Olympus Has Fallen and White House Down are tea partier porn. "This is what will happen if we don't keep our military overfunded in the trillions -- now get rid of Social Security already." I already saw the Left Behind movies, so I think I'm good.
So Wolverine accepts the offer to lose his superpowers and then must struggle to regain them while learning a heartwarming and Very Important Lesson about accepting yourself for who you are.
@9 exactly. It's the original wolverine stand alone. Claremont and Miller. It's a great story, and I'm sure they will fuck it up. I'll still go see it though, and I hope that it turns out good. Maybe it will raise the prices on the books and I can finally sell them for a tidy profit.
When I went to see Oz, every single preview was for some big action apcalypse gloom & doom America in danger type deal. I guess Hollywood is really aiming for the 18- to 30 survivalist demographic.
Claremont's work was extremely verbose--every time Cyclops took off his visor, there was a tone of exposition about how he had to keep his eyes tightly shut or, etc., etc. By contrast, Miller's Daredevil often let the art do the story telling. What I recall is that the Wolverine miniseries took on more of a Miller style of story telling, and after that, at times, Claremont's X-Men also let the art do its stuff. When Storm dueled Callisto for leadership of the Morlocks, the fight was entirely visual; earlier Claremont would have had tons of thought balloons around Storm with unnecessary observations like, "Oh, if I had reacted just a half-second more slowly, she would have severed my carotid artery!" and "Here's my chance to win this duel!"
My plan is to watch Spring Breakers, Bling Ring, and Pain & Gain in one sitting. Like three times over. No other movies will be such necessary viewing in 2013.
(If Spring Breakers can hold on juuuuust long enough at the Crest, it might actually be possible to see all three in different movie theaters in one day. Otherwise I'll torrent them all and invite all my friends over and then probably end up watching them at home alone.)
I don't understand - how or WHY would you rate a trailer? That's like trying to decide of you like a song by only listening to a few notes or seconds of it... unless, there's a such thing as the quality of the actual trailer - regardless of how good or bad the movie is.
I'd love to eat Channing Tatum for lunch, but that movie looks too stupid for words. No thanks.
(I have an irrational soft spot for his "shit blows up" movies)
Claremont's work was extremely verbose--every time Cyclops took off his visor, there was a tone of exposition about how he had to keep his eyes tightly shut or, etc., etc. By contrast, Miller's Daredevil often let the art do the story telling. What I recall is that the Wolverine miniseries took on more of a Miller style of story telling, and after that, at times, Claremont's X-Men also let the art do its stuff. When Storm dueled Callisto for leadership of the Morlocks, the fight was entirely visual; earlier Claremont would have had tons of thought balloons around Storm with unnecessary observations like, "Oh, if I had reacted just a half-second more slowly, she would have severed my carotid artery!" and "Here's my chance to win this duel!"
(If Spring Breakers can hold on juuuuust long enough at the Crest, it might actually be possible to see all three in different movie theaters in one day. Otherwise I'll torrent them all and invite all my friends over and then probably end up watching them at home alone.)
Dint he kilt all da wite peeple allredie?