The “Terminator” franchise isn’t owned by Disney (yet), but “Terminator: Dark Fate” (2019) – if you take away Sarah Connor’s potty mouth — is what a Disney “Terminator” would be like. The filmmaking is slick and the action is impressive, and we get callbacks to the classic installments (notably Linda Hamilton returning for the first time since 1991’s “T2”). But the story/screenplay by six writers offers nothing new.
Blade: Trinity” (2004) gives Blade (Wesley Snipes) some friends, and what a great decision that is. Blade retains his badass loner persona, but now Ryan Reynolds is in the mix, laying down one-liners like he’s auditioning for Deadpool, and a buff and sexy Jessica Biel also signs up. David S. Goyer, the ubiquitous (some say too much so) superhero film writer who also penned the first two installments, adds director duties here and pares “Blade” down to its essentials. The wonderfully staged action sequences, snort-worthy quips and game performances combine to make this the best of the trilogy.
Five minutes into “Ghost Rider: Spirit of Vengeance” (2011), it’s clear that this is a better movie than “Ghost Rider” (2007). A great car-and-motorcycle chase through the hills of Eastern Europe (where the film is shot) ends with Moreau (Idris Elba, doing a Marvel twofer that year with “Thor”) flying through the air over the side of a cliff, but delivering bullets to the enemy’s tires while falling to his apparent demise.
Working from a screenplay by returning writer David S. Goyer, Guillermo del Toro probably didn’t know it at the time, but he directs “Blade II” (2002) as a trial run for “The Strain,” his 2014-17 TV series. The creature effects are strikingly similar across both projects, namely the next strain of vampires. In “Blade II,” their human mouths open “Predator”-style, and in “The Strain,” they reveal tubes that can strike from a distance — “Alien”-style, to the extreme.
It’s perhaps strange that “Blade” (1998) became the first successful big-screen enterprise for Marvel Comics, considering that he’s not one of the A-list superheroes, and the saga’s blood and violence target a niche audience rather than a mass audience. On the other hand, similar to how Marvel tested the waters with “The Punisher” (1989), it makes sense to start cautiously before launching A-listers like the X-Men (who hit cinemas in 2000).
With “Shazam!” – the superhero answer to “Big,” starring Zachary Levi – hitting theaters April 5 and “Aquaman” available for rental March 26, it’s a good time to look back at the DC Extended Universe as it stands so far. While I admit the DCEU can’t hold a candle to the Marvel Cinematic Universe, which again owns the superhero calendar with three 2019 films, or even the in-flux X-Men Universe, I’m probably in the role of DCEU apologist in most conversations about superhero movies.
With “Gotham” returning for its final season this month, I’m looking back at past “Batman” projects from the perspective of someone who enjoyed “The Animated Series” as a kid and now enjoys “Gotham.” Next up is “The Dark Knight Rises” (2012).
With “Gotham” returning for its final season this month, I’m looking back at past “Batman” projects from the perspective of someone who enjoyed “The Animated Series” as a kid and now enjoys “Gotham.” Next up is “The Dark Knight” (2008).
With “Gotham” returning for its final season this month, I’m looking back at past “Batman” projects from the perspective of someone who enjoyed “The Animated Series” as a kid and now enjoys “Gotham.” Next up is “Batman Begins” (2005).
Dark City” (1998) perhaps came out just before the window when it would’ve been a mainstream smash, since “The Matrix” achieved that status one year later. But it has always had cult appeal, starting with Roger Ebert’s famous championing of the film; it was his No. 1 pick for 1998, one of only two sci-fi pictures to earn that honor from him (2002’s “Minority Report” is the other).