Many of the current generation of filmmakers can be given credit for changing the game for comic book adaptations by giving the genre careful attention to writing, casting and direction. For these filmmakers realize that a movie does not have to be a drama or romantic comedy to be taken seriously. The same applies to film serials from which George Lucas based both the Indiana Jones and Star Wars series.  J.J Abrams is a near emulation of legendary director/producer and occasional writer Steven Spielberg, one of the earlier directors to make adventure films on par with “serious dramas”.  Abrams is currently going where no man as gone before by helming entries in both Gene Roddenberry’s Star Trek and George Lucas’ Star Wars. 

On October 30, 2012 Lucasfilm merged with the world’s largest media conglomerate with swift signatures from visionary George Lucas and former Warner Bros CEO and now Disney Chairman Alan Horn.  Of course the most anticipated project expected from these studios is Star Wars Episode VII. Veteran producer Kathleen Kennedy leads Lucasfilm; and she has been attempting to sway director J.J Abrams to the dark side (pun intended) since Disney’s acquisition of Lucasfilm.  Initially Mr. Abrams responded to rumors as the next director of Star Wars, by stating that he would rather view the film as a fan and audience member, rather than crafting his won vision.  Now with J.J Abrams onboard the Internet is on fire with reactions from moviegoers and hard-core fans alike. 

Overall the response to J.J Abrams being hired is positive.  There are some people that are truly concerned about Abrams’ involvement and there are the usual suspects known as Internet trolls that are cherry picking away at any supposed flaws in Mr. Abrams’s work. In regards to the latter entity there have been posts about Episode VII ending as a dream that was shared by stranded people on an eerie island.  Of course this is a poor quip and referencing the anticlimactic and unsatisfying conclusion to the television series Lost.   I will be the first to admit that I was not a fan of Lost, save for the first season.  Yet Super 8, Mission Impossible III, Alias, Fringe, and 2009’s Star Trek are more than enough on his cinematic resume to make me a believer.

J.J Abrams is stellar at executing proper exposition and character direction.  He knows how to literally and metaphorically position characters in situations that will propel the action.  Abrams is not alone in this endeavor, for series veteran Lawrence Kasdan (writer of Raiders of The Lost Ark, The Empire Strikes Back) is back to write Episodes VIII and IX.  And he is an advisor on Episode VII. 

Academy Award winning writer Michael Arndt (Little Miss Sunshine, Toy Story 3) is currently writing the yet to be formally titles Episode VII.  Arndt has been extremely busy after the third Pixar film about toys that secretly come to life while their owner(s) is not looking.   His screen plays for Oblivion and The Hunger Games: Catching Fire will be on screen this year, so now his focus is fully into the force.   I am not sure if Arndt is a long time fan of the saga, but his originality and ability to stay true to the original source material is impressive.  

Will Abrams also direct Episodes VII and IX?  It is a possibility since he can alternate between shooting Star Trek and Star Wars entries.  The certain-to-be-good Star Trek Into Darkness hits theaters this year and after publicity for that film ends he is going to need to start pre-production for the planned 2015 release of Episode VII.   But if Abrams does not return, I am sure that Kathleen Kennedy will get a suitable replacement, with the possibilities being endless.  Perhaps Kennedy can court Brad Bird or Jon Favreau if Abrams does not return.   

Considering the now numerous and possibly exponential number of future movie franchises, one of the most discernible characters in movie franchise history was oddly named after an ornithologist named James Bond.   For author Ian Fleming ironically wanted the blandest name possible for a personality that would be depicted in 23 official films, 2 unofficial films, 12 official novels, 2 sets of official short stories, and 30+ post Ian Fleming novels and short stories.   Cinematic Impact explores the origins and future of the most debonair European in fictional history.   

Ian Fleming

The military often places people in charge of personnel, equipment, and operations at an age so young; that those person(s) are often not old enough to legally enjoy an alcoholic beverage while on liberty.   Although well beyond the legal drinking age in 1941, then 33 year-old Lt. Commander Ian Fleming spearheaded and led an intelligence plan known as Goldeneye.  Operation Goldeneye was a concentrated effort by British Naval Intelligence to eavesdrop on the Spanish in case of their defection to the Axis Powers.    Lt. Commander Fleming also led an espionage effort that gathered tons (literally thousands of pounds) of intelligence that would subsequently be used in the Nuremberg trials.   Fleming accomplished all of the aforementioned escapades with only three years of military experience. 

While Fleming never physically participated in any human intelligence operations, his experiences greatly influenced his journalism and literary career.  He once attended an intelligence seminar in Jamaica, and decided that this would be his home.    Dubbed “Goldeneye” the Fleming estate was where the first 007 novel was penned.  Although Casino Royale would not have a “proper” film adaptation until 2006, the 1953 novel received rave reviews despite being written only over a two-month window.   From a retrospective observation, it is fitting that producer and United Artists executives thought audiences were not likely to respond well to the plot of 007’s first outing.   Casino Royale featured vast amounts of character development and subdued exposition that may have gone over as a good stand-alone movie, yet not an attractive first entry to a movie series.  Although Dr. No was also devoid of gadgets and abundances of action scenes, Fleming’s debut novel did not have secret lairs and numerous attractive females for Bond to go into pimp mode to acquire.   Instead a significant novel featured Bond going through numerous permutations in his mind to bankrupt the main antagonist, while fighting off his attraction for the lovely yet slightly naive Vesper Lynd.   The one thrilling action sequence (involving a car-chase leading into a gut wrenching torture scenario) would not have been enough to make audiences return to theaters for another 007 film.  The 18-49 male demographic needed more escapism and Dr. No fit the bill more accordingly.  

Bond in literature and film.

Although American actor Barry Nelson was the earliest to portray 007, the camera panning to a somewhat muscular 6’2 Scottish actor lighting a cigarette and smoothly articulating the words “Bond, James Bond” sitting across from the beautiful Sylvia Trench in Dr. No was the world’s first bona fide introduction to James Bond. Connery would play the lead for five straight films and return twice for Diamonds are Forever and the unofficial Never Say Never Again.   Until Daniel Craig emerged 44 years later, there was minimal debate over who was the best spy to don a designer tuxedo.  The first three films Dr. No, From Russia with Love, and Goldfinger are considered masterpieces and Thunderball is so popular within the studio, that executives have considered remaking the film on numerous occasions.   Connery’s one time successor George Lazenby was the lead for the marvelous On Her Majesty’s Secret Service.  Director, producer, and writer Christopher Nolan has cited On Her Majesty’s Secret Service as his favorite Bond flick and the helicopter raid to save Bond’s future (yet tragically ephemeral) wife certainly inspired the climax of Inception.   Unfortunately Critics and audiences were not terribly fond of Lazenby, and even though he did not desire to return as Bond, his performance is still negatively critiqued.  

Roger Moore bought his trademark smirk to the series in the 1970s and the films evolved into slapstick-ish humor mill rather than true espionage.  Although Moore was convincing, only The Spy Who Loved Me was considered effective.   Octopussy is infamous for not only having a title that belongs in an aquatic edition of Playboy, but for having Bond dressed as a clown running around a deranged circus circuit for a large portion of the movie.   Moonraker has absurd plotting, Live and Let Die had memorable set-pieces yet was ultimately a blaxploitation film,  For Your Eyes Only was ..meh, and A View To A Kill is the lowest rated 007 film on rottentomatoes.com .  The 39% of critics that gave A View To A Kill a favorable review must enjoy seeing a nearly stark naked Grace Jones escaping on a mining cart.  

Timothy Dalton was considered to take over as Bond after Sir Sean Connery, but felt that he was too young for the role.  Dalton reconsidered in the late 1980s and starred in The Living Daylights and License To Kill.   Both films were darker in tone, yet the world was not ready for a non-campy Bond.  Dalton’s presence was austere and the classically trained actor was not quite the correct fit for the role.  Pierce Brosnan was an improvement in the portrayal spectrum but aside from the impressive GoldenEye and the hit and miss Tomorrow Never Dies, his outings were plagued with unnecessary gadgets and other ill contrived macguffins; such as exploding pens and invisible cars.   While writing this article I noticed that Die Another Day was being broadcasted.   The films over use of bright lighting, villains in ridiculous make-up and poor scripting makes one regrettably reminisce of  Batman Forever and Batman & Robin.  

The incredibly insipid website danielcraigisnotbond.com is still active today.  Established after the announcement that the Road To Perdition and Munich co-star would be the lead in the series, the site is dedicated to proving that Daniel Craig is too short, blond, and non-suave to be James Bond.  This is incredibly ironic since his remarkable debut in 2006’s Casino Royale fans on this site have voted him the best bond.   Along with Batman Begins, I personally believe that Casino Royale is the archetype reboot.   This film featured steady pacing, traditional stunt work, and seamless action scenes fueled by practical effects over cartoonish CGI.   Also all of the aforementioned attributed of the 2006 film would not have been possible for adaptation in the 1960s.  In regards to Craig’s acting, he was the first Bond actor to receive a BAFTA nomination and Roger Moore predicts that Craig will be considered the best 007 ever once Craig retires from the series.  The 2007-2008 writers strike plagued the uneven but still ambitious Quantum of Solace.   To make matters worse MGM went bankrupt and left main distributor Sony Pictures in a very precarious place.  Without going into specific, a near perfect Bond film was made despite the odds just in time for the 50^th anniversary of Ian Fleming’s creation.  

Skyfall review

There is a unique style when it comes to a James Bond film and when I say the term Bond; I mean it with capital ‘B.’ - The impeccable Daniel Craig as James Bond is back. And, this time, he’s back with vengeance and to proof to us all that he does deserve to sport in all those classy suits and save the world from the hands of the most dangerous villains, performs his role as Bond, Mr. Craig, in my opinion, always stays tight in the frame, with ready-to-go attitude and a sense of unique discipline as an actor. The perfect Bond of our era and the mind wonders at times, who else is going to step in and win our hearts as the new Bond once Mr. Craig’s contract nears its expiration with the studios, who has two more films, which are respectively deserved for his respective name after the recent immaculate, artistic, sapid and edgy Skyfall.

Helmed by the talented Sam Mendes (American Beauty, Revolutionary Road) ardently and written by James Bond veterans Neal Purvis, John Logan and Robert Wade, Skyfall, is the daring act of Mr. Mendes, for the film marks the filmmaker’s first ever dive into the genres known as action/thriller. Oh, and it’s not small as we all know; a world that Mr. Mendes has never attempted to experience floating in its atmosphere before. But, Mr. Mendes as the professional and as the true auteur handles the situation professionally. He’s consecrated his time and attention to bring the best Bond film ever. And, he, in fact, does with a style. Skyfall is the 23^rd Bond film, canonical, as it should be. Perhaps it’s that rule that Mr. Mendes was eager to follow in order to succeed.

What makes Skyfall unforgettable and perhaps one of the best Bond films of all time is that it deals with human drama; the emotion and sentiment. Bond weeps, and feels distant as much as we feel close to his emotions, for we comprehend here who really Bond is finally. The dark past and a future that is uncertain. Besides, the well-structured and compelling film-making of Mr. Mendes, Skyfall is stylish, pure magic and yes, powerful and too sapid and sagacious due to its magnificent cinematography by Mr. Roger Deakins (No Country of old Men). To compose the score and introduce the film in even more artistic manner, Thomas Newman’s work as the composer makes one feel to shed tears for its sheer beauty and darkness. And, not to forget the powerful and glorious theme song performed by Adele, which completes the perfection of this Bond film.

The performances by the entire cast are ardent and convincing; not only by Daniel as Bond and Javier Bardem as the villain, Silva, who by the way once again surprises us all. He proves that when it comes to limn a character twisted in nature, Mr. Bardem dares to step in the frame and challenge his director and fellow co-stars. Skyfall is that gunshot of Mr. Mendes that my skin is still feeling its heat. Perhaps it will keep my skin warm forever as the bar here has been set too high.  My wife purchased the 50^th Anniversary Blu-Ray set as a gift to celebrate my eighth anniversary in the United States Navy.  I am waiting eagerly to slide Skyfall into its reserved spot in the Blu-Ray set.  

Would Ian Fleming Roll Over In His Grave?  

I would like to apologize in advance for if at anytime in this article I appeared to be overreaching my grasp.  For I primarily intend to revere the world’s longest running film franchise, yet discuss the state of society.  Film, regardless of the genre is a reflection of society.   

After reviewing as many articles and excerpts from Ian Fleming biographies, I have not found evidence that any of Ian Fleming’s significant acquaintances were non-white males.  With this in mind is it reasonable that a black man (or other minority) could portray the world’s most famous fictional spy?  I bring forth this question because series producer Barbara Broccoli has approached British actor Idris Elba about possibly taking over the series.   Before I go deeper into the controversial subject of race,  I would like to further discuss the impact of Ian Fleming’s writings on the world.   I saw my first James Bond film on Turner Broadcasting Station during one of its many Bond marathons.  The film was The Spy Who Loved Me, and although I would later enjoy the Sean Connery films more, this was Roger Moore’s best outing.   I viewed a world (with the annoyance of commercial interruptions) that featured a man with the lifestyle and occupation that fulfilled many male’s fantasies.  Expensive/sophisticated cars, finely tailored suits, and droves of temptresses of all nationalities originated from Ian Fleming’s 14 novels and 9 short stories.    It was not until a fellow serviceman suggested that I read the novels, that I gained a true appreciation for the Bond character and Ian Fleming’s experiences as an intelligence officer and journalist.  As I expected the novels are darker and introduce an emotionally scarred man that despite being brave in the face of tumultuous situations, is vulnerable to the simplest yet most powerful emotion:  Love.  The reader was also placed in the minds of villains such as Le Chiffre, Blofeld and Auric Goldfinger.  Decent writers such as Raymond Benson and Sebastian Faulks have penned good but not so memorable entries into the spy series.  Only Robert Markham’s Colonel Sun has garnered acclaim equal to the original 14 novels.   Multiple award winning writer William Boyd is set to author the next bond novel.   Considering all of the talent that has been pushed into the world of 007, will Elba be able to transcend the inevitable backlash and deliver?  I (and probably most others regardless of their race) think yes.  But isn’t Bond of Scottish and other white  European decent?  Didn’t Ian Fleming base Bond’s physical attributes off of himself and other Anglo-Saxon males?   Even if Elba nails the performance will the continuity and Feng-shui of the series be forever tainted?    My playing devil’s advocate does not nearly scratch the surface of the controversy that this could possible cause.  Danielcraigisnotbond.com and other sites would evolve into a hub for truthful and racist remarks.  For some could honestly feel that Elba is not right for the role.  

I recently unsubscribed from two Facebook pages because of uninspired comments about Idris Elba.  What I define uninspired as focusing solely on the color of his skin rather than his physical presence on screen and acting ability.   Take for instance the Facebook page:  We Want Idris Elba for James Bond.  I did not leave the page due to racist internet trolls.  On the contrary I left because people of my race criticized Daniel Craig’s ethnicity just because they wanted to see a black James Bond.  I am all for Idris Elba, but not at the expense of reverse racism, which included comments about Craig being a good actor but a time for over throwing “the man”.   The second Facebook page I left was of the more traditional racist genome.  I unsubscribed from Bond 24 &25 because of the comments that said that blacks couldn’t do this, that and so on.  Come on give the brother a chance…pun intended.   The right British accented actor should be able to adjust his expensive Tom Ford tie on screen after dispensing of a bad guy with his Walther PPK.   Of course I am being subjective and I could bring up many more sociological evidence of why this would or would not be beneficial to cinema and society but that is reserved for my graduate studies at The University of Oklahoma.  But I will say that it is time for minorities to build and institute their own crafty drama, spy, crime (or anything that does not involve the words Tyler Perry’s) film for the sake of cinema.

Elba has received some unreasonable scrutiny for portraying a Norse god in the film Thor.  Of course most fans loved his short but rather pointless role due to his acting.   However change is never truly accepted by the populace.   Mr. Elba has proved his acting range in the HBO series The Wire, Prometheus, American Gangster.   The upcoming Pacific Rim does not look too shabby either. 

John Logan and the future of 007.  

John Logan is taking over as lead writer of the Bond series.  For over a decade Robert Wade and Neal Purvis were the duo (Paul Haggis was the third partner in crime for Casino Royale and Quantum of Solace) that placed Bond into three act structure.    Now the Skyfall alum and RKO 281, The Aviator Gladiator and Hugo writer will script Bond 24 and Bond 25.   Initially the Hollywood reporter stated that the next films would be a two part entry, but Daniel Craig has said that he is doubtful of the authenticity of this news.  Nonetheless Sam Mendes as assisted in developing the story for Bond 24.  It is uncertain if Mr. Mendes is returning to direct but Barbara Broccoli and Michael G. Wilson are certainly not about to take a step back in finding the right director. 007 and general movie fans would certainly like to see Mr. Christopher Nolan take a shot at the 50 year series, but even if this great director does not sign on, the possibilities are exciting.  

THE GREAT GATSBY

Artist Francis Cugat worked as a set designer on approximately 68 Hollywood productions over his eight decade lifespan.   However in the tradition of many artists he is most famous for one acclaimed work:  The original 1925 jacket art for F. Scott Fitzgerald’s The Great Gatsby.   Due to the cover being completed before the novel, Fitzgerald incorporated physical traits from the cover art into the novel.  The cover is quite simple yet paradoxically filled with great detail.   The beautiful oval shaped eyes and full lips of a pretty but saddened woman are superimposed on the dark blue Long Island sky.  

In regards to the blinding lights towards the bottom of the cover art, Baz Luhrmann’s upcoming 2013 adaptation of this 87 year old novel seems to be more style than substance.  This was expected when its budget of 125 million was announced over a year ago.  Leonardo Dicaprio is reportedly not asking for a salary to support production needs.   The trailers display that Luhrmann’s movie has a beautiful cast and production design.   The roaring 20s have never looked better, and although I still do not understand the need for 3D, the aesthetic effort will be much admired by audiences and critics alike. 

Now the question arises:  Will the above the line production (directing, acting, and writing); match the below the line production (cinematography, set design, and visual effects)?  

Dicaprio has become one of my favorite contemporary actors since the late 1990s, and he will easily make an entertaining and debonair Jay Gatsby.  Dicaprio’s long time friend Tobey Maguire will play narrator and reluctant understudy of Gatsby’s Nick Carraway.   Supporting actors and actresses Carey Mulligan, Joel Edgerton, and Isla Fisher all look up to the task.  

There have been six (including the 2013 movie) American film adaptations of The Great Gatsby, and numerous American and Korean television adaptations.  Allegedly, the film that remained the truest to the novel was the 1928 silent film that is now  considered a lost film.  Only a 1 minute trailer remains at the United States National Archives.   The trailers have shown that Luhrmann’s version does at least make attempts to show more of Gatsby’s life before he became a prohibition defying millionaire playboy.  This pertains to insight into his WWI adventures and his mysterious (possibly non-existent) family.   I am hoping for more “falling action” (a fourth or possibly fifth act) in the film than in the novel, to satisfy the audiences’ fascination of character that was meant to die tragically due to the residual effects of his actions.  

MAN OF STEEL

Finally a Superman movie where Superman is not a dead-beat dad or battling a giant rock as the climax is hitting theaters.   The trailer shows that Superman’s flight is graceful yet can be dangerous to bystanders.  The ground cracks and trembles during his self aided take-off.  He breaks the sound barrier numerous times passing through the ionosphere, troposphere and stratosphere.  Considering these incredible aforementioned abilities, there is no doubt that the world would be initially terrified of such a being.   Superman would be tracked and hunted by swarms of AirForce F-22 Raptors and surface to air missiles. He would be treated as a bogey in our free skies and an imminent threat to our homeland security,

Zack Syder, David S. Goyer and Christopher Nolan are the director, writer, and producer respectively of Man Of Steel.  This team, lead by Snyder will display how Superman would fair in the modern world.  No matter what the time period his arrival would be treated as an alien invasion.  And the Kryptonian, no matter appearing as Clark Kent or the world’s most powerful superhero is nonetheless an alien.

The iconic suit has been dramatically changed and rightfully so.  I argued with a fellow Sailor that the futuristic industrial design is necessary to remain intact during supersonic flight and reentry into the Earth’s atmosphere.   I guess the darker red and blue colors are not appealing to all. 

This may not be news to many as the concept has been circulating the rumor mill as of the summer of 2012, but Jon Chu has been slated to direct a Masters of the Universe reboot. Considering that the film is still in its script stage and entirely lacking a cast, much could change in the time to come. Projects like these are fragile entities that can be shelved in the blink of an eye, especially if not yet green-lit. However, Sony has been talking with Chu actively about this reboot and thoroughly to the point that Chu has had limited insight to share about the brainstorming process shared with Sony. My complaint could be a moot point but I still feel inclined to get it out there in case if anybody with production power feels a need to take notes and set the wrongs to rights.

Before I go on my tangent, it helps to educate the unwary as to what the hell is Masters of the Universe. If you enjoy reading the details, I can summarize it as being about a prince name Adam who moonlights as a sword wielding badass in the land of Eternia. Adam was entrusted with a sword that harbors ancient powers to change his wardrobe into something Conan the Barbarian would likely raid and morph his pacifist feline into a shit kicking super tiger. While transformed, Adam assumes the alter ego of He-Man, numero uno hero guy. He challenges evil to question his authority while parading a sword the size of a transport vehicle. This blade acts as a receiver for the powers embedded within the ancient Castle Greyskull. So, this guy rides a super tiger, has no interest in armor, flaunts a magical blade of bad-assery, and would rather chill in a freaky castle instead of a pampered palace. He-Man is no joke. Naturally somebody has to be stupid enough to stir up trouble, brought in part by a menacing skull faced villain appropriately named Skeletor. He-Man has allies but mostly they play as interference while He-Man delivers pain to the door steps of the wicked. If you need to witness the awesomeness for yourself, enjoy this intro: http://www.youtube.com/watch?v=fO1ChfM94yQ . Is that a rush or what! He-Man even proclaims, “I became He-Man the most powerful man in the universe.” Before punching the screen so hard that it switched to credits. Boys of the 80’s typically idolized He-Man or faced getting pile driven into a trash bin.

Behind the pleasantries, He-Man was clearly no different than the dozens of other children shows designed to market toys. Even Skeletor had to lease his own sinister castle and upgraded its fear factor by fashioning giant snakes as its visual theme. The toy version of it came equipped with built in microphone so that kids proud enough to own this domicile could loudly announce their toy collecting superiority to those nearby whom most likely couldn’t even afford Castle Greyskull. This cartoon series would see a reboot in 2002 by the same dude who did the original 80’s version, Michael Halperin. Now, I haven’t seen this newer Masters of the Universe cartoon reboot, but if it is anything like the Thundercats reboot, then I trust it was handled superbly. I am getting off track a bit. I aim to highlight that the He-Man title had its obvious marketing motives and other minor flaws, but it is a childhood treasure that should be handled with cautious consideration.

A movie adaptation of He-Man was heart pumping news that turned into a dream stabbing disaster with the likes of 1987’s Masters of the Universe, starring Dolph ‘I Needed the Money’ Lundgren. This movie was clearly the work of a studio, producer, and director that didn’t understand a damn thing about He-Man and cared even less about what its viewers would think of it. Having almost nothing to do with the original story, I imagine parents watching the film and apologetically confessing to their kids “I don’t know who any of these characters are.” From which the kids could confidently reply “Me neither!” The Masters of the Universe movie had as much to do with He-Man as bacon grease has to do with health. Granted, they did manage to include Skeletor into the movie as to not entirely disregard the cast of the cartoon series, as Skeletor chills on his hover throne along with an armada the size of D-Day, in the middle of a suburban street but nobody in the city seems to notice. Meanwhile Dolph Lundgren takes a hard look at his mirrored reflection and tries to convince himself, “You finally hit the big time, buddy.” Simply put, if you can’t treat the franchise right, just don’t touch it at all.

With lessons hopefully learned, there is absolutely no need to reboot the Masters of the Universe unless it is going to be done with potent vision. Talking with Jon Chu is not that correct step. Chu, best known for cutting edge movies (sarcasm) such as: Step Up Revolution, Justin Bieber: Never Say Never, and… Do I really have to follow up with more examples after that Justin Bieber flick? Chu is also working on the yet-to-be-released G.I. Joe: Retaliation, the easily to predict that it is going to suck worse sequel to the already known to suck movie, G.I. Joe: Rise of the Cobra. When asked about adapting a Masters of the Universe movie, Chu said “'Masters of the Universe' means so much to a lot of people out there – and myself as well. I don’t want to disappoint my friends!” On his opinion of 3D for the movie, Chu added “I love 3-D, and for certain movies it can be really great, and for certain movies it can be poison. As we figure out the character of the movie, I think we’ll have a better feel for it. Of course, I love 3-D – a movie like Masters in 3-D would be amazing… To be in that world would be a crazy, crazy experience. We’ll see what Sony decides.” (interview quotes provided by geek-news.mtv.com) Maybe I am reading too much into the potential disaster and being overly sensitive about a franchise I feel has already been raped once and doesn’t deserve to be locked back in the room with the bad man, but Chu doesn’t seem to have any balls on this. If his retrospect involves asking for Sony’s permission, his repertoire consists of hashing out silly dance movies, and his confidence lies within not wanting to disappoint people, then he is a puppet and clearly not up for this challenge. Chu is the kind of person that He-Man would have curb stomped while posing for the camera. We fans of the Masters of the Universe demand the strongest approach be taken to the series! There is no room for weakness.

Now that the larger population of the movie watching community is comprised of gamers between the ages of ADD laden Twilight adorers and politics stammering business slaves, the trending heel has turned its focus on video game to movie adaptations. Among the recently announced films of the gaming ilk is Assassin’s Creed, the first of half a dozen titles in Ubisoft’s hit game series to feature their amazing history hopping story universe.

The game story for Assassin’s Creed centers on a formerly trained assassin turned bartender, name Desmond. An affluent corporation, Abstergo Industries, serves a secret society who is familiar with Desmond’s lineage and successfully abducts him with purposes to exploit the memories of his ancestors. Not given any leverage on personal rights, Desmond is forced to participate in their experiments. Using a prototype machine called the Animus, Desmond’s DNA is tapped to reveal the memories of his historical bloodline. Altair--a distant relative of Desmond’s--was an assassin whose life was spared after a fault and is in deep debt of servitude. His path to redemption was an important one that impacted many key figures. Altair’s progression is followed closely with artificially recreated flashbacks, hoping that his experiences will warm the trail to finding the Pieces of Eden, artifacts believed to withhold power for its controller to manipulate mankind’s fate. Meanwhile, the extraction of these ancestral memories is inconsequently causing a bleed-in with Desmond’s psyche; a process that could stem unpredictable results.

Not much is news on the movie version of this story other than Michael Fassbender (Inglourious Basterds, X-Men: First Class,) is helmed to play the part of Altair. Despite Desmond’s character being the forefront to the plot, it is Altair who steals the limelight. Many of the important clues that are sought rest in the past with Altair. Fassbender will be the star of the screen, having to leap across rooftops, scale walls, and hide in the shadows—or even hide in plain sight—to carry out his bloody contracts. There is a shallow amusement in the concept of Fassbender transitioning from Prometheus to the likes of an Assassin’s Creed film. Both stories are science fiction tales that try to give indirect explanations for the existence of mankind. Regardless of this similarity, there is no room to debate Fassbender’s adeptness to pull off this role. His blank stares set an ambience that strike with coldness and would appear vapid if attempted by a lesser actor. Altair doesn’t hold the most respectable of professions. He certainly isn’t the kind of guy who gets invited to Christmas parties. However, Altair is a man who is doing bad things for the right reasons. He is an anti-hero of a sort, with a burden to convince his audience that you don’t have to love the way he resolves conflicts but you should respect the reasons that he does it. If Fassbender’s portrayal of David in Prometheus is any indication, he can certainly get you to back him no matter how dastardly his actions.

I am excited to see this adaptation being made, made large in part by Fassbender’s participation in it. Nothing that Fassbender has starred in or co-starred in has been horrible. Certainly, by title and star power alone, the Assassin’s Creed movie is going to be a blockbuster hit. Still, it is premature to judge the successful outcome of Assassin’s Creed as a viable piece of art. For me, that is what is important. I want Assassin’s Creed to be something I can enjoy seeing multiple times. The locales, plot, and mystery is already well in place by the game. It will take a bit of pride and a dash of talent to translate this powerful setup into a theatrical production. Games have yet to make their mark on the film industry in a revolutionary way and the likes of Resident Evil nor Tomb Raider have contributed anything positive on that fact. Assassin’s Creed thus far has the highest potential to change that. It all depends on the overall vision of the producer and director. Will it be edgy like the Dark Knight or turn out as another whimsical turd like the Prince of Persia?

The very world that we live in, besides its sheer beauty and mysteries, is far more frightening than any other planet or star in the universe in my opinion. This very notion that my mind is occupied with, when it comes to the thinking of the situation that this world is in, is something that Mr. Ben Affleck, the director/actor of ‘Argo’ might nod as an agreement with me if I get the opportunity to speak with him. On the surface, Mr. Affleck’s film is a 70s political-espionage thriller, but once seen, the film goes deep in the dark souls of men; a place that not even Satan wants to find himself. This film, in my opinion, is quite important, probably one of the most important films of the year, yet daring one as well. The situation in Iran during 1979, those dark days are unfortunately still with us.

As far as the mind think about these dark days, captured precisely in the film, and written on paper delicately with much care by screenwriter, Chris Terrio, makes one think immediately that nothing has changed. What one might find interesting from this film is that there is hatred and a line of difference that Argo is defining for us, the difference that you think you-are-you and I am-Me, I blame you and that gives me the right to spit on you. Come and grab you and display your corpse to the world, for I am-Me after all. Your generation, your race, your citizenship does not matter to me, for my mind is angry and my soul has turned dark. But, Argo asks one question, an essential one, when this hatred among man will end?

Once you swim back up on the surface, Mr. Affleck’s Argo entertains the heart and mind; it’s warm and quite bright. Intelligent at all times, and humorous as well respectively, here Mr. Affleck shows his directing talent; he has exercised his mind and directing prowess. With Argo, I believe he has the right to flex his muscles as a true film-maker. Hesitant everyone was, when he commenced taking of Dennis Lehane’s novel, Gone Baby Gone and proved everyone wrong, when his hardcore crime drama, The Town surfaced. Two home runs back to back, and now safely, we can say that with Argo, it is three home runs back to back. Stepping as an actor in front of his own camera the second time, Mr. Affleck has shown himself that he can be serious as an actor as much as a director. Sporting in 70s style hair-cut and suit, he limns the character of Tony Mendez intelligently, and proves that this agent, was no 007 and with no single gadget, flies to Tehran to rescue six Americans from the anger and grip of the Iranian Revolution. And, yes, with a little, yet daring help from Hollywood.

Tony Mendez (Ben Affleck) is CIA’s top man, an expert indeed in exfiltration and now, he takes on the responsibility to rescue Six Americans from a hostile environment. While everyone on the table is throwing ideas, Tony puts his insight, but when asked in the end, if he has a better idea. Tony simply looks down and says that he doesn’t. But, he does, though, when he gets an idea while he is watching “Battle of the Planet of Apes”. From here Mr. Affleck as a director takes the audience from getting prepared and then finally lands in Iran and introduces himself to the Six Americans, (Scoot McNairy Tate Donovan, Clea DuVall, Rory Cochrane, Christopher Denham, Kerry Bishe) who are sheltering at the Canadian Ambassador’s house in Tehran. With compelling performances and Mr. Terrio’s convincing story-telling and dialogues, Mr. Affleck as a true auteur takes you on a journey, where you will feel like your heart is knocking against your chest.

Argo is not only a correct film in terms of powerful story-telling, performances, directing, cinematography, costumes, locations, but quite an entertaining one as well, besides being striking, bold, genius, edge-of-your-seat thriller that will make your palms sweat. Cinematographer, Rodrigo Prieto’s camera work, is sharp, bright that rhymes with Terrio’s scenes and Affleck’s vision. Once one walks out with smile, which I am sure that you will, the mind is thinking what to say and what not. All I said was, “Argo” Fuck Yourself.

I am an advocate for promoting selective video game stories into movies with the serious tenor that they deserve. Considering that the road has been paved by Uwe Boll’s land mines, it is not surprising that the Resident Evil movie saga is about as good as it seems to get for appeasing the fans of videogame-to-movie adaptations. It is going to take the prowess of an established visionary who understands the customer base targeted to jump start video games into movie glory. Such a person has been sought out with Avi Arad, best known for producing hit films such as Iron Man (2008) and The Amazing Spider-Man (2012). Arad showed Hollywood that comic themed movies can be phenomenally successful when grit coats over the cheese. He is wielding that philosophy to the video gaming franchise and his first projects were revealed as of late. Among the list of titles that Arad is producing, is Hideo Kojima’s masterpiece, Metal Gear Solid (1998).

Metal Gear Solid is a Konami produced game that was exclusively for Sony’s Playstation gaming console. The story revolves around a soldier name Snake who should not be mistaken with Kurt Russell’s Snake Plissken, the obvious inspirational mold.  A terrorist organization has procured a nuclear disposal facility. With the newly acquired capabilities, the terrorists have threatened an atomic assault on the United States if the US government does not relinquish the preserved remains of a biologically advanced super soldier name Big Boss. Snake is tasked to deploy to the facility, kick ass, rescue hostages, and smoke a cig from the flames of that which he lays to rest. Standard action goodness on the surface but as the tale progresses, it unravels a plot laden with more holes than Octomom’s condoms.

Hideo Kojima (the creative mind behind the Metal Gear Solid series) once wanted to work with movies but fate dealt him to become a video game designer. It is a good career for a person who has demonstrated an aptitude for providing quality interactive products, when you can actually play them. Kojima’s passion for movies is evident in his games, very frustratingly so. As technology permitted gradually expanding space for full motion video (FMV), Kojima must had taken this as an invitation to fill that space up with more arbitrary animation with each new installment of his beloved Metal Gear Solid series. To me, it felt like I was already watching a damn movie that sometimes would break the monotony by including a few minutes of actual game play. As a result, there is an established template for a story that leaves little to the imagination for how it can be scripted for the big screen. That is, until you realize that Kojima is out of his fucking mind and that the Metal Gear Solid story spirals into a convoluted mess. Chock full of so many ending twists that it would make M. Night Shyamalan blush, as Snake’s character transitions from covert superstar to a clown who is the center stage of a confusing circus. Will this madness carry over to the movie rendition of Metal Gear Solid? It is difficult to say. Arad’s movies have been impressively faithful to their source material. If Metal Gear Solid receives that same treatment, then let the perplexity commence! Otherwise, some crafty editing is needed to carve a solid story out of a block of silly putty.

As with any reimagining of a series, it is difficult to ascertain what the final results will provide. There could be something quite imaginative in the process that delivers a pleasant surprise. I can’t fathom Metal Gear Solid being the viable choice for redefining video games as having a significant adult fan base. The title is just ingrained with too much silly shit. I am curious to see which elements are borrowed or excluded when the movie is released, lest we sit through an 8 minute sequence of a kid frying a fucking egg [as seen in Metal Gear Solid 4]. God of War should have been championed for the big screen but that is just wishful thinking. Despite my grievances, I sincerely hope that the Metal Gear Solid movie wins over audiences in a big way. There are many talented writers who have provided their services to adapting video game screenplays. Stories that at times have trumped most of Hollywood’s best summer blockbusters. These stories deserve to be told to audiences who don’t play games or own the consoles that the media is featured on. Metal Gear Solid just may be the silver lining to that opportunity, if handled correctly. Then again, even if the movie bombs, not like it will stop Avi Arad. The abomination that is Ghost Rider (2007) didn’t stop Arad from producing the sequel of Satan, Ghost Rider: Spirit of Vengeance (2011). Proving that the only thing more astonishing than a flaming skeleton biker, is that Nicholas Cage is still allowed to star in movies.