I remember hearing about this film early in 2014 and getting excited about it. For starters, it was a Burton movie that didn’t star Johnny Depp and Helena Bonham Carter, and it wasn’t a reimagining of anything (like Charlie and the Chocolate Factory or Sweeney Todd). But the defining factor that made me excited was the screenwriters, Scott Alexander and Larry Karaszewski. These two were responsible for writing what I think is Tim Burton’s best movie, Ed Wood. Sadly, it seems a lot of people aren’t aware of this film’s existence, which amazes me considering how big Tim Burton’s fan base is.
Shot gloriously in black-and-white, Ed Wood tells the tale of Edward D. Wood, Jr. (Johnny Depp), who has been called by many the worst movie director of all time. And given how his resume consists of movies like Glen or Glenda, Bride of the Monster and the movie that has been labeled as one of the worst movies of all time — Plan 9 from Outer Space — it’s easy to see why he was given that honor. While this film does take jabs at the guy and his movies, it doesn’t beat him up or make him look pathetic; by the end of the film, you’ll be rooting for him and feel slightly motivated.
Like a lot of biopics, this movie does take some liberties with real-life events. The script just focuses on the production of the three aforementioned films and nothing else. It portrays some of the people involved in a unpleasant light, the worst being Woods’ girlfriend and future songwriter Dolores Fuller (Sarah Jessica Parker). But I’m more than willing to ignore that, mainly due to what the story wants to do. This story is of a guy who keeps being told he shouldn’t make movies. People are constantly telling him his movie are terrible — at one point someone literally tells him that Bride of the Monsters is the worst film he’s ever scene. But Eddie keeps going. That’s what makes the film so strong: You cheer for Ed because, at one point or another, we have all felt like him before — especially those in the creative community.
A recurring subject in Tim Burton movies is the social outcast, and Ed Wood features that in more than one front. We of course have Ed who is an outcast not only his bizarre filmmaking but also due to a lifestyle he has. What is it? To quote Ed himself, “I like to dress in women's clothing.” The film doesn’t exploit it to make you laugh at him (granted, seeing Johnny Depp wearing an angora sweater is funny), but the comedy comes more from people’s reaction. The only time Ed is used as the butt of a joke is when his almost infinite optimism shines in on an inappropriate time. The film saying, “Yeah, he’s an odd duck, but there’s nothing wrong with it.”
A highlight of the film is the friendship Ed forms with the aging horror icon Bela Lugosi, portrayed by Martin Landau, who won an Oscar for his brilliant performance. He hopes that his newfound friendship with Ed (or Eddie as he calls him) will revive not only his stardom but the same love and passion he had for the craft back in the old days. Eddie ends up helping him in another way, but I won’t ruin it for you.
One of the best scenes in the movie after the botched premiere of Bride of the Monster is when Lugosi thanks Ed and tells him how great it has been. Ed replies with, “I just wish you could’ve seen the movie.” Lugosi goes on say that he knows it by heart, then the camera tilts up, making the background resemble a theater, and he recites a speech from the movie gaining an applause from some bystanders at the end.
The reason why this is one of my favorites is that it shows that even when go through dark times, we should still pursue our dreams. A quote from Orson Welles (portrayed by Vincent D’Onofrio, voiced by Maurice LaMarche in the movie) sums it up best: “Visions are worth fighting for.”
Ed Wood is an amazing film that more people need to see.
The Greater Cincinnati Film Commission continues to bring film shoots to the Queen City — next up is Andy Goddard's The Blunderer, starring Jessica Biel and Patrick Wilson. The film, based on the Patricia Highsmith novel of the same name, begins filming on Nov. 17 and will be shot entirely in Cincinnati.
Director Andy Goddard, who's worked on various TV shows and directed the upcoming Elijah Wood drama Set Fire to the Stars, will take on the 1954 psychological thriller by Highsmith. Another adaptation from the author, Carol, was filmed locally this past spring — it starred Cate Blanchett, Rooney Mara, Sarah Paulson and Kyle Chandler and was directed by Todd Haynes. It will debut sometime in 2015.
Producers from Carol are returning for the second time this year, giving major kudos to the city.
"We had a great experience in Cincinnati on our film Carol," said Christine Vachon of Killer Films in a press release. “The Film Commission, the rebate, locations, infrastructure and welcoming people of Cincinnati brought us back a second time within one year."
It also sounds like this will be another production that takes advantage of Cincinnati's historic architecture and temporarily puts the city in a retro time warp — filmmakers are looking for period cars from 1960 or earlier. To get involved with that, email firstname.lastname@example.org.
Additionally, they're looking for extras (send a headshot and email to email@example.com) and qualified crew (send resume to firstname.lastname@example.org). The Blunderer is set to film here Nov. 17-Dec. 21.
There is a giant leap being planned for one of Cincinnati's film festivals — one that could make it the city's pre-eminent such event and an impactful cultural occurrence.
The Cincinnati ReelAbilities Film Festival, which presents films that explore the lives of people with disabilities, will be announcing its 2015 schedule at an event next Thursday, Sept. 4, from 7-9 p.m. at Obscura Cincinnati, 645 Walnut St., Downtown. It's free and open to the public, but advance registration is requested at cincyra.org/event/obscura. The event is hosted by actor/performer John Lawson and Q102’s Jenn Jordan. After the announcement, the schedule will be posted at cincyra.org.
For its third installment in Cincinnati, which will occur Feb. 27 to March 7, 2015, the ReelAbilities Film Festival plans to significantly increase its scope and draw more than 7,500 people. Among the planned events are an awards luncheon, a gala and 30 film and speaking events throughout Greater Cincinnati.
While ReelAbilities has been around with festivals in 13 cities nationally, this will be the first since Cincinnati's Living Arrangements for the Developmentally Disabled (LADD) contracted with the JCC of Manhattan to oversee the film fest nationally — making it a division of LADD's non-profit operations. The Cincinnati ReelAbilities Festival will be one of the largest. A jury in New York selects films deemed appropriate for ReelAbilities' regional festivals — there currently are about 100. Local juries then make their selections from that library.
All of the film screenings benefit local nonprofit organizations that serve people with disabilities. For more information about LADD, visit laddinc.org.
It is only through an understanding of the undeniable facts of history that we can even begin to consider the evil that was Josef Mengele, the Nazi doctor who conducted the most horrific experiments on Jewish subjects during the Holocaust and then was able to elude the ensuing global manhunt for him that lasted decades. But writer-director Lucía Puenzo, in approaching one of the known episodes of his long-term flight from justice, offers a glimpse into the subtle charm (with more than a touch of real menace) of the man, which allowed him to roam the civilized world so freely.
The German Doctor finds Mengele (Àlex Brendemühl) crossing paths with an Argentinian family, and slipping through their defenses by focusing his attention on their young daughter Lilith (Florencia Bado), who develops a crush on the doctor. The family, headed by the suspicious Enzo (Diego Peretti) and his beautiful and quite pregnant wife Eva (Natalia Oreiro), is on its way to takeover the small hotel where Eva was raised.
Mengele, too, is headed to the same location and joins the family’s caravan. He immediately insinuates himself into Lilith’s good graces, speaking to her in conspiratorial fashion, treating her more as an adult than a child, which entices her rebellious nature. His interest in animal genetics piques her curiosity and leads her to ask the doctor for advice about her own physical development, since she, as a premature birth, has failed to grow and mature like her peers. Mengele gently tests, probes and measures her, offering assurances, especially to Lilith’s mother, who is worried about her current pregnancy. (And it turns out that Eva is to birth twins, which certainly intrigues Mengele and his nefarious interests in human genetics.)
All at once, Mengele uses each family member’s concerns to his advantage. Even Enzo, the most distrustful from the start, gets drawn in by Mengele, who invests in Enzo’s handcrafted doll-making enterprise, shifting the exquisite individuality and precise detail of Enzo’s efforts toward a more uniform production line approach incorporating what could have been a degree of heavy-handedness in this display of the Nazi’s master race mentality. Instead, it comes across as an example of chess-like manipulation of human nature in pursuit of an overall goal.
The seductive nature of evil is all the more powerful thanks to Bredemühl’s performance, which casts a strong dark shadow that never simply devolves into mere moustache twirling. His Mengele is all cold calculation, despite the fact that he could be mistaken for having a degree of human care and concern in him. Is he, in fact, truly infatuated with Lilith, or even Eva, for that matter? Enzo reacts out of what could be understood as jealousy for the attention Mengele shows to his wife and daughter, but again, history tells us that Mengele is all business.
This puts a certain perspective on the ability of the Third Reich to sweep a nation and much of Europe up in its fevered march toward domination and genocide. Popular culture representations hint at our curious fascination with such dark figures, but what emerges from those characterizations is a desire to remove any trace of human sensitivity or connection. Evil is best and most recognizable if there’s no way for us to miss its absence of heart and/or soul.
But could that kind of portrayal do justice to men like Mengele and Adolf Eichmann (Nazi officer and a major organizer of the Holocaust), who actively participated in such inhuman practices and escaped capture for so long, walking among us? We long to believe their lives were hellacious, in some way, as they were forced to constantly look over their shoulders while putting on a show or a mask of humanity.
The German Doctor presents a dry, yet far more likely scenario that highlights the indelible stain on all of us. Mengele is all too human, truth be told, eagerly pursuing his aims with an expansive network of support at the ready. He was not some lone predator outside the scope of civilized society, just as the Nazis weren’t a philosophical fringe group in Europe, ripping clumps of hair from their heads while foaming at the mouth; that kind of crazy we could have seen and avoided.
Think of all the evil geniuses we’ve encountered onscreen over the last 20 years. The Hannibal Lectors of film and television. The diabolical Jigsaw from the Saw franchise. Col. Hans Landa (Christoph Waltz) from Inglourious Basterds. What have they taught us? Evil ain’t crazy. Just watch (and watch out for) The German Doctor. (Opens Friday at Esquire Theatre) (R) Grade: A-
Cincinnati will serve as the backdrop for yet another film come spring 2014 as Director Todd Haynes shoots his upcoming film Carol around the city. Starring Cate Blanchett and Rooney Mara, the film is based on the book (also known as The Price of Salt) by Patricia Highsmith. While Carol takes place in 1950s New York City, the entire movie will be shot in Cincinnati.
This locally filmed movie is another win for the Greater Cincinnati and Northern Kentucky Film Commission, the organization that brought George Clooney, Ryan Gosling and other stars to Cincinnati to shoot The Ides of March in early 2011. And while #ClooneyWatch may be over now, there will be plenty of star-spotting when Carol production picks up next year. And come to think of it, #RooneyWatch has a nice ring to it…
Director Todd Haynes’ past work include 1998’s Ziggy Stardust-inspired glam Rock drama Velvet Goldmine and the 2007 Bob Dylan biopic I’m Not There — which also starred Cate Blanchett.
Highsmith’s 1952 publication was a groundbreaking piece of fiction as it deals with a lesbian romance, and the story bucked tradition in gay fiction by giving the couple a positive ending. It’s safe to say Blanchette and Mara will be portraying the lovers.
Follow GCNKFC for more updates on this and other films (including Emilio Estevez’ upcoming horse racing film Johnny Longshot, which begins shooting in Cincinnati next summer.)
It is impossible for fans of the classic horror film Carrie, such as myself, to not compare Kimberly Peirce’s new remake to its 1976 predecessor.
Brian De Palma made the original Carrie into a timeless, blood-filled revenge fantasy with his fresh and inspired take on the best-selling Stephen King novel. It is an iconic movie that explores the perils of religious fanaticism, the wonder of supernatural powers and the pain of high school cruelty. The original Carrie is just as heartbreaking as it is it horrifying, garnering the audience’s sympathy for the mistreated protagonist. Sissy Spacek made a damn good Carrie with her natural gaucheness and always frightened, wide-eyed gaze.
Chloe Grace Moretz, on the other hand, is — let’s face it — too cute and self-assured to be anywhere near convincing as the new Carrie. While talented, she lacks the believably awkward touch that Spacek brought to the character with both her appearance and superb acting. Additionally, one of Moretz’s most notable roles as the deadly Hit Girl from Kick Ass made it difficult for me to see her as a vulnerable victim (although it made her violent use of telekinetic powers more fitting). I continually questioned why the Carrie portrayed by Moretz was so outcasted, as she seemed normal albeit a little shy.
The portrayals of Carrie’s high school peers also fall flat. Chris (Portia Doubleday) is an underwhelming ringleader of bullies, not nearly as mean-spirited and malicious as in the original. In fact, her boyfriend Billy (Alex Russell) ends up running the show on tormenting Carrie come prom night, further weakening Chris’ role as a true antagonist. Sue (Gabriella Wilde) is Chris’ remorseful sidekick who has a change of heart and convinces her boyfriend, Tommy (Ansel Elgort), to take Carrie to prom.
She does this to make up for what happens in the infamous shower scene, during which Carrie starts her period without being aware of what is happening, fears that she is dying and gets teased by all of the other girls who throw feminine products at her and chant, “Plug it up.” The gym teacher, Miss Desjardin (Judy Greer), later lets the girls know just how rotten they are for what they did. Despite this, it is confusing as to why Sue would turn her back on Chris and forgo prom, something so important to her, due to the film not delving far enough into Sue’s personality or guilt.
Julianne Moore gives the only redeeming performance as Carrie’s mother, Margaret. With her unkempt hair and self-inflicted harm, she portrays a compelling religious zealot, tortured by her misguided ideology. Her abuse toward Carrie — slapping her and repeatedly forcing her into the prayer closet — is effectively disturbing. The added opening scene (Spoiler Alert) with her giving birth to Carrie and attempting to murder the newborn provides the audience with more of a background on her character than does the original. She cogently delivers the well-known and heartbreaking line, “They’re all gonna laugh at you,” foreshadowing the soon-to-be telekinetic massacre at Carrie’s helm.
I might have liked Carrie had I not seen the original, as the story stays true to the previous film and is still a haunting tale of abuse and its consequences. The movie is filled with clever religious imagery and is visually pleasing, especially during the massacre scene. However, the ill-fitted cast and lack of ingenuity on the director’s part ultimately disappointed me. While the new Carrie may seem like a fun and appropriate movie to watch with Halloween around the corner, it’s hardly worth the ten dollars it costs to see in theaters. Plus, the 1976 version is currently available on Netflix so there really is no excuse to miss out on the sheer brilliance of the original. Grade: C-
How many times have you found yourself with an idea that could change your community for the better? If you had an opportunity to make your idea a reality, would you take it?
These are two of the questions at the heart of the Greater Cincinnati Foundation’s Big Idea Challenge. The Foundation asked Cincinnati locals to submit ideas for improving their communities.
After receiving more than 200 entries, the foundation narrowed the contest down to 21 finalists in all, each with dreams of bringing education, culture, green living, wellness and thriving local business to the community.
CityBeat film critic tt stern-enzi is one such finalist. He hopes to launch WatchWriteNow, an after-school film club devoted to the development of critical thinking and creative writing skills.
“WatchWriteNow started thanks to my work as an independent contractor with Lighthouse Youth Crisis Center and a few Cincinnati Public School after-school programs,” stern-enzi writes in an email interview. “The impetus was to bring filmed content in to high school students, to let them critically discuss works that might be accessible to them in ways that subjects in the classroom might not be.”
stern-enzi hopes to improve education within the community by teaching film appreciation and the critical skills to express it in writing to local high school students. The concept is similar to an overseas program called Film Club UK, which was started by critics and filmmakers in order to bring film and critical discussion into classrooms — not just as an after-school activity but as part of the curriculum.
stern-enzi was inspired by his own high school AP English teacher, Cleve Latham, at the McCallie School for Boys in Chattanooga, Tenn.
“Mr. Latham let me talk about Blue Velvet after I saw it multiple times during its opening weekend back in 1986. To see a teacher grant that degree of respect and authority to a film, to allow an AP class to crack that ‘text’ open for analysis was the trigger for what has become not just a career path for me, but a real life's passion. And I want to be able to pay that forward for at least one of the students I encounter now.”
Now through Sept. 27, the foundation is asking the public to vote for their favorite Big Idea finalist. One winner in each category — Strong Communities, Cultural Vibrancy, Job Creation, Environmental Stewardship, Educational Success, Health & Wellness and Economic Opportunity — will be chosen based on the number of votes received.
“This can't be accomplished without community involvement,” stern-enzi writes, “which is why the voting format for the challenge is so exciting. If we want projects like this as part of the Greater Cincinnati landscape, we must be prepared to support the foundational efforts to get them off the ground.”
The winners of The Big Idea Challenge have plenty of resources to make their dreams a reality.
In addition to cash prizes of $500 to $1,000, the foundation will also find a nonprofit organization to implement the seven winning ideas and provide grants of $5,000 to $50,000 to spring the ideas into action.
One of the finalists will also be selected to receive a grand prize, contributed by the members of the Foundation's governing board.
Voting for The Big Idea Challenge wraps up Friday, and winners will be announced in October.
There is a story embedded in this review. Maybe, in fact, this isn’t a film review at all, just a story, several stories, like little assignations – drawing a reference there to a Joyce Carol Oates collection of short stories that triggered in me a desire, for the first time in my adult life right after college, to pick up the proverbial pen and write. The Assignation assembled pieces that were brief, sometime no more than a paragraph long, but even the shortest of the shorts told so much, too much about their subjects.
And that is what Sarah Polley, the Canadian actress and now writer-director, whose documentary Stories We Tell is ostensibly the focus or subject here, has done; she has spun the most amazing and haunting of stories about (and with the assistance of) her family and a secret that had remained unspoken for so long among them. It seems Polley’s mother Diane, an actress and later a casting director in Toronto, married Michael Polley, an actor and writer, had three children – Sarah being the third – but this bright and passionate woman found herself seeking a love that matched her own. Failing to do so within her marriage, she stumbled headlong into an affair, while working on a play in Montreal, which produced Sarah.
Diane and Michael resumed marriage life after the end of the show and raised Sarah together until Diane’s early death in the late 1980s. Sarah was approximately 11 years old and left to grow up in the loving comfort of Michael Polley, but thanks to a series of family jokes about her parentage, Sarah, began a quest to discover the truth about her father. Stories We Tell, built on the framework of frank interviews with her siblings and Michael, along with extended family, friends, and fellow artists from those early days, captures her telling of this story of the surprising revelation and its impact on everyone involved.
What is the story, her story, but a collection of memories, fragmented perspectives on the truth? It is a thing of intriguing beauty to watch unfold, raw and honest, but always, in every moment, calling into question, the notion, the very idea of truth. What is the truth?
No one lies; they tell what they can, from their point of view, but the truth, as we find out, is not something that one person can know, not without being privy to all other points of view. And when we tell our own stories, we are never as truthful as we might hope or desire.
But what Sarah has done is wrestle with the impossible. Her aim was to corral as many angles as possible, to tell the truth – the whole truth and nothing but. Although for all her effort, Stories We Tell falls short, in two ways.
We discover, along with Sarah, who her biological father is beyond a shadow of a doubt (thanks to DNA testing), and she works in not only his perspective but also that of his daughter from another relationship – another half-sister for Sarah who already has half siblings (a brother and sister) from Diane’s marriage prior to her union with Michael as well as another half-brother & sister set from Michael. It is all rather confusing to document here, but the film grants each one of them their own time to speak and breath as more than mere characters before us.
But we never hear from Diane. She is the hole at the center of things, the voiceless presence that looms large, so large that the film nearly tricks us into believing that we have heard from her. We want to and our desire is so strong that we, along with Sarah maybe, convince ourselves that we have her from her. There are so many images – photos and video – of Diane that dance before us and tease us with thousands of unspoken words.
And in the same way, it could be argued that we never get Sarah’s real story either. Her meticulous focus on gathering so much from so many allows her to disappear. I don’t believe that was her intention, but still, it is the result.
How do we tell our own stories?
I have returned, again and again, to a quote from Roger Ebert’s memoir Life, Itself, which I picked up about six months ago and read before his death. Speaking of advice he received once he took on the assignment of covering film, by way of Esquire critic Dwight McDonald and Pauline Kael: “I go into the movie, I watch it, and I ask myself what happened to me.”
What happened to me, while watching Stories We Tell?
I found it difficult to separate from the story, which for me, was a focus on fathers and fatherhood. Like Sarah Polley, I grew up without knowing my biological father. That’s not quite true. Unlike Sarah, I knew who he was, but he wasn’t involved in my life and there were periods when I considered seeking him out. There have always been people close to me who knew where he was and would have assisted me in the search, but I always found reasons to back away from the quest.
At one point, I hatched a plan. I started a novel about the experience of finding him. My fictional telling was rooted in the idea of creating him from the snippets of anecdotes and traits I had been told over the years. Once the book was completed, I would track him down and compare notes, see how close I had come to realizing him on the page. I got about 13 chapters and pages and pages of notes into the project, but set it aside. That was almost 20 years ago and for the life of me, I’m not sure what put me off that time.
Two years ago, I finally accomplished the mission, driving down to North Carolina for a meeting, which lasted all of 30 minutes. He told his story, as best he could, in a breathless rush that led me to believe that he realized this would be our only meeting face-to-face. I sat and listened. I stared into his face. And now, as I sit here relaying the story, there’s not much to tell. I don’t remember much of what he looked like. I can’t say that I found myself in any of his features. I do remember him saying that God brought me to him. He said it several times, but the truth, my truth at least, is that God had nothing to do with it. I came, I saw, and I returned to the only story that mattered.
This story was originally published on tt stern-enzi's blog, here.
What can I say about a man I never met, but who had been part of my life for decades? I, seemingly like a whole generation of film fans, watched Siskel and Ebert back in the 1980s, and then graduated to reading his reviews in the Chicago Sun-Times during my college years. Every Friday morning, I made my sojourn to the Annenberg School of Communications library and collected the Sun-Times, the Philadelphia Inquirer, the Village Voice, and Variety so that I could prepare for the weekend’s new releases. I didn’t always go to the movies, but I wanted to know what the critics thought, which meant I wanted to know, first and foremost, what Ebert thought. I didn’t always agree with him – many times, in fact, I was flummoxed by his wrongheadedness – but reading his take was a necessary and very personal prequel to the filmgoing experience.
I’ve been a working critic now for almost 13 years, and for the last seven I’ve also taught film review and feature writing classes at the University of Cincinnati. I never imagined I would be working in the same field as Ebert, even while I was taking undergraduate level class that examined film as text. I simply loved movies. Always have and always will. I know that last part will be the case thanks to Ebert. His love of the movies evolved as the form and critical analysis experienced their own growing pains. He made us all critics, by opening up an exchange that now, thanks to the Internet, has a global forum. What has been most inspiring about his work and approach over the last decade is his willingness to embrace technology as a means of broadcasting that very singular voice of his, overflowing with knowledge, but also immediately accessible. His sense of the need for accessibility is the greatest and most lasting impact he will have on criticism. It is what can and should continue to guide the would-be critics to come – the next generation of bloggers, tweeters, and those adherents to whatever is to come.
More established critics and writers have stories about meeting Ebert, spending time in his presence, what have you. My remembrance of the man is different. I’m one of those Johnny-come-lately types who “knew” him from afar. I’ve attended the Toronto International Film Festival for the last four or five years, and I recall, my first Ebert-sighting, about three year back. He and his wife were ahead of me on the escalator at the downtown multiplex space that serves as the main screening hub. They were engaged with others, talking very likely about the upcoming screening or maybe he was thinking about the Twitter event he was scheduled to host. Whatever was the case, there he was, despite all those years of globetrotting and a dizzying collection of screenings, still so full of life and joy for the festival experience. I didn’t need to speak with him or even be near him. Just to know he was there, doing his thing, seeing movies, helping us to engage with them by any means necessary, was more than enough. I looked for him each year after that and was always glad when I spotted him. I’ll likely do the same thing this year and I won’t be surprised if my mind plays a little trick on me and I convince myself that I’ve seen him again, roaming about Toronto somewhere.
This story was originally published on tt stern-enzi's blog, here.
As a long time Thor fan, this movie has been on my calendar for months. Going into The Avengers I was excited but tried to keep my expectations from getting out of control. Fortunately, I didn’t need to do that because the movie is that good. A lot of that credit has to go to writer/director Joss Whedon. Some of you might recognize the name because he created the television shows Buffy the Vampire Slayer and Firefly.
The movie could have fallen apart from the beginning with so many big characters — both figurative and literally speaking — on screen at once. With Iron Man, Thor, Captain America and Hulk taking part in the story, any number of things could have gone wrong. Characters could have been underutilized — having four strong stand alone characters could have made them feel not like a team at all — but in the span of just a few hours, Whedon and company have created a giant leap for comic book fans and movies.
Whedon was the right person for the job because, based on his past work, he knows how to generate great characterization and interaction. He knows how to tell a story through the characters and not through the special effects, which was needed in a situation like this. Whedon, the other writers and the actors were able to make these comic book characters more human, so to speak.
The interactions between Tony Stark/Iron Man (Robert Downey Jr.), Captain America (Chris Evans), Thor (Chris Hemsworth) and Bruce Banner/Hulk (Mark Ruffalo) were some of the best moments in the movie. Some of my favorites were Stark poking Banner to see if he will Hulk up, Thor giving a great one-liner about his brother Loki and Stark verbally sparing with Loki toward the end of the movie.
The story is simple enough: Loki (Tom Hiddleston) wants to take over and rule Earth and the Avengers have to stop him. The major battle doesn’t take place until the end of the movie, but then again it does take up the final 30 minutes or so.
With Loki as the main villain in the movie it helps to have seen last year’s Thor. It isn’t a must to but it does help set up the relationship between Thor and Loki. Watching all of the individual movies helps with understanding some of the character traits in The Avengers, though the last the two Hulk films don’t really do much for the character except see him smash through tanks and cities.
While Iron Man, Thor, Captain America and Hulk are the main heroes, there is a strong supporting cast around them. Scarlett Johansson is Agent Romanoff/Black Widow and Jeremy Renner is Agent Barton/Hawkeye, both agents for S.H.I.E.L.D. Clark Gregg returns as S.H.I.E.L.D agent Phil Coulson, and How I Met Your Mother star Cobie Smulders is Agent Hill. The guy who brings all of these characters together is Nick Furry, played by Samuel L. Jackson.
Tom Hiddleston is terrific as Loki. He is sinister, brutal and devious — after all, he is the Norse god of mischief, deceit and lies. I hope he returns in some fashion in the next Thor movie or the next Avengers. Robert Downey Jr. is back to his witty, sarcastic ways and he has some of the best lines in the movie. Mark Ruffalo is able to finally bring some credit to the Bruce Banner/Hulk character.
The Avengers is a great way to kick off the summer movie season. It combines wonderful action sequences, well done comedy and heartfelt drama in the span of 142 minutes. Whedon was a perfect fit for this movie because he understands character and doesn’t rely on flashy explosions like some directors. If you like flashy explosions there are a decent amount in The Avengers but there is also some of the best character development/interaction I’ve seen in a Marvel movie.