In this week’s episode we’re talking MARVEL. We talk Iron Man 3, Agents of S.H.I.E.L.D. and more! We breeze over what TV shows have been cancelled and the new FALL schedule for NBC. You’ll find out who we’d have sex with out of Amanda Knox, Casey Anthony, and Jodi Arias–AND you get to find out who Dan would have sex with out of Mark Ruffalo, Michael Fassbender, and Val Kilmer! Fun show this week!
Tag Archives: superdps
And so Marvel’s Phase Two begins, with a crash, a bang, a wallop and, strangely enough, the unmistakable, toe-tapping intro to Eiffel 65’s late-’90s Europop hit, “I’m Blue (Da Ba Dee, Da Ba Da).” “Iron Man 3” is Marvel Studio’s first theatrical release since their epic superhero team-up “The Avengers” kicked movie-goers’ butts in the summer of 2012 (and in doing so, raked in over $1 billion at the international box office), and it was feared that everyone’s favourite man-in-a-can would crumble under the immense weight of Joss Whedon’s huge-scale juggernaut – just how would Tony Stark’s next solo outing fare without the rest of Earth’s Mightiest Heroes tagging along for the ride?
Quite well, it turns out: co-written and directed by legendary “Lethal Weapon” scribe and “Kiss Kiss Bang Bang” helmer Shane Black – as should be obvious from the get-go, what with Robert Downey, Jr.’s meta-riffic opening narration and the otherwise inexplicable Christmastime setting – this first film in the build-up to 2015’s “The Avengers 2” stands sturdily and mightily on its own two feet, bursting with personality, sizzling with wicked humour, soaring with high-octane thrills and packing an almighty wallop of a plot twist that’s guaranteed to split the comic-book crowd in two – in the age of pesky internet spoilers and overly revelatory studio marketing, it’s refreshing to see a blockbuster with genuine shocks and surprises in store.
Most surprising of all though, is how mature Marvel’s latest output is – have you ever seen a superhero movie tackling the harrowing effects of PTSD? That’s what super-snarky superhero Tony Stark is having to deal with, and it’s turned his high life upside down: following his near-death experience in New York (i.e. the alien-busting finale of “The Avengers,” wherein Tony travelled through a wormhole into space), the self-described “genius, playboy, billionaire, philanthropist” is now an insomniac, frightened for the safety of his beloved Pepper Potts (Gwyneth Paltrow), crippled by anxiety attacks and spending his nights in the basement of his ocean-view pad, obsessively building new armours to help keep his mind busy and distracted. (Continue Reading…)
It almost sounds like the premise for a horror movie: 34 years ago, in the winter of ‘79, a couple of college pals ventured deep into the dark woods of Morristown, Tennessee to make a low-budget splatter-shocker called “The Evil Dead.” The result, made with $90,000 and bathed in gallons of red karo syrup, was a cult classic of its genre: though its unwavering commitment to graphic grotesquery saw it initially branded by newspaper headlines as “obscene” and labelled in the UK as a “video nasty,” writer-director Sam Raimi’s outrageous feature debut went on to become a roaring global success, topping the rental charts when released on video in 1983, transforming its star Bruce Campbell into a beloved cult icon, rightly hailed as a masterpiece of modern horror and going on to spawn two worthy, and increasingly comedic, sequels (1987’s “Evil Dead II” and 1993′s “Army of Darkness”). (Continue Reading…)
In the brain-bending, high-concept psycho-thriller “Trance,” director Danny Boyle takes us on a ride into the shattered mind and misplaced memories of an amnesiac art aficionado in search of a missing multimillion-pound painting. The painting is Francisco Goya’s late 18th century masterpiece “Witches in the Air,” and in an electrifying 20-minute opening — as slickly photographed by Anthony Dod Mantle and given pulse-pounding energy by composer Rick Smith — it is stolen from a London auction house by a gang of gun-toting crooks. Or at least that was the plan: when head honcho Franck (Vincent Cassel, “Black Swan”) unzips the black briefcase supposed to contain his £25 million prize, he finds in his hands an empty frame. (Continue Reading…)
American commercials director Joseph Kosinski made an ambitious feature debut in 2010 with Disney’s “TRON: Legacy,” the anticipated sequel to the game-changing 1982 cult sci-fi flick “TRON” which, both in spite of and because of the hype, proved a disappointment for many: though visually dazzling, it was emotionally vacant and featured a leading performance so wooden it could be boxed up and sold at IKEA. Kosinski’s follow-up, a $120-million sci-fi thriller adapted from his unpublished graphic novel “Oblivion,” is a minor upgrade, flaunting big ideas, an intriguing plot and a leading actor who isn’t Garrett Hedlund. But for the second time in a row, Kosinski has directed a film that, while pleasingly designed and technically impressive, lacks the necessary spark to bring it to life — the result, once again, is a stunning spectacle, but a sterile one. (Continue Reading…)