisfying follow-up to his adaptation of the

Marvel comic ensemble of the same name; but also craft a film which can stand against its predecessor

on its own.

After a dazzling opening fight scene in Eastern Europe; the Avengers are overwhelmed

as a team. Tony Stark (Downey Jr.) attempts to jury-rig a dormant peacekeeping program cobbled

together from the ashes of HYDRA. This program becomes self-aware as Ultron (James Spader); who

instead seeks to destroy the earth and rebuild it in his image. Ultron is also a much more active villain

than Loki. He takes great pride in driving a wedge between Tony and fellow team members Thor

(Hemsworth), Captain Steve “America” Rogers (Evans); and Bruce Banner (Ruffalo).  

The portrayal of Ultron is easily one of the most frightening things about the movie; even when he isn't murdering

those who stand in his way.

As a man who had extensive TV work under his belt (“Buffy the Vampire Slayer,”

“Angel,” “Firefly”); Whedon more than understands how the technical aspects of film work. In

essence; Marvel's films have been the films the live-action “Transformers” films wish they could be

ever since the first “Iron Man.” This is largely due to the fact that the human characters are given

equal worth to the machines they coexist with; rather than merely being glorified extras for when

the special effects and action scenes take over. In obvious fact, Whedon never forgets the human

element behind his $250 million globetrotting adventure with an ensemble cast of costumed heroes.

With a fight scene featuring the Incredible Hulk and Tony in his new “Hulkbuster” armor; every punch

hits with the force of an emotional brawl between two friends as it does raw thrill. As Natasha “Black

Widow” Romanov (Scarlett Johansson) and Clint “Hawkeye” Barton (Jeremy Renner) are evacuating

civilians in South Korea and the final battle in Eastern Europe; you feel everything they go through

as massive set pieces crumble around them. Even new characters Quicksilver (Aaron Taylor-Johnson)

and Scarlet Witch (Elizabeth Olsen) are given emotionally powerful backstories that help fuel their

speed and sorcery in this 141-minute successor to an already great film.

As Tony remarks “this is the end of the path I started us on;” this is also Whedon's last film he

is making for Marvel. For the two-part “Infinity War” this film helps set up (both entries are due out

in 2018 and 2019; respectively); the reins will be handed to Anthony and Joe Russo. As they already

directed the superb “Captain America: The Winter Soldier;” it will be in good hands. For now;

“Avengers: Age of Ultron” ends his take on the story with a bang and kicks off a season filled with

films hoping to achieve the bar for success Marvel has helped set. If other Marvel films in the coming

years (such as “Ant Man,” on the docket for July 17) can be as intense and slickly-produced as this

one; then Whedon's work with their studio will definitely have finished on a high note. Much like how

“The Dark Knight” improved on “Batman Begins” while also being a great film on its own,

“Avengers: Age of Ultron” is an incredible follow-up to “The Avengers” as much as it can possibly be.

Netflix Review: Daredevil

Courtesy: Marvel/Netflix

Starring Charlie Cox, Rosario Dawson, and Vincent Don'ofrio

Created by Drew Goddard (Based on the graphic novel series by Marvel Comics)

Rated TVMA

Available on Netflix (Basic subscription $7.99 a month)

My Rating: *****/5

The first part of Marvel's “Defenders” series for Netflix has arrived in the form of

“Daredevil.” While Marvel has already crafted high-quality TV series with “Agents of SHIELD”

and “Agent Carter;” Drew Goddard has reimagined the famed superhero in a manner that is being

called “a bloody triumph”by USA Today and “Marvel's biggest triumph yet” by Vanity Fair.

You know the story: young Matthew Murdoch is blinded by an industrial accident in

Hell's Kitchen in New York City; but his remaining four senses heighten to levels that are far more

powerful than that of a normal person. He grows into a fledgling lawyer by day (Cox); but by night,

he fights the scum of Hell's Kitchen as Daredevil. While he may start out wearing an all-black

ensemble (a move well-known for the “Batman” and “X-Men” movies); he does get to eventually wear

the iconic blood-red costume from the comics (which is teased in the opening sequence, which looks

reminiscent of “Dexter.”).

This attracts the attention of many organized crime outfits; most notably Wilson Fisk,

better known as the Kingpin (Don'ofrio). His portrayal is a stark contrast to the late Michael Clarke

Duncan in the 2003 film; as he has very little tolerance of failure, to the point where he'll kill members

of his mob legal team with his bare hands.

While the 2003 film was an early attempt to craft a darker superhero story before other

franchises dabbled with the concept; it ended up being critically-panned and highly divisive among

fans to this day. Stan Lee himself even hated it for being “devoid of optimism.” Now that darker

stories are more commonplace; this, along with the growing popularity of alternative entertainment

through online streaming are the ideal way to bring the character back.

In essence, the series is probably the most grounded and realistic work Marvel has

made as their own studio. The fight choreography is incredibly fluid (there is notably a fight scene

filmed in one continuous shot; and the series is touted as the “most stunt-heavy series ever”); and the

writing and tone are in line with Frank Miller's run on the comic. In addition to Kingpin, there is

involvement with the Russian mafia; Japanese Yakuza, and Chinese Triad gangs (as I continue my

binge-watch; I'll keep an eye out for others.). Even so, there are some great Easter eggs for fans of the

Marvel Cinematic Universe (a line in the pilot mentions that an event caused real estate values in New

York to drop dramatically; referencing the climax of “The Avengers”); so keep all your senses open.

Even though I have not seen the director's cut of the 2003 film (which adds 20 minutes

of new footage and bumps up the rating from a PG-13 to an R); I can say that “Daredevil” has not

only managed to create a superb superhero series that makes a wonderful take on the comics, but also

an engaging crime drama in the vein of “The Dark Knight Saga.” With the promise of further series

in the coming months; this 13-episode first season is more than a satisfactory take on “the man without

fear.”

A Journey Through Disability History

Disability is a word that can invoke many reactions when you hear it. It also is subject to many different interpretations and manifestations. Throughout history; there have been many changes to the way we see and hear disability.

http://dhss.alaska.gov/gcdse/Pages/history/index.aspx

This is an online version of a display that ran when the term began in Takena hall. It shows how the climate for how people with disabilities have changed ever since history began. The display is also full of imagery and quotes that show key points of how people with disabilities have been treated.

"There is only one good; knowledge; and one evil, ignorance." -Socrates

This is one of several quotes that stood out at me; as I have long considered knowledge the greatest weapon we have against ignorance. As a philosopher, Socrates was centuries ahead of his time for his wisdom and insight into society.

In the past, those who were disabled were seen as burdens and blights on society; outcasts of the highest caliber.

As time has passed, the field of medicine has acknowledged disability as an issue to be taken seriously; but the idea that they are diseased is one that was controversial, and remains so in many circles to this day. Not every disability is curable; but is entirely possible to live with it and lead a long and fulfilling life.

The people of the past often felt pity upon those who were disabled; often to the point of believing they are beyond saving or help.

The word "retard" is also often one that has been condescendingly tossed around towards people; regardless of whether or not people have a disability. Over time, the word has been corrupted to an ableist slur that is on par with some of the worst things you can call a person. It is even gotten to the point where the bulk of the people in the US may not even be aware of the actual dictionary definition of the word. So, here it is.

retard, verb. Oxford English definition:
Delay or hold back in terms of progress, development, or accomplishment.

The more common form of the word is actually the secondary meaning, and unfortunately; it has been used in a manner where it lacks concern or care of any kind.

To further show how things were in the past, over 200,000 of the first victims of the holocaust were disabled. This attitude was one of the many tactics of fear used by Nazi Germany in their push towards Western perfection; with Adolf Hitler and Dr. Josef Mengele being among the notable figures in this genocidal atrocity.

Yet, as time passed; the war ended in victory for the Allies, and the new path for acceptance began at home; with parents and disabled alike actively pushing to be treated on the same terms as an ordinary person.

While there is still an aura of those with disabilities being seen as "eternal children," I submit that it is entirely possible to retain one's youthful spirit as an adult; as well as for those with disabilities to become actively contributing members to society.

The social stigma against the disabled has now gotten its own stigma regarding those who have been diagnosed with disabilities to be given the help they need and the respect they deserve as people.

At this school alone, there are many resources for those who disabled. I myself was diagnosed with Asperger's syndrome/high-functioning Autism in early 2003; and I have often faced ridicule and scorn in the past, to the point where I often got into fights and had trouble getting along with other people. Yet, as time passed; I have managed to become an intelligent and strong young man.

Though I still have a way to go; I was able to sit down with two members of the Center for Accessibility Resources over the past week to discuss what is available to those who have disabilities; as well as key points in the display I was discussing. Her name is Julie Hessel.

What inspired you to do this display? "It was offered through professional organizations traveling throughout the country."

Do you know anyone personally with a disability? "Family."

How do you think of the state of disability today as opposed to the past? "More talked-about and addressed."

Where did you first get the idea to help people with disabilities? "Special ed/early education."

Why do you feel the way you do when you help people with disabilities? "Fulfilled for success."

This afternoon, I also spoke with Jennifer Walker before writing about the issue. My interview with her is recorded below.

How do you help students here at LBCC?

"Scheduling tests in the support lab. Checkout equipment."

What sort of services do you offer?

"Proctor tests, offer equipment/computers; and quiet space."

When can we see some sort of way to get involved ourselves?

"Support lab open Mon-Thur 9AM-3PM, Fri 9AM-2PM."

Where can I find other information on the student affairs?

"LBCC website; linnbenton.edu; Student Life/Leadership, library ."

Why are you so committed to helping students?

"Help students succeed for degree/certificate."

There are many ways to see people with disabilities. Perhaps, the best way to put it is this: Disability is an art. Disability is a way of life. I'm glad I was able to take this journey and continue to see where the road goes in the future.

At a glance:

The disability history display is currently traveling throughout the country. You can find an online version here.

Much has changed throughout disability history.

Disability is an art. Disability is a way of life.

DVD Review: Birdman

Courtesy: Fox Searchlight

Starring Michael Keaton, Zach Galifinakis, Emma Stone, and Edward Norton

Written and Directed by Alejandro Inatirru

Rated R

My Rating: *****/5

There have been many diverse offerings since the Oscars opted to reintroduce the

10 best picture nominees. While there is talk of turning them back to 5; I submit that such a precedent

would end up shutting out many of the more unique entries that have been winners in past years. The

newest entry into that elite club is “Birdman,” which is definitely not your typical piece of Oscar bait.

The film concerns the director and star of a play known as Riggle Thompson (Keaton);

who is attempting to rekindle his career after playing the titular superhero became his most notable

role; but strained his career and relationship with his daughter (Stone) in the process.

If this sounds familiar; the film is essentially a parody of Keaton's role in Tim Burton's

1989 version of “Batman” and the 1992 sequel “Batman Returns”, as well as his life after that role.

In essence, this is a role that is tailor-made for Keaton. Not only is it handled with surprising tact

and bittersweet drama; it also shows how he's often at his best when pushing his craft to his limits.

As such, the film also has great satire on the industry; making light of how the more

personal films about people and their relationships are often overshadowed by big-budget, triple-A;

billion-dollar blockbusters (watch for a scene where Spider-Man, Iron Man, Bumblebee and other stars

of tentpole franchises duke it out onstage; as well as ones where Thompson's costumed alter-ego gives

maniacal advice).

The film is also shot with an innovative technique of editing long takes together; giving

the effect of a backstage view as Thompson clashes with a younger understudy played by Edward

Norton, whose own performance is also worthy of standing alongside the likes of “Fight Club” and

“American History X” in his filmography. Seeing Emma Stone play against type is also not only a riot;

but a key moment for her as she plays Thompson's daughter; who wants no part of her father's attempts

to regain his glory and her love.

With all this on the table; “Birdman” is definitely worthy of the pedigree of not only its

lead actor; but also shows what director Alejandro Inatirru can do with a medium that has endless

applications for expressing oneself. It will be remembered as the best picture winner that thrives

on skewering both sides of the industry and providing insight on both through “the unexpected

 virtue of ignorance.”

DVD Review: Big Hero 6

Courtesy: Walt Disney Pictures/Marvel

Starring the Voices of Scott Adsit, Ryan Potter, and Daniel Henney

Directed by Don Hall and Chris Williams

Rated PG

My Rating: ****/5

When I first saw “Big Hero 6” being promoted this past November; I honestly didn't

know what to make of it. I personally expressed more interest in the type of “intelligent

blockbusters” that studios are more willing to offer; such as young adult book adaptation

“The Hunger Games: Mockingjay Part One” and Christopher Nolan's “Interstellar.”

By all means, it should have been an easy sell. An animated Marvel film from the same

talented animators that produced the likes of “Wreck-It Ralph” and “Frozen?” One that draws

heavy influence from anime at that? Yet, I remained reluctant until I found out the film won

Best Animated Feature at the Oscars. Because of this, my interest was finally piqued enough

to rent the film.

The story concerns a young robotics prodigy named Hiro Hamada (Potter) and his

brother Tadashi (Henney) living in the fictional metropolis of San Fransokyo (an amalgam of

Tokyo and San Francisco in more than just name). Tadashi is not impressed with the fact that

Hiro spends time in back-alley robot fights instead of using his intelligence and skill more.

He encourages Hiro to pursue higher education, but an accident occurs during a campus

demonstration; and he's killed.

Learning to cope with his brother's absence; Hiro has been left a rubbery “health care

companion” known as Baymax (Adsit). He also latches onto an eclectic group of friends such

as extreme sports nut Go Go Tomago (Jamie Chung); gentle giant Wasabi (Damon Wayons Jr.),

eccentric scientist Honey Lemon (Genesis Rodriguez) and genre-savvy fanboy Fred (TJ Miller).

As the first animated entry in the multi-billion dollar Marvel Cinematic Universe; there

are clear strains of the Avengers within the team. Hiro's rebellious tinkerer persona often recalls

Tony Stark. Go Go's no-nonsense attitude and little to no need to be rescued can easily parallel

Natasha “Black Widow” Romanov. Wasabi displays a sense of intelligence mixed with fighting

prowess that is all too familiar to Bruce Banner. Honey's idealistic spirit would definitely not be

lost on Captain Steve “America” Rogers. Even Fred gets a piece of the action not too dissimilar

from Clint “Hawkeye” Barton. The villain Yokai (whose identity I will not be spoiling) is

every bit as frightening as Marvel's rogues gallery in live-action as well as the line of Japanese

beasts that give its name.

There is a clear amount of anime influence in the character designs; both looks and

personality. It also has influence from the Japanese genre of “tokusatsu” (literally “special

effects”); to the point where late “Kamen Rider” and “Super Sentai” (the series that would

become the basis for “Power Rangers,” itself being rebooted in 2016) creator Shotaro

Ishinomori is honored in the credits.

As befitting a movie a health care robot is kitbashed into a superhero in a garage; the

film also borrows many elements from other animated films of its kind, notably “The Iron

Giant” and “The Incredibles” (the latter having the honor of being my favorite Pixar film). Yet,

while no “Wreck-It Ralph” or “Frozen;” I can honestly say I was pleasantly surprised in a

similar manner to when I saw the first “Iron Man” and “Guardians of the Galaxy” for the first

time.

Are the concepts familiar? Yes. Do the superhero tropes and action stand out more than

the laughs? They do. Are there elements from works that have come before it? Definitely. Does

it also contain the flaws of its lineage but lack the tongue-in-cheek sendups Disney offered

in “Wreck-It Ralph” and “Frozen?” It does. Yet, “Big Hero 6” still manages to be an

entertaining and spectacular animated film that never stops surprising you. I can say that I'm

satisfied with my treatment.