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Fantastic Flops: Fantastic Four: Rise of the Silver Surfer is an undercooked mockery of some epic source material

Fantastic Four: Rise of the Silver Surfer

Even though the Fantastic Four comics kickstarted the creation of the Marvel Universe, their film adaptations have been critically maligned. In the “Fantastic Flops” series, I’m going back and re-evaluating the four previous Fantastic Four films and seeing if they’re a “Flop”, “Bop”, or “In-Between”.

Fantastic Four (2005) did okay at the box office so 20th Century Fox decided to run it back with director Tim Story, co-writer Mark Frost, and the whole cast from the first film, including Julian McMahon as Dr. Doom and Kerry Washington as Alicia Masters. Frost is joined by Simpsons and My Super Ex-Girlfriend writer Don Payne and John Turman, who worked on Ang Lee’s Hulk. In the second and final film in this franchise, they attempt to adapt the iconic Stan Lee and Jack Kirby stories “The Wedding of Sue and Reed” and “The Galactus Trilogy” while also being influenced by the more recently published Ultimate Galactus Trilogy by Warren Ellis and various artists. This latter comic is why Galactus is a mute, amorphous cloud and not the godlike being he’s depicted as in the 616 Marvel Universe. Throw in a subplot where Johnny Storm (Chris Evans) becomes the Super-Skrull plus an appearance of future Herald of Galactus/Nova Frankie Raye (An unamused Beau Garrett), and it seems like Fantastic Four: Rise of the Silver Surfer took some big swings across the board, especially for a movie with a 90 minute run time. However, it’s all strikeouts except for a few funny moments, a cool design for the Silver Surfer (Motion capture by Doug Jones ; voice by Laurence Fishburne), and Ioan Gruffudd finding his backbone in a badass monologue directed at General Hager (Andre Braugher in a thankless role) and taken almost word for word from Ellis’ Ultimate Extinction where Mr. Fantastic uses it to call out Nick Fury.

The initial setup of Fantastic Four: Rise of the Silver Surfer does have some merit. Reed Richards and Sue Storm (Jessica Alba) want to get married, but the world is about to end so they don’t live happily ever after. However, their relationship is built on “Men are from Mars, women are from Venus” stereotypes as all the “will they, won’t they” tension from the first film is gone, and they’re the default couple in this one. In addition to the weakness of this key romance, the characters’ individual motivations are wonky, and their arcs are non-existent. Of course, Johnny Storm wants to be a rich, famous celebrity, and Reed Richards wants to do science, which consists of him fiddling with things that look like Game Boys and Xbox controllers and staring at screens. (We’re one year away from Iron Man, and science looking cool again.) However, Sue Storm just wants to be a trad wife even though she was a genetics researcher in the previous film and shows skills as a mediator and leader in being the first person on Earth to actually have a conversation with the Silver Surfer. There’s also Ben Grimm (Michael Chiklis) who is in a stable relationship with Alicia, and his monstrous nature is played for laughs. He also doesn’t get a lot to do in the action sequences with Human Torch (Thanks to special molecular shifting abilities given to him by the Silver Surfer.) and Invisible Woman running point in that department, and Silver Surfer handling the final fight by himself. It’s an unfortunate waste of a solid performer.

Fantastic Four: Rise of the Silver Surfer

Another character whose appearance in Fantastic Four: Rise of the Silver Surfer is even more unnecessary is Victor Von Doom. There are a couple, hastily edited sequences of him in the shadows tracking the Silver Surfer and then getting his face healed after being zapped by the Herald of Galactus. And, then, Frost, Payne, and Turman take a page out of fellow Fox superhero sequel X2‘s playbook by having the Fantastic Four team up with their worst enemy against an even bigger threat. However, X2 succeeds because Magneto is a sympathetic figure with a genuine friendship with Professor X. The Fantastic Four films hinted at a friendship/rivalry between Reed Richards and Victor Von Doom, but these are just two guys who hate each other and stare at computer screens while Doom gets in the U.S. military’s good graces enough to test the power cosmic and fly around on a surfboard pointlessly extending the run time of the movie. Unlike both the original and Ultimate Universe Galactus trilogies, there’s no plan for taking on the Destroyer of Worlds other than having the Silver Surfer fly at him and sacrifice himself. (Of course, he gets better because studios have been trying to get a Silver Surfer film greenlit since Terminator 2 figured out the cool silver CGI effects.) They’re bullshitting so much that there’s no time for Richards and/or Von Doom to demonstrate their genius beyond a too little, too late appearance of the Fantasticar. Dr. Doom is mainly a boring distraction in the film, and we know even less about Latveria and his connection to them.

Fantastic Four: The Rise of the Silver Surfer is a moronic reflection of both the family dramedy and cosmic sides of the Fantastic Four comics. Tim Story and the screenwriters go for broad punchlines instead of fun character-driven humor even though there are some fun moments like Mr. Fantastic and the Thing cutting it up on the dance floor, or Raye roasting the Human Torch. On the cosmic side, Silver Surfer and Galactus feel like plot elements in a Roland Emmerich film not Biblical, Kirby Krackle larger than life figures although there’s a fluidity to Jones’ mo-cap performance and a majesty to Fishburne’s voice acting. Also, this might be a side effect of 17 years of the Marvel Cinematic Universe, but its world feels hollow and lacks a sense of wonder. Evans and Chiklis definitely had potential in the roles of Human Torch and the Thing, but were ruined by obvious punchlines and plot developments as well as one dimensional villains. Both Fantastic Four films suffer from Story, the screenwriters, and editors William Hoy and Peter S. Elliott not letting scenes breathe and letting us have a chance to know and love these characters. It really needed more scenes like Johnny Storm and Ben Grimm throwing darts (and accidentally burning the dart board) while talking about how they feel about the end of the world.

However, for all the movie’s failings, that John Ottman theme for the Fantastic Four films is pretty epic though!

Verdict: Flop

Fantastic Flops: Fantastic Four (2005) think it’s too cool for school, but it’s actually kinda lame

Even though the Fantastic Four comics kickstarted the creation of the Marvel Universe, their film adaptations have been critically maligned. In the “Fantastic Flops” series, I’m going back and re-evaluating the four previous Fantastic Four films and seeing if they’re a “Flop”, “Bop”, or “In-Between”.

Fantastic Four

11 years after the first Fantastic Four film was unceremoniously rushed out, 20th Century Fox put out the first proper theatrical film starring Marvel’s first family. Featuring a $100 million budget, a screenplay co-written by Twin Peaks’ Mark Frost and a cast of young, up and coming actors (Chris Evans as Johnny Storm, Jessica Alba as Sue Storm) and steady supporting actors/TV veterans (Ioan Gruffudd as Reed Richards, Michael Chiklis as Ben Grimm, Julian McMahon as Victor Von Doom), Fantastic Four hoped to bring these classic heroes into the new millennium. However, the end product is a film that is ashamed of being a superhero movie and cribs and scenes from the contemporary Sam Raimi Spider-Man and Bryan Singer’s X-Men film while lacking the former’s heart and the latter’s social conscience.

My main takeaway from rewatching the 2005 Fantastic Four film is its derivative nature. Like in Spider-Man, there’s a big superhero action scene on a bridge, but it’s just going through the motions and bringing the team together instead of creating tension in a heroic journey. Explosions, super powers, and special effects just happen willy nilly, and it doesn’t add to the four leads’ character arcs at all. Also, I hate to say this, but McMahon’s Dr. Doom is a defanged, Xerox of a Xerox of Willem Dafoe’s Green Goblin. The scenes where he takes out the board members who denied his IPOs lack the menace and freak factor of similar scenes in Spider-Man. McMahon’s best moments as Von Doom are when he’s looking at his increasingly scarred visage showcasing his vanity, and this is all thrown by the wayside when he puts on the sadly not-so-iconic Dr. Doom mask. Also, Julian McMahon uses a basic, robotic voice for Dr. Doom that makes him seem like a cheesy villain of the week and not the Fantastic Four’s arch-nemesis. Unlike Chiklis, who imbues his performance as The Thing with a gravelly physicality and vocal performance, McMahon loses his edge right before the big superhero/supervillain showdown.

Turning Victor Von Doom into a tech mogul instead of the magic wielding monarch of Latveria really homogenizes the character even though the Doom/Sue Storm/Reed Richards love triangle is a quick, immediate source of conflict. Fantastic Four could be a film about an immigrant trying to assimilate into the United States by being the ultimate capitalist, but Von Doom’s Romani heritage is absent while Latveria only acts as a punchline and a hook for a sequel. Unlike the 1994 Fantastic Four film, the Richards/Von Doom relationship is quickly dashed out through dialogue so director Tim Story can go back to showing off the film’s CGI budget by having Mr. Fantastic turn into a surrealist painting or having lots of “cool” heads up displays as Richards looks for a cure for his and his friends’ conditions. The Von Doom doing corporate espionage on Reed Richards angle definitely plays up his portrayal as a slimy capitalist, but at no time, I felt like Richards was one of the smartest men of the room. Honestly, he reminded me more of early 2000s/married Peter Parker than Mr. Fantastic, but sans quips. Gruffudd doesn’t even get to do a British accent to make the science speak sound better.

Fantastic Four

The main positives of Fantastic Four are Evans and Michael Chiklis’ performances as Johnny Storm and Ben Grimm. Even before he gains the ability to burst into flames, Chris Evan oozes charisma and nails the role of douchebag heartthrob. He objectifies women, but does it with a smile and a sense of humor, especially when he’s pranking Grimm. Director Story and writers Frost and Michael France wisely tap into the early-2000s extreme sports zeitgeist with Storm’s character featuring two genuinely fun snowboarding and BMX sequences to show him struggling with his powers before he gains control while still being a show-off towards the end of the film. The nu metal/G-Unit soundtrack and product placement overload date the film while also making it wistfully nostalgic. But what isn’t dated is Chiklis bringing an everyman charm to the role of the Thing as he nails both the sadness of the role as well as Ben Grimm’s sense of humor. He earns the “It’s clobbering time.” moment, and early scenes show a real friendship between him and Richards until the movie designs to drop it for the chemistry-averse Reed/Sue romance. (Also, Grimm would never trust Von Doom even if he bought him a heaping plate of pancakes.

In Fantastic Four, Tim Story, Mark Frost, and France don’t know whether they want the film to be a dysfunctional family drama, straight up superhero film, unlikely heroes sci-fi film, or a glorification of early 2000s celebrity culture. The film feels like a patchwork of scenes and tones before wrapping up with a decent action sequence and a coda that is an homage to Johnny Storm making the Fantastic Four sign in the Stan Lee and Jack Kirby comics as well as a very rushed-seeming proposal from Reed to Sue right as they show a little actual chemistry. But it’s too little too late, and I wish we had more scenes of the team spending time together instead of rushing after each other or being isolated in different rooms. (After they save the day, the Ben Grimm cure plot/superpowers being treated as a disease is conveniently pushed aside and sent back over to the X-Men franchise.)

Looking back, I think the reason I liked this movie as a pre-teen were the aforementioned X-Games tie-ins, onslaught of So-Be product placement, and the attractiveness of Chris Evans and Jessica Alba.

Will the appearance of heavy hitters like Galactus and the Silver Surfer in the sequel improve the film or make it even more annoying, you’ll find out on next week’s “Fantastic Flops” covering this film’s 2007 sequel Fantastic Four: Rise of the Silver Surfer. (Hey, I can do pre-credits stingers too.)

Verdict: Flop

Jessica Alba’s Sin City Select Action Figure is in Stores Now!

In 2004, Art Asylum made the first action figures of Jessica Alba for her TV show Dark Angel. Now, ten years later, Diamond Select Toys and Art Asylum have revisited the iconic actress for another figure, based on her role as Nancy in the Sin City movies!

With the newest installment in theaters, this all-new assortment of black-and-white figures is available now at comic shops and specialty stores, and we thought we’d show off Nancy in some new action photos! Sculpted by Jean St. Jean and possessing over 16 points of articulation, this figure can strike a wide array of poses, just like Nancy did on stage at Kadie’s Club Pecos.

Order your Nancy figure, along with Marv and Hartigan, at Diamondselecttoys.com, your favorite online retailer, or your local comic shop!

NancyGaslamp

Julia Garner Joins Sin City: A Dame To Kill For!

Julia GarnerJulia Garner has joined the cast of Robert Rodriguez and Frank Miller’s Sin City: A Dame To Kill For, which is now filming in Austin at Rodriguez’s Troublemaker Studios. Garner, an up-and-comer whose credits include Martha Marcy May Marlene and The Perks Of Being A Wallflower, will play a young stripper opposite Joseph Gordon-Levitt’s Johnny in the follow-up to 2005′s Sin City, adapted from Miller’s own graphic novel series.

Also onboard for Dimension Films’ October 4, 2013 release are Josh Brolin, Ray Liotta, Jeremy Piven, Dennis Haysbert, and Juno Temple, while Sin City vets Mickey Rourke, Jessica Alba, Michael Madsen, Rosario Dawson, Jamie King, and Clive Owen are returning.

Garner made her feature debut in Sean Durkin’s Martha Marcy May Marlene and nabbed roles last year in Wallflower and Not Fade Away. She recently hit Park City with Jim Mickle’s cannibal pic We Are What We Are, bought by eOne out of Sundance last week. Garner also stars as a young Mormon teenager in Rebecca Thomas’s Berlin entry Electrick Children, which Phase 4 Films will be opening theatrically this March and will next be seen in CBS Films’ horror sequel The Last Exorcism 2, in theaters March 1. She is repped by Authentic Talent & Literary Management and Sloane, Offer, Weber & Dern.