Fantastic Four's Recent Activity

list Fantastic Four's Recent Activity - Spout http://www.spout.com/ Recent community activity around Fantastic Four on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg Fantastic Four's Recent Activity - Spout http://www.spout.com/ 136 30 Film:Fantastic Four http://www.spout.com/films/Fantastic_Four/227037/default.aspx

Title: Fantastic Four
Year: 2005
Director: Tim Story
Plot: A handful of heroes become superheroes under unlikely circumstances in this action drama adapted from the long-running Marvel comic book series. Four astronauts are on a mission aboard a new experimental spacecraft when they are unexpectedly exposed to a massive dose of gamma rays. The accident causes strange and unexpected transformations in all four. Reed Richards (Ioan Gruffudd), top scientist and leader of the mission, can now stretch his body like elastic and is dubbed Mr. Fantastic. His partner and sweetheart, Sue Storm (Jessica Alba), develops the ability to become invisible at will, and becomes known as The Invisible Girl. Her younger brother, Johnny Storm (Chris Evans), is renamed The Human Torch for his new talent of being able to summon up fire from his body when he chooses. And Ben Grimm (Michael Chiklis), pilot for the journey, mutates into a monstrous creature with super-human strength and muscles like stone, known as The Thing. Together, the travelers become known as the Fantastic Four, and they set out to use their unusual skills to fight crime, quickly gaining a nemesis in another altered hero who uses his talents for evil, Doctor Doom (Julian McMahon). A long-gestating project that had been talked about by a number of filmmakers since the early '90s, Fantastic Four was previously the basis for a pair of animated television serials, and was made into a feature film in 1994 by producer Roger Corman, though that film was never officially released. (Fantastic Four creator Stan Lee has said the 1994 film was made only so that the producers could hold on to the rights to the characters, and that it was never intended to be distributed to the public.) ~ Mark Deming, All Movie Guide
Times Tagged: 50
Number of Lists: 59
Number of blog posts: 5
Number of discussion threads: 2
SpoutRating: 2
]]>Thu, 07 May 2009 20:32:37 GMTFantastic Four2005Tim StoryA handful of heroes become superheroes under unlikely circumstances in this action drama adapted from the long-running Marvel comic book series. Four astronauts are on a mission aboard a new experimental spacecraft when they are unexpectedly exposed to a massive dose of gamma rays. The accident causes strange and unexpected transformations in all four. Reed Richards (<a href="/players/P___268218/default.aspx" style='text-decoration:underline'>Ioan Gruffudd</a>), top scientist and leader of the mission, can now stretch his body like elastic and is dubbed Mr. Fantastic. His partner and sweetheart, Sue Storm (<a href="/players/P___268078/default.aspx" style='text-decoration:underline'>Jessica Alba</a>), develops the ability to become invisible at will, and becomes known as The Invisible Girl. Her younger brother, Johnny Storm (<a href="/players/P___302167/default.aspx" style='text-decoration:underline'>Chris Evans</a>), is renamed The Human Torch for his new talent of being able to summon up fire from his body when he chooses. And Ben Grimm (<a href="/players/P____12826/default.aspx" style='text-decoration:underline'>Michael Chiklis</a>), pilot for the journey, mutates into a monstrous creature with super-human strength and muscles like stone, known as The Thing. Together, the travelers become known as the Fantastic Four, and they set out to use their unusual skills to fight crime, quickly gaining a nemesis in another altered hero who uses his talents for evil, Doctor Doom (<a href="/players/P____47884/default.aspx" style='text-decoration:underline'>Julian McMahon</a>). A long-gestating project that had been talked about by a number of filmmakers since the early '90s, Fantastic Four was previously the basis for a pair of animated television serials, and was made into a feature film in 1994 by producer <a href="/players/P____85920/default.aspx" style='text-decoration:underline'>Roger Corman</a>, though that film was never officially released. (Fantastic Four creator <a href="/players/P____99176/default.aspx" style='text-decoration:underline'>Stan Lee</a> has said the 1994 film was made only so that the producers could hold on to the rights to the characters, and that it was never intended to be distributed to the public.) ~ Mark Deming, All Movie Guide50Tag Target (>10)59522http://www.spout.com/ProductImages/u34938arnrp.jpghttp://www.spout.com/films/Fantastic_Four/227037/default.aspxFilm Spout Post: A good live-action adaptaion, but not "Fantastic" http://www.spout.com/blogs/the_mow/archive/2009/5/7/42102.aspx

Post By: The_MOW
Post To: The_MOW Blog
Post Date: 5/7/2009 4:32:37 PM
Body: "Fantastic Four" is a live-action adaptaion of one of the most popular titles published by Marvel Comic Group. However, this version of "Marvel's First Family" is not as "Fantastic" as their comic book counterparts. The first thing that you can't help but notice is the special effects, The CGI is very good in this film. But sometimes, the powers of the "Fantastic Four" special effects are pretty cartoonish. One effect I was very disappointed in is the make-up for "The Thing" (Michael Chiklis, who I think was too small for this role). The comic book version of the character has a more pronounced rocky complexion. Another disappointment was the cosmic storm which gave "The Fantastic Four" and "Victor von Doom" (Julian McMahon). In fact, I think the size of the storm changed as it loomed closer to the space station Another problem with this movie is the way the characters were depicted. I couldn't picture "Dr. Reed Richard/Mister Fantastic" (Ioan Gruffudd) becoming a blubbering idiot every time "Sue Storm/The Invisible Woman" (Jessica Alba) came into the room. Another very disappointing depiction was of "von Doom". To me, he just wasn't as villainous as he should've been. And when it comes to "Johnny Storm/The Human Torch" (Chris Evans), although he was fun to watch, he was just too over-the-top too take in big doses. One thing that was fun to watch was very minor, and did nothing to advance the plot. What I'm talking about was the appearance of "Fantastic Four" co-creator, Stan "The Man" Lee. In previous Marvel Comic live-action movies, Lee appeared in non-speaking cameos. This time he has a small conversation with one of the main characters. The cast does have some good chemistry, which makes this movie enjoyable to watch. In fact, their chemistry and many of the special effects helps make this movie watchable. The producers took some creative license in this film, most notably with the origins. The most blatant was that "von Doom" was with "Dr. Richard," the "Storm" siblings and "Grimm" when they were bombarded by the storm that changed them forever. In the comic book, "von Doom" was scarred in an explosion. In the movie, his body is changed into metal. However, in the comic book he forced a group of monks to help him make a suit of armor. Also, in the comic book, the "Fantastic Four" were in a rocket, not a space station when they were hit by the cosmic storm. The story itself is quite slow. And there isn't that much action until the final battle between "The Fantastic Four" and "von Doom". This movie was mostly to establish the characters and their origins. Despite the problems with the film, for some reason it is pretty fun to watch. I would say that this would be a solid pick for a second choice rental if your first choice is not available.
]]>Thu, 07 May 2009 20:32:37 GMTThe_MOWThe_MOW Blog5/7/2009 4:32:37 PM"Fantastic Four" is a live-action adaptaion of one of the most popular titles published by Marvel Comic Group. However, this version of "Marvel's First Family" is not as "Fantastic" as their comic book counterparts. The first thing that you can't help but notice is the special effects, The CGI is very good in this film. But sometimes, the powers of the "Fantastic Four" special effects are pretty cartoonish. One effect I was very disappointed in is the make-up for "The Thing" (Michael Chiklis, who I think was too small for this role). The comic book version of the character has a more pronounced rocky complexion. Another disappointment was the cosmic storm which gave "The Fantastic Four" and "Victor von Doom" (Julian McMahon). In fact, I think the size of the storm changed as it loomed closer to the space station Another problem with this movie is the way the characters were depicted. I couldn't picture "Dr. Reed Richard/Mister Fantastic" (Ioan Gruffudd) becoming a blubbering idiot every time "Sue Storm/The Invisible Woman" (Jessica Alba) came into the room. Another very disappointing depiction was of "von Doom". To me, he just wasn't as villainous as he should've been. And when it comes to "Johnny Storm/The Human Torch" (Chris Evans), although he was fun to watch, he was just too over-the-top too take in big doses. One thing that was fun to watch was very minor, and did nothing to advance the plot. What I'm talking about was the appearance of "Fantastic Four" co-creator, Stan "The Man" Lee. In previous Marvel Comic live-action movies, Lee appeared in non-speaking cameos. This time he has a small conversation with one of the main characters. The cast does have some good chemistry, which makes this movie enjoyable to watch. In fact, their chemistry and many of the special effects helps make this movie watchable. The producers took some creative license in this film, most notably with the origins. The most blatant was that "von Doom" was with "Dr. Richard," the "Storm" siblings and "Grimm" when they were bombarded by the storm that changed them forever. In the comic book, "von Doom" was scarred in an explosion. In the movie, his body is changed into metal. However, in the comic book he forced a group of monks to help him make a suit of armor. Also, in the comic book, the "Fantastic Four" were in a rocket, not a space station when they were hit by the cosmic storm. The story itself is quite slow. And there isn't that much action until the final battle between "The Fantastic Four" and "von Doom". This movie was mostly to establish the characters and their origins. Despite the problems with the film, for some reason it is pretty fun to watch. I would say that this would be a solid pick for a second choice rental if your first choice is not available. Spout Post: 'Hancock'-blocked http://www.spout.com/blogs/usesoap/archive/2008/7/3/32102.aspx

Post By: usesoap
Post To: usesoap Blog
Post Date: 7/3/2008 10:49:03 PM
Body: It is all too fitting that the lead in “Hancock” is an amnesiac, for the film in which he is featured can't seem to comprehend just what the hell it is. About halfway through, it suffers a cinematic concussion from which it never regains its former personality. Both portions of this picture might have made an interesting feature given the chance to develop more thoroughly. As it stands, “Hancock” plays out like the most recent dark, brooding film incarnation of “Batman,” but starring Adam West in the form-fitting spandex suit from the TV version. In a world where every summer superhero film is accompanied by Wal-Mart-ready action figure tie-ins, it's rather difficult to envision the kiddies clamoring to buy the “Hancock with Scotch-Swigging Action” in which you can push the button and hear one of eight colorful expletives! Yes, Hancock is the most reluctant of heroes, approaching his duties like a list of household chores rather than an inherent responsibility. His attempts at rescue wind up wrecking more real estate than leaving well enough alone and now he faces the scorn of a public fed up with his slovenly approach to fighting crime. That is, until one day he rescues an altruistic PR man (yeah, that's about the funniest thing in the picture) played by Jason Bateman. Bateman's Ray Embry wants to repay the super-pariah by working with him on an image makeover, helping him transform from his hobo-chic aesthetic to Fantastic Four fabulousness. And this is the world in which “Hancock” should have remained. Pointed social commentary on celebrity life under today's TMZ- and You Tube-controlled microscopic conditions, rejecting and denouncing any and all sorts of behavior or past transgression, and promises to reform and adhere to more “model” behavior are all hinted in a too-brief montage sequence. Witnessing Hancock stage a half-hearted press conference, admitting himself to a local prison and undergoing anger management and substance abuse classes are awkwardly amusing commentaries of today's lifestyles of the rich and infamous (not to mention the issue race plays in the whole affair). The only thing missing is his finding Jesus in the process. It's not until Ray brings Hancock home to meet the family-- wife Mary (played by Charlize Theron) and son Aaron (played by Jae Head) – in which the tonal shifts of the film are stitched together like some thematic Frankenstein's monster. It is during this portion in which we get a glimpse into Hancock's dark, mysterious origins which are a marked contrast to the promise of joviality and satire of the first half. Smith seems to run out of steam for this part, too. Gamely playing against his squeaky-clean image, he relishes in ticking off the general public with foul language and laws of physics-defying bodily harm. Yet when things get dark, he barely registers, coasting on tired mannerisms and feigned interest. Theron, who plays Bateman's adoring wife is also left with little. It's easy to see from her first encounter with Hancock that there was some sort of past connection between the two, but when it's revealed just what that is, the actress is swept up in the noisy chaos that marks the film's conclusion. The only actor who leave an impression is Theron's one-time co-star Bateman (the two shared a storyline in the beloved, departed television show “Arrested Development”), whose deft comic abilities elicited some of the only laughs to be heard during my opening-day screening. But even he is hindered by the questionable judgement of director Peter Berg (“The Kingdom,” “Friday Night Lights,” “Very Bad Things”). Berg obviously has potential, but has squandered it time and time again, as he does here with “Hancock.” It's an unwritten blockbuster law that superhero films, even if they dabble in the emotional complexities of its leads, must widen their lens and give the film and expansive, almost global, perspective that shows a city in crises or a world in peril. Not so with Berg. He instead chooses to zoom in on his subjects close enough that you can almost smell the stale scotch on Hancock's breath. When it finally comes to the epic confrontation at the finale, it's edited with such a slapdash manner that there is no sense of jeopardy, or wonderment, or even much of a pulse. Contributing to this menace-free environment is the film's villain, whose comic book bad guy name would be “Dr. Minor Inconvenience” or perhaps “The Irritable Rash,” as little a threat as he poses. And finally, lest you think that you are safely in the hands of audience-friendly Will Smith, not that the director was the same guy who based an entire film of a group of bachelor party participants trying to dispose of a dead hooker. In other words, bring the earmuffs and have hands ready to shield the eyes of the little ones brought into the theater to watch Mr. Man In Black battle baddies. “Hancock” is a film that would have benefited from being either an all-out satire of the genre, or an intimate introspective drama of the isolation accompanying the job title of World Saver. By combining the two, “Hancock” suffers from its own cinematic kryptonite, crippling it just when it should have soared into the stratosphere.
]]>Fri, 04 Jul 2008 02:49:03 GMTusesoapusesoap Blog7/3/2008 10:49:03 PMIt is all too fitting that the lead in “Hancock” is an amnesiac, for the film in which he is featured can't seem to comprehend just what the hell it is. About halfway through, it suffers a cinematic concussion from which it never regains its former personality. Both portions of this picture might have made an interesting feature given the chance to develop more thoroughly. As it stands, “Hancock” plays out like the most recent dark, brooding film incarnation of “Batman,” but starring Adam West in the form-fitting spandex suit from the TV version. In a world where every summer superhero film is accompanied by Wal-Mart-ready action figure tie-ins, it's rather difficult to envision the kiddies clamoring to buy the “Hancock with Scotch-Swigging Action” in which you can push the button and hear one of eight colorful expletives! Yes, Hancock is the most reluctant of heroes, approaching his duties like a list of household chores rather than an inherent responsibility. His attempts at rescue wind up wrecking more real estate than leaving well enough alone and now he faces the scorn of a public fed up with his slovenly approach to fighting crime. That is, until one day he rescues an altruistic PR man (yeah, that's about the funniest thing in the picture) played by Jason Bateman. Bateman's Ray Embry wants to repay the super-pariah by working with him on an image makeover, helping him transform from his hobo-chic aesthetic to Fantastic Four fabulousness. And this is the world in which “Hancock” should have remained. Pointed social commentary on celebrity life under today's TMZ- and You Tube-controlled microscopic conditions, rejecting and denouncing any and all sorts of behavior or past transgression, and promises to reform and adhere to more “model” behavior are all hinted in a too-brief montage sequence. Witnessing Hancock stage a half-hearted press conference, admitting himself to a local prison and undergoing anger management and substance abuse classes are awkwardly amusing commentaries of today's lifestyles of the rich and infamous (not to mention the issue race plays in the whole affair). The only thing missing is his finding Jesus in the process. It's not until Ray brings Hancock home to meet the family-- wife Mary (played by Charlize Theron) and son Aaron (played by Jae Head) – in which the tonal shifts of the film are stitched together like some thematic Frankenstein's monster. It is during this portion in which we get a glimpse into Hancock's dark, mysterious origins which are a marked contrast to the promise of joviality and satire of the first half. Smith seems to run out of steam for this part, too. Gamely playing against his squeaky-clean image, he relishes in ticking off the general public with foul language and laws of physics-defying bodily harm. Yet when things get dark, he barely registers, coasting on tired mannerisms and feigned interest. Theron, who plays Bateman's adoring wife is also left with little. It's easy to see from her first encounter with Hancock that there was some sort of past connection between the two, but when it's revealed just what that is, the actress is swept up in the noisy chaos that marks the film's conclusion. The only actor who leave an impression is Theron's one-time co-star Bateman (the two shared a storyline in the beloved, departed television show “Arrested Development”), whose deft comic abilities elicited some of the only laughs to be heard during my opening-day screening. But even he is hindered by the questionable judgement of director Peter Berg (“The Kingdom,” “Friday Night Lights,” “Very Bad Things”). Berg obviously has potential, but has squandered it time and time again, as he does here with “Hancock.” It's an unwritten blockbuster law that superhero films, even if they dabble in the emotional complexities of its leads, must widen their lens and give the film and expansive, almost global, perspective that shows a city in crises or a world in peril. Not so with Berg. He instead chooses to zoom in on his subjects close enough that you can almost smell the stale scotch on Hancock's breath. When it finally comes to the epic confrontation at the finale, it's edited with such a slapdash manner that there is no sense of jeopardy, or wonderment, or even much of a pulse. Contributing to this menace-free environment is the film's villain, whose comic book bad guy name would be “Dr. Minor Inconvenience” or perhaps “The Irritable Rash,” as little a threat as he poses. And finally, lest you think that you are safely in the hands of audience-friendly Will Smith, not that the director was the same guy who based an entire film of a group of bachelor party participants trying to dispose of a dead hooker. In other words, bring the earmuffs and have hands ready to shield the eyes of the little ones brought into the theater to watch Mr. Man In Black battle baddies. “Hancock” is a film that would have benefited from being either an all-out satire of the genre, or an intimate introspective drama of the isolation accompanying the job title of World Saver. By combining the two, “Hancock” suffers from its own cinematic kryptonite, crippling it just when it should have soared into the stratosphere. Spout Post: Jessica Alba and the Female Gaze http://www.spout.com/blogs/spoutblog/archive/2008/5/9/28400.aspx

Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 5/9/2008 12:00:50 PM
Body: If there’s one actress working today who best reinforces the theories of Lauren Mulvey, it’s Jessica Alba. And she encourages the male gaze by maintaining a career centered playing eye candy, whether she’s having her skirt ripped off to expose her underwear (Good Luck Chuck), spending the majority of a film wearing a bikini (Into the Blue), playing a stripper (Sin City), being used to invoke jealousy (Meet Bill) or invoking erectile gags out of Mike Myers (The Love Guru). Perhaps someone should write a lengthy article on the myriad ways in which Alba relates to feminist film theory. I think her role as Invisible Woman in the Fantastic Four movies and her blind character from The Eye (who identifies herself with the dead woman whose eyes she acquires) can each inspire a few interesting theses. Obviously Alba is aware of the male gaze and may in fact be controlling it. It’s possible even that her participation in the online staring contest at ibeatyou.com is a matter of ironic reflexivity. Watch the clip of her first-place-winning stare and you’ll understand what I mean. It’s like she’s welcoming our lustful eye and then seemingly returning the gaze, hypnotizing us into thinking she desires us, too. Certainly there are a number of men out there becoming simultaneously turned on and disturbed by this video. And hopefully there are some feminist critics taking notes on it as well. [via The Superficial] Originally posted on:SpoutBlog
]]>Fri, 09 May 2008 16:00:50 GMTSpoutBlogSpoutBlog on spout.com5/9/2008 12:00:50 PM If there’s one actress working today who best reinforces the theories of Lauren Mulvey, it’s Jessica Alba. And she encourages the male gaze by maintaining a career centered playing eye candy, whether she’s having her skirt ripped off to expose her underwear (Good Luck Chuck), spending the majority of a film wearing a bikini (Into the Blue), playing a stripper (Sin City), being used to invoke jealousy (Meet Bill) or invoking erectile gags out of Mike Myers (The Love Guru). Perhaps someone should write a lengthy article on the myriad ways in which Alba relates to feminist film theory. I think her role as Invisible Woman in the Fantastic Four movies and her blind character from The Eye (who identifies herself with the dead woman whose eyes she acquires) can each inspire a few interesting theses. Obviously Alba is aware of the male gaze and may in fact be controlling it. It’s possible even that her participation in the online staring contest at ibeatyou.com is a matter of ironic reflexivity. Watch the clip of her first-place-winning stare and you’ll understand what I mean. It’s like she’s welcoming our lustful eye and then seemingly returning the gaze, hypnotizing us into thinking she desires us, too. Certainly there are a number of men out there becoming simultaneously turned on and disturbed by this video. And hopefully there are some feminist critics taking notes on it as well. [via The Superficial] Originally posted on:SpoutBlog Spout Post: Fantastic Four - Heights http://www.spout.com/blogs/moviebabe/archive/2007/7/13/14008.aspx

Post By: MovieBabe
Post To: MovieBabe Blog
Post Date: 7/13/2007 7:10:00 PM
Body: By Tricia Olszewski The fanboys, naturally, have been skeptical. As with most comic-book-to-big-screen translations, no detail has been too small for Fantastic Four devotees to obsess over since pre-production. The Thing: Will old-school effects be more convincing than CGI? Sue Storm: Should a blond, all-American superheroine really be played by a Dark Angel? And after the long list of directorial talent rumored to have been attached—including Chris Columbus and, unbelievably, Steven Soderbergh—the decision to bring Taxi helmer Tim Story on board was probably the most knee-shaking announcement of them all. It’d be nice to say that all the fears were groundless. But sorry, kids, it’s clobberin’ time. From the moment a tarted-up Jessica Alba is introduced as a “director of genetic research,” Fantastic Four is less a whiz-bang popcorn flick than an unintended comedy. Anyone with a basic knowledge of the Four will already be aware that it’s a space trip gone awry that “fundamentally alters the DNA” of Sue Storm (Alba), Reed Richards (Ioan Gruffudd), Ben Grimm (Michael Chiklis), and Johnny Storm (Chris Evans), but if you aren’t familiar with the background, good luck getting the gist. The script, by Michael France (Hulk, The Punisher) and Mark Frost (Twin Peaks), introduces the Marvel characters in a muddle: In a boardroom somewhere, a handful of pretty people talk very seriously about a decision—the terms “space,” “human genome,” and, laughably, “IPO” can be discerned, but otherwise the quick scene is just a lot of stern glances and dramatic music. Suddenly, the group is out of its business wear and in sleek scuba suits. And just as suddenly, it’s in “space” (launches, apparently, eat up too much of the budget) and something bad is happening: Ben, who floated away from the main vessel and is out at some other one, needs to float back before time runs out. He seems to move pretty damn slow, but he makes it. In between, tremendously fake-looking fire shoots waywardly around the crew—which, for what must be streamlining’s sake, also includes soon-to-be nemesis and generic company head Victor Von Doom (Julian McMahon). The walking-dead performances at least emphasize that our heroes are not yet fantastic—not by a long shot. Unfortunately, even afterward they’re not all that great. Each starts to discover his powers soon after coming back to Earth (a trip also unseen). Sue, aka Invisible Woman, can disappear—and, according to the special effects, throw air. Johnny, the arrogant group hothead, turns into the Human Torch, able to ignite, albeit cheesily, at will. Reed, as Mr. Fantastic, can stretch and flatten, à la Mama Incredible. Ben, the growly hangdog of the group, is transformed into the supersize, rock-covered Thing—which makes him very sad. And Victor begins growing metal skin and a chip on his shoulder as he morphs into Dr. Doom. This because he was fired over the whole IPO thing. Fantastic Four’s bad acting, airless dialogue, and zero star appeal reach Revenge of the Sith levels. And there’s not a whole lot of plot here, either: Mostly, the Four isolate themselves in some spacious location and bicker tediously about how to handle their new superheroicism. It’s anyone’s guess whether they shut themselves in for hours or days. When any of the characters do show up outside, there’s no explanation except convenience, such as when the Thing runs away and happens to save a guy ready to jump off a bridge. His happenstance heroism results in a big melee, which is soon being witnessed by his teammates and wife (Laurie Holden), none of whom knew where he was. The wife’s bizarro reaction to her new and improved husband is so ridiculous that it’s nearly entertaining enough to make up for the sequence’s gaping holes in logic. There is, of course, a bit of action here and there—comprising, again rather randomly, one scene of X-treme skiing and another of X-treme competitive motocross, both of which Johnny participates in as suddenly and casually as if he had gone to the fridge for a soda. A romantic subplot is thrown in for additional, uh, thrills, but as sexy (if weirdly shellacked) as Alba is, here she can’t make even a love triangle sizzle. Oh, and Doom, the movie’s sole villain, is really more Xanax’d than evil. But one thing he says to a hostage will reverberate with disbelieving audiences: “Painful? You don’t even know the meaning of the word.” Elizabeth Banks, who plays one of the central characters in Heights, was nearly a Fantastic disaster herself, having been considered for the role of Sue Storm. The loss is debatable: Alba will certainly end up richer, but Banks’ participation in writer-director Chris Terrio’s quiet, engrossing debut won’t bring her grief from either mean critics or the 10 people who end up seeing the movie. A Merchant Ivory production, Heights details 24 hours in the lives of an interconnected group in New York City. There’s Diana (Glenn Close), a drama teacher and well-known actress; her daughter, Isabel (Banks); and Isabel’s fiancé, Jonathan (James Marsden), who are consumed with planning the couple’s wedding. There’s also Alec (Jesse Bradford), an upcoming actor who auditions for Diana and turns out to have a link to Isabel, and Peter (John Light), a gay biographer who’s sent out to interview the ex-lovers of his famous-photographer, magazine-piece subject, with whom he also had an affair. Peter is soon ringing Jonathan, who is none too pleased. Co-written with playwright Amy Fox, Heights quickly draws us in with its two mysteries involving Alec and Jonathan—though the reasons behind Jonathan’s sour reaction to Peter’s messages, granted, are a bit more predictable than Alec’s question mark, which early on is set up to show that, though Diana has never met him, he isn’t familiar with her just because of her fame. While these carrots dangle nearly to film’s end, Banks makes Isabel an enticement all her own. Her character, a wedding photographer who ends up getting fired and tells an old friend that her engagement ring feels “heavy,” though clearly in turmoil, sounds equally unshakable whether she’s saying, “My mother is driving me crazy,” “I miss you,” or “Whatever.” Yet the calm that Banks lends Isabel is less reminiscent of a disaffected zombie than one of the walking wounded. The seemingly perfect life she’s planning for herself is something she’s profoundly unsure about—most deftly demonstrated in a moment when she’s just turned down a freelance assignment that would conflict with her wedding. Her contact says he figured she could work around it. “Have you ever had a wedding? You don’t work around them. There’s planning. There’s...fucking string quartets,” she responds, her annoyance quickly wilting into utter resignation. Other compelling performances include Close’s Shakespeare-obsessed bon vivant, who throws parties stuffed with creative types and urges her students to approach their lives with Elizabethan passion, all while quietly languishing in an oh-so-sophisticated open marriage. Of the men, all are utilitarian—though Marsden’s unavoidable good-old-boyness actually makes Jonathan unlikable—but they’re instantly outplayed by Rufus Wainwright. The singer’s brief appearance as one of the photographer’s exes almost matches Banks’ performance, sketching a character who initially seems slightly standoffish and borderline arrogant but reveals hidden depths with an interesting turn of phrase or flash of intellect. Despite its title and life-altering plot twists, Heights never becomes melodrama; rather, it’s all about capturing people at pivotal instants. Granted, it’s quite a coincidence that so many of them happen in one night. But the insistently mellow way in which Terrio allows events to unfold makes them seem entirely natural—and way more character-defining than some screwed-up DNA.
]]>Fri, 13 Jul 2007 23:10:00 GMTMovieBabeMovieBabe Blog7/13/2007 7:10:00 PM By Tricia Olszewski The fanboys, naturally, have been skeptical. As with most comic-book-to-big-screen translations, no detail has been too small for Fantastic Four devotees to obsess over since pre-production. The Thing: Will old-school effects be more convincing than CGI? Sue Storm: Should a blond, all-American superheroine really be played by a Dark Angel? And after the long list of directorial talent rumored to have been attached—including Chris Columbus and, unbelievably, Steven Soderbergh—the decision to bring Taxi helmer Tim Story on board was probably the most knee-shaking announcement of them all. It’d be nice to say that all the fears were groundless. But sorry, kids, it’s clobberin’ time. From the moment a tarted-up Jessica Alba is introduced as a “director of genetic research,” Fantastic Four is less a whiz-bang popcorn flick than an unintended comedy. Anyone with a basic knowledge of the Four will already be aware that it’s a space trip gone awry that “fundamentally alters the DNA” of Sue Storm (Alba), Reed Richards (Ioan Gruffudd), Ben Grimm (Michael Chiklis), and Johnny Storm (Chris Evans), but if you aren’t familiar with the background, good luck getting the gist. The script, by Michael France (Hulk, The Punisher) and Mark Frost (Twin Peaks), introduces the Marvel characters in a muddle: In a boardroom somewhere, a handful of pretty people talk very seriously about a decision—the terms “space,” “human genome,” and, laughably, “IPO” can be discerned, but otherwise the quick scene is just a lot of stern glances and dramatic music. Suddenly, the group is out of its business wear and in sleek scuba suits. And just as suddenly, it’s in “space” (launches, apparently, eat up too much of the budget) and something bad is happening: Ben, who floated away from the main vessel and is out at some other one, needs to float back before time runs out. He seems to move pretty damn slow, but he makes it. In between, tremendously fake-looking fire shoots waywardly around the crew—which, for what must be streamlining’s sake, also includes soon-to-be nemesis and generic company head Victor Von Doom (Julian McMahon). The walking-dead performances at least emphasize that our heroes are not yet fantastic—not by a long shot. Unfortunately, even afterward they’re not all that great. Each starts to discover his powers soon after coming back to Earth (a trip also unseen). Sue, aka Invisible Woman, can disappear—and, according to the special effects, throw air. Johnny, the arrogant group hothead, turns into the Human Torch, able to ignite, albeit cheesily, at will. Reed, as Mr. Fantastic, can stretch and flatten, à la Mama Incredible. Ben, the growly hangdog of the group, is transformed into the supersize, rock-covered Thing—which makes him very sad. And Victor begins growing metal skin and a chip on his shoulder as he morphs into Dr. Doom. This because he was fired over the whole IPO thing. Fantastic Four’s bad acting, airless dialogue, and zero star appeal reach Revenge of the Sith levels. And there’s not a whole lot of plot here, either: Mostly, the Four isolate themselves in some spacious location and bicker tediously about how to handle their new superheroicism. It’s anyone’s guess whether they shut themselves in for hours or days. When any of the characters do show up outside, there’s no explanation except convenience, such as when the Thing runs away and happens to save a guy ready to jump off a bridge. His happenstance heroism results in a big melee, which is soon being witnessed by his teammates and wife (Laurie Holden), none of whom knew where he was. The wife’s bizarro reaction to her new and improved husband is so ridiculous that it’s nearly entertaining enough to make up for the sequence’s gaping holes in logic. There is, of course, a bit of action here and there—comprising, again rather randomly, one scene of X-treme skiing and another of X-treme competitive motocross, both of which Johnny participates in as suddenly and casually as if he had gone to the fridge for a soda. A romantic subplot is thrown in for additional, uh, thrills, but as sexy (if weirdly shellacked) as Alba is, here she can’t make even a love triangle sizzle. Oh, and Doom, the movie’s sole villain, is really more Xanax’d than evil. But one thing he says to a hostage will reverberate with disbelieving audiences: “Painful? You don’t even know the meaning of the word.” Elizabeth Banks, who plays one of the central characters in Heights, was nearly a Fantastic disaster herself, having been considered for the role of Sue Storm. The loss is debatable: Alba will certainly end up richer, but Banks’ participation in writer-director Chris Terrio’s quiet, engrossing debut won’t bring her grief from either mean critics or the 10 people who end up seeing the movie. A Merchant Ivory production, Heights details 24 hours in the lives of an interconnected group in New York City. There’s Diana (Glenn Close), a drama teacher and well-known actress; her daughter, Isabel (Banks); and Isabel’s fiancé, Jonathan (James Marsden), who are consumed with planning the couple’s wedding. There’s also Alec (Jesse Bradford), an upcoming actor who auditions for Diana and turns out to have a link to Isabel, and Peter (John Light), a gay biographer who’s sent out to interview the ex-lovers of his famous-photographer, magazine-piece subject, with whom he also had an affair. Peter is soon ringing Jonathan, who is none too pleased. Co-written with playwright Amy Fox, Heights quickly draws us in with its two mysteries involving Alec and Jonathan—though the reasons behind Jonathan’s sour reaction to Peter’s messages, granted, are a bit more predictable than Alec’s question mark, which early on is set up to show that, though Diana has never met him, he isn’t familiar with her just because of her fame. While these carrots dangle nearly to film’s end, Banks makes Isabel an enticement all her own. Her character, a wedding photographer who ends up getting fired and tells an old friend that her engagement ring feels “heavy,” though clearly in turmoil, sounds equally unshakable whether she’s saying, “My mother is driving me crazy,” “I miss you,” or “Whatever.” Yet the calm that Banks lends Isabel is less reminiscent of a disaffected zombie than one of the walking wounded. The seemingly perfect life she’s planning for herself is something she’s profoundly unsure about—most deftly demonstrated in a moment when she’s just turned down a freelance assignment that would conflict with her wedding. Her contact says he figured she could work around it. “Have you ever had a wedding? You don’t work around them. There’s planning. There’s...fucking string quartets,” she responds, her annoyance quickly wilting into utter resignation. Other compelling performances include Close’s Shakespeare-obsessed bon vivant, who throws parties stuffed with creative types and urges her students to approach their lives with Elizabethan passion, all while quietly languishing in an oh-so-sophisticated open marriage. Of the men, all are utilitarian—though Marsden’s unavoidable good-old-boyness actually makes Jonathan unlikable—but they’re instantly outplayed by Rufus Wainwright. The singer’s brief appearance as one of the photographer’s exes almost matches Banks’ performance, sketching a character who initially seems slightly standoffish and borderline arrogant but reveals hidden depths with an interesting turn of phrase or flash of intellect. Despite its title and life-altering plot twists, Heights never becomes melodrama; rather, it’s all about capturing people at pivotal instants. Granted, it’s quite a coincidence that so many of them happen in one night. But the insistently mellow way in which Terrio allows events to unfold makes them seem entirely natural—and way more character-defining than some screwed-up DNA. Spout Post: Spread the word. http://www.spout.com/blogs/the1theonlyjp/archive/2007/6/6/10256.aspx

Post By: The1TheOnlyJP
Post To: The Paxton Log
Post Date: 6/6/2007 11:44:00 AM
Body: The follow-up to 2005's 'Fantastic Four' has officially been rated PG. All intense actions sequences have been removed and replaced with an ultimate battle royale of words between the four heroes and their new enemy, the Silver Surfer. So on June 15, be sure to go check out 'Fantastic Four: Rise of the Silver Surfer' only in theaters! It's sure to enhance your vocabulary and absolutely suck. (click the small posters to see their full-size versions)
]]>Wed, 06 Jun 2007 15:44:00 GMTThe1TheOnlyJPThe Paxton Log6/6/2007 11:44:00 AMThe follow-up to 2005's 'Fantastic Four' has officially been rated PG. All intense actions sequences have been removed and replaced with an ultimate battle royale of words between the four heroes and their new enemy, the Silver Surfer. So on June 15, be sure to go check out 'Fantastic Four: Rise of the Silver Surfer' only in theaters! It's sure to enhance your vocabulary and absolutely suck. (click the small posters to see their full-size versions) Spout Post: Re: Guess The Movie Quote http://www.spout.com/groups/Best_movie_quotes/Re_Guess_The_Movie_Quote/17/2229/1/ShowPost.aspx

Post By: PammyK
Post To: Best movie quotes
Post Date: 8/9/2006 2:41:48 PM
Body: The Fantastic Four ?
]]>Wed, 09 Aug 2006 18:41:48 GMTPammyKBest movie quotes8/9/2006 2:41:48 PMThe Fantastic Four ? Spout Tag:love http://www.spout.com/members/0/tags/love/MemberTagFilms.aspxlove
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]]>Mon, 18 Feb 2008 20:58:18 GMT332539Tag Spout Tag:Michael http://www.spout.com/members/0/tags/Michael/MemberTagFilms.aspxMichael
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]]>Sun, 23 Nov 2008 19:05:59 GMT91820Tag Spout Tag:garbage http://www.spout.com/members/0/tags/garbage/MemberTagFilms.aspxgarbage
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