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Learning the Wrong Lesson From Deadpool

(Reblogged from All New Showcase…)

Deadpool Movie PosterIn case you somehow missed it, the Deadpool movie was released last weekend and immediately began shattering box office records: best February opening of all time, best opening ever for an R-rated movie, best opening ever for a first-time director (that’d be Tim Miller), and it came in third in the swimsuit competition. And of course, as always, the movie industry began to thoughtfully and meticulously scrutinize the film’s success to determine what qualities helped it reap the bounty, then implement carefully-considered strategies to create new content that may also be prosperous for the studios.

Ha! I’m kidding, of course. No, the movie studios immediately concluded that the American public wants superhero movies to be full of F-words and Ryan Reynolds’s ass. So today, in what could easily be the first in an infinite series of columns, I would like to discuss how 20th Century Fox – and probably every other major studio – has completely missed the point of what made Deadpool kick butt.

Let’s start with what is probably the least significant part of its success: the timing. Like I said, Deadpool’s $135 million broke the record for the highest February opening of all time. But look at the competition: Zoolander 2, the sequel nobody asked for, and How to Be Single, a movie built around Rebel Wilson playing the only character she ever plays, and who wasn’t even entertaining the first time she did it. That’s not to say Deadpool wasn’t a good movie – in fact, that’s my whole point. January and February, traditionally, have been cinematic graveyards where studios try to bury movies they don’t think anybody will want to see in a season where they don’t think people want to go to the movies. I’ve long believed this is a self-fulfilling prophecy. It’s not that people don’t want to go to the movies in February, it’s that the studios don’t give them movies worth watching. Deadpool demonstrates that if you make a movie people want to see, they’ll come out to see it no matter when it is released.

WolverineAnd that brings us to the second question: why was Deadpool a movie people wanted to see? The blood? We have the news for that. The nudity? We have the Internet. The profanity? We have public high schools. All of these are easy answers, and all of these are wrong. And yet, when Fox immediately followed the box office number announcement by saying the third Wolverine movie will be rated R, they’re essentially saying that’s the reason that Deadpool worked. This is incredibly small-minded.

(To be fair, making an R-rated Wolverine was at least under discussion as far back as the first solo movie starring the character. It’s not a new idea. But man, they made sure to let everybody know that after the weekend box office closed, didn’t they?)

The reason those elements worked in Deadpool is because all of the hyper-violence and irreverent dialogue helped to create a tone that is faithful to the character. We didn’t want to see violence, necessarily, we just wanted to see the Deadpool we love. In fact, I’m going to be a little controversial here: I don’t even think Deadpool needed to be an R-rated movie. I don’t mind that it was, I very much enjoyed it, but despite what a lot of people seem to think the majority of his comic book appearances have not been full of F-bombs and boobs. (Sure, the violence is there, but the MPAA is way less concerned with violence than sex or language. Chop off all the limbs you want, but God forbid you show a nipple.)

What are they going to do in an R-rated Wolverine movie that will make it better than the first two? Curse more? The word he’s most associated with in the comics is “bub.” Bury him in naked women? Wolverine’s romantic relationships are classically tortured. Sure the fighting may be more explicit, but does anybody really think X-Men Origins: Wolverine would have been a good movie if only they showed more blood when Hugh Jackman cut off Ryan Reynolds’s head?

Superman the MovieThe best superhero movies (and in fact, most of the best adaptations of any kind) are those that maintain the spirit and feel of the source material: Richard Donner’s Superman, the first two Sam Raimi Spider-Man movies, and most of the Marvel Cinematic Universe work for precisely this reason. People who have read about a character for years – decades even – don’t want to see a version of a character whipped up by committee, they want to see the version they love. (This, of course, will cause debate when a character has been around long enough that there are multiple valid interpretations, but that’s a discussion for another time.)

Compare that to the most epic failure of recent years, the 2015 Fantastic Four. The movie takes a comic whose best stories are about a family of explorers and turns them into a militarized unit who barely share any screen time. Director Josh Trank maintains that studio meddling sank his movie. I tend to think that when the director reportedly tells his actors not to read the comics the movie is based on, there isn’t much more a studio can do to screw it up.

Batman-The Killing 1Let’s not forget that tone is dependent on the individual story as well. There was a lot of buzz last year when the producers of the upcoming Batman: The Killing Joke animated movie announced they were given permission by the studio to go for an R-rated film. It doesn’t have to be, but this is the story that forever entrenched the Joker as a true icon of evil. Gone was the bank robbing clown of the Silver Age – now he was a horrific, unhinged psychopath acting out on a twisted fixation with Batman by torturing his friends. It would be hard to tell that story faithfully and still maintain a PG-13. But that doesn’t mean a Ben Affleck Batman movie or an animated version of the first appearance of Bat-Mite should suddenly be rated R.

All of this is to say that, yes, you probably could make a good R-rated Wolverine movie, but it won’t be good because it’s rated R. The other elements need to be there too.

But what about all of the people who enjoyed Deadpool but don’t read comics? They don’t know if the depiction on screen is faithful to the comic book, and most of them wouldn’t care if they did. So why did they come out in force to see this movie? For one thing, of course, the marketing campaign was as brilliant as the marketing for John Carter was abysmal, but good marketing will only get you so far. People also liked the movie. Why? Obviously, the answer for each individual person will differ, but if I were to venture a guess for the majority, I would say it’s because it’s something different. Look, I would be perfectly happy all day long if they just took the scripts of my favorite comics and put them on screen in front of me, but I also know I’m a 10th-level nerd and what I want probably doesn’t apply to the public at large.

Spider-Man BittenWhat does apply, however, is that people get tired of seeing the same thing. Origin stories, for example. Not just comic fans, but viewers in general are done with origin stories. Nobody needs to see Krypton blow up, Thomas and Martha Wayne gunned down, or Peter Parker bitten by a spider ever again. We get it.

Even with less iconic characters, origin stories are largely unnecessary at this point. If a character in a movie is a cop, a firefighter, or a baseball player, people don’t demand we spend half the movie explaining how we get to that point before the real plot begins. Granted, superheroes follow a less conventional path than those other occupations, but at this point the public is familiar enough with the tropes that all but the most convoluted of origins can usually be dealt with in a quick flashback or a few lines of expository dialogue.

“But Blake,” you say, “Deadpool was an origin movie. Doesn’t that contradict your point?” Man, you can be kind of a jerk sometimes. But no, it doesn’t contradict my point. I said that origins are unnecessary, not that they can’t be done well. Audiences – myself included – will accept even the most tired premise if the execution is entertaining and original enough.

M Payoff 1shtAnd that brings me to the most important part of Deadpool’s success. It didn’t matter that it was an origin, because it still felt different from any other superhero movie of the last 17 years. (I consider the modern era of superhero movie to have begun with 1999’s Blade. You know, that other R-rated Marvel movie everybody seems to have forgotten about.) Look at the major successes since then. After the first few years, when superheroes were still a novelty, the biggest movies all brought something new to the table. Iron Man was cocky, witty, and did away with that secret identity jazz right away. It was unique at the time. What’s more, the after-credits stinger (another novelty in 2008) opened the doors for the then-revolutionary Marvel Cinematic Universe. That eventually led to Avengers, another mega-hit, because we had never before seen six superheroes from four different movies come together as a team. The best movies of the eight years since Iron Man all bring something different to the superhero. Guardians of the Galaxy was a space opera. Captain America: The Winter Soldier was a political thriller. The Dark Knight was an epic crime drama. And none of them – even the ones that were sequels to other movies – felt like anything else we had ever seen.

SuicideSquadPoster-181c2In an odd way, this actually makes Suicide Squad the most interesting superhero movie for the rest of 2016. I’m the most die-hard Superman fan you’ll find, and I’ve been waiting to see him on screen with Batman and Wonder Woman since I learned how to read. I couldn’t be more excited for that movie. But Suicide Squad is the first time, as far as I can remember, that a superhero movie has actually starred the villains. (You could make an argument for Magneto and Mystique in the most recent X-Men movies, but the moral ambiguity in those films is so thick that nobody could hear you anyway.) We’ve seen villain-starring comics plenty of times, but it’s never really happened on screen. That means the success or failure of this movie will be one for the books. The trailer was very well-received and people seem to be excited about it.

Which means the weekend after it comes out, expect Fox to announce a new X-Factor movie, starring the classic line-up of Sabertooth, Omega Red, Lady Deathstrike, Toad, and Galactus. Because they just don’t seem to get it.

The Marvel Cinematic Universe-Now What?

Captain America-The Winter SoldierThis week in my podcast, All New Showcase Episode 301, I sit back with my frequent co-host Kenny and talk about what the events of Captain America: The Winter Soldier mean for the future of the Marvel Cinematic Universe. How is this going to change Agents of SHIELD? What’s going to be different in the Marvel movies and TV shows from now on? Where do they go from here? We get super-spoilery on everything Marvel has done, make predictions about the films and TV shows already in development, talk about those projects still in the rumor stage, and then give their own suggestions for what properties they’d like to see join the MCU! Plus: what other studios are trying to duplicate the MCU’s success?

If this is in your wheelhouse, friends, I kindly invite you to give it a listen.

Episode 301: The Marvel Cinematic Universe-Now What?

Reel to Reel ranks 2013 in movies

And once again, we reach the end of another year. And as usual, I didn’t get to see as many movies as I wanted to. I saw most of the ones I was really excited about, all but one in fact (which wound up not being made at all, sadly). For the record, the ones I didn’t see yet that are still on my to-see list are American Hustle, Wolf of Wall Street and Her, all of which will be readily available after the holidays, what with being award bait and all.

So here, for the second year (here’s last year’s list if you’re interested), the list of movies I saw this year roughly in order of how much I liked them, along with brief comments on a few films. This list includes made-for-TV, direct-to-video, and streaming films, as long as they were feature length. The rankings are based purely on how much I enjoyed watching the movie, and no other criteria. I caution you, though, that my opinions on rankings and such change frequently, so if you ask me to make this same list tomorrow, it may well be slightly different:

1. Saving Mr. Banks. Simply a beautiful movie that hits me hard as a writer. I get where both the characters of P.L. Travers and Walt Disney were coming from, I sympathize with them both, and I found the movie deeply moving. I know that a lot of it was conjured up for the sake of cinema, but I’m kind of afraid to look up how much for fear it would ruin the film for me.
2. Frozen. Disney’s best animated movie in years. I particularly like that the film was undeniably a love story, but at the same time, broke every major rule in the usual “princess” formula.
3. Man of Steel. A controversial choice to be this high, I know, but I don’t care. As someone who’s loved Superman since childhood, I thought this film was a worthy jumpstart for both the character and for DC’s effort at a cinematic universe.
4. Pacific Rim. The most underrated movie of the year, in my opinion. Visually exciting and a hell of a lot of fun.
5. Monsters University.
6. The Hunger Games: Catching Fire.
7. Ender’s Game.
8. The Hobbit: The Desolation of Smaug.
9. An Adventure in Space and Time. TV film about the original star of Doctor Who, William Hartnell, made in conjunction with the series’ 50th anniversary. I really liked it.
10. Evil Dead.
11. The World’s End
12. Oz, The Great and Powerful.
13. Star Trek Into Darkness.
14. Thor: The Dark World.
15. Justice League: The Flashpoint Paradox.
16. Batman: The Dark Knight Returns Part II.
17. The Rubber Room. Intriguing documentary about the New York public school system, specifically the practice that leaves teachers accused of assorted mistakes stranded without work for months or years without the opportunity to defend themselves.
18. Crystal Lake Memories:The Complete History of Friday the 13th. Good and terribly thorough documentary about the horror movie series. Make sure you’ve got the time to watch it, though – it’s SEVEN HOURS LONG.
19. Iron Man 3.
20. LEGO Batman The Movie: DC Superheroes Unite.
21. The Wolverine.
22. The Sound of Music. Live TV production of the classic musical.
23. Necessary Evil: The Villains of DC Comics.
24. Europa Report.
25. Superman Unbound.
26. Kick-Ass 2.
27. Warm Bodies.
28. Upstream Color. I really liked the director’s last movie, Primer, so I had high hopes for this one. I felt somewhat let down, though. The movie thought it was smarter than it really was.
29. Escape From Planet Earth.
30. Side Effects.
31. A Good Day to Die Hard.
32. World War Z.
33. Mister Scrooge to See You.
34. Jack the Giant Slayer.
35. Iron Man: Rise of Technovore.
36. The Purge. Intriguing idea – a world where all crime is legal for 12 hours a year – but the film is handled poorly, set up on a soapbox, has a horribly predictable ending and is so heavy-handed it’s impossible to enjoy as a thriller.
37. The Host. The only thing I have to say about this Stephanie Meyer adaptation is that I initially mistyped it as The Hose, and I couldn’t help but think that would have been a more interesting movie.
38. Riddick.
39. Oblivion. I challenge anybody to explain the backstory and plot of this film in a way that does not invite a six-year-old child to point out how outrageously stupid the aliens are. I DARE YOU.
40. Hansel and Gretel: Witch Hunters.
41. Sharknado. I know that this TV production was supposed to be bad, but I disagree with those who think it was both bad and fun. I just didn’t enjoy it.

What I Watched In… May 2013

In the interest of full disclosure (and to generate a little content here) I thought I’d present a regular tally of what movies I managed to see in the previous month. Some of them I’ve written about, most of them I haven’t. This list includes movies I saw for the first time, movies I’ve seen a thousand times, movies I saw in the theater, movies I watched at home, direct-to-DVD, made-for-TV and anything else that qualifies as a movie. Feel free to discuss or ask about any of them!

1. Wristcutters: A Love Story (2006), B
2. The Adventures of Buckaroo Banzai Across the Eighth Dimension (1984), B+
3. Iron Man 3 (2013), B-
4. The Producers (1968), A
5. City Slickers (1991), A
6. Space Jam (1996), C+
7. Mars Attacks! (1996), B
8. Psycho II (1983), D+; Rifftrax Riff, A-
9. Tangled (2010), B+
10. The Grey (2011), B+
11. The Great Gatsby (1974), A-
12. Sound of My Voice (2011), C
13. The Wizard (1989), C-
14. Future Force (1989), F; RiffTrax Riff, B+
15. The Hound of the Baskervilles (1939), A-
16. Star Trek Into Darkness (2013), A-
17. Up (2009), A+
18. LEGO Batman: The Movie-DC Superheroes Unite (2013), B
19. Sherlock Holmes and the Deadly Necklace (1962), D
20. The Private Life of Sherlock Holmes (1970), A-
21. Defending Your Life (1991), B+
22. Doctor Who and the Daleks (1965), D; RiffTrax Riff, A
23. The Case of the Whitechapel Vampire (2002), C
24. Sherlock Holmes (2009), A-
25. A Matter of Life and Death (1946), A+
26. The Adventure of Sherlock Holmes’ Smarter Brother (1975), B-
27. The Great Mouse Detective (1986), B+
28. S&Man (2006), C
29. Monty Python’s The Meaning of Life (1983), C+

What I Watched In… April 2013

In the interest of full disclosure (and to generate a little content here) I thought I’d present a regular tally of what movies I managed to see in the previous month. Some of them I’ve written about, most of them I haven’t. This list includes movies I saw for the first time, movies I’ve seen a thousand times, movies I saw in the theater, movies I watched at home, direct-to-DVD, made-for-TV and anything else that qualifies as a movie. Feel free to discuss or ask about any of them!

  1. The Neverending Story (1984), B+
  2. John Dies at the End (2012), B+
  3. Hotel Transylvania (2012), C
  4. Seeking a Friend For the End of the World (2012), B+
  5. Ruby Sparks (2012), A
  6. Evil Dead (2013), A-
  7. Hitchcock (2012), B
  8. Plan 9 From Outer Space (1958), F; RiffTrax Riff, B
  9. Idiocracy (2006), B+
  10. Slumdog Millionaire (2008), A
  11. History of the World Part I (1981), A
  12. Buck Privates (1941), A-
  13. Abbott and Costello Meet Dr. Jekyll and Mr. Hyde (1953), B-
  14. Kill Bill Vol. 1 (2003), B+
  15. Kill Bill Vol. 2 (2004), A-
  16. Pumaman (1980), D; MST3K Riff, B+
  17. Time Chasers (1994), D; MST3K Riff, B
  18. Merlin’s Shop of Mystical Wonders (1996), D-; MST3K Riff, B
  19. The Wizard of Oz (1925), D
  20. The Apple (1980), F; RiffTrax Riff, B
  21. Carnage (2011), B+
  22. Iron Man: Rise of Technovore (2013), C+
  23. Oblivion (2013), C+
  24. Midnight in Paris (2011), A-
  25. Who Framed Roger Rabbit? (1988), A
  26. Horse Feathers (1932), B
  27. Journey Back to Oz (1974), C-
  28. The Wiz (1978), B+
  29. Return to Oz (1985), B+
  30. Kingdom of the Spiders (1977), D; RiffTrax Riff, A-
  31. Condorman (1981), C+
  32. Reservoir Dogs (1992), B+
  33. Pulp Fiction (1995), A-
  34. The Galaxy Invader (1985), F; RiffTrax Riff, B
  35. The Matrix (1999), A-
  36. The Matrix Reloaded (2003), B
  37. The Matrix Revolutions (2003), B-
  38. Shame (2011), D+
  39. Tin Man (2007 Miniseries), B
  40. The Looney, Looney, Looney Bugs Bunny Movie (1981), B
  41. Tiny Toon Adventures: How I Spent My Vacation (1992), B-
  42. The Bugs Bunny/Road Runner Movie (1979), B

2 in 1 Showcase Episode 287: Summer Movie Preview 2013

showcase logo full black2Twice a year, on the Showcase podcast, I sit back with whichever of my co-hosts are available and talk about the new movies coming out in the next several months. It’s time for this year’s Showcase Summer Movie Preview!

2 in 1 Showcase Episode 287: Summer Movie Preview 2013

If I was making the Justice League movie…

Justice League V2 1Fans of DC Comics’s Justice League franchise saw what seems to be another setback this week, when word leaked the script that has been in development is being scrapped entirely. For those who just want to see the damn movie made already, this is obviously distressing news. But my approach is slightly different. I absolutely want to see a Justice League movie, but I want to see a great movie. So if Warner Bros recognized that the script they’re working with is crap, by all means, start over and do it right.

Earlier this week over at CXPulp, I wrote about how Disney seems to be planning to apply the lessons of Marvel Studios to their recently-acquired Star Wars franchise. (For those of you who may not follow this stuff the way I do, let me briefly explain that Disney bought Marvel in 2009 and that Marvel and DC have been the two biggest publishers – and therefore the two biggest rivals – in American comic books for decades). Marvel created films for several of their characters, brought them together in their mega-hit The Avengers, and are now breaking them off into smaller films again before the next combined go-around. Comic book fans, delighted with what Marvel is doing, are asking why the hell the movies based on DC Comics – the Justice League, Superman, Batman, and many more — can’t do the same thing. Although DC Comics, for a long time, had properties with more mainstream recognition than Marvel, in the past decade Marvel has dominated superhero movies. The only hit from the DC Universe in recent years has been Christopher Nolan’s Dark Knight trilogy, while Marvel’s X-Men, Spider-Man, and Avengers-related films have become legitimate powerhouses.

The reason for this, I believe, goes back to the late 90s. Marvel, at the time, was still an independent company, although one reorganizing after a bankruptcy. DC, however, has been wholly owned by Warner Bros for a very long time. That means Warner Bros is the only game in town to make a DC movie. If Warner Bros isn’t interested, it won’t happen, and if Warner Bros doesn’t understand what makes the property work, we get crap like Steel and Catwoman. Marvel, on the other hand, had the freedom to shop their properties around. Universal doesn’t have the right feel for Spider-Man? Take it to Sony. Paramount can’t give us a decent X-Men film? Bring them to Fox. Granted, this system turned out its share of clunkers too (let’s not forget that some genocidal maniac gave approval to not one, but TWO Ghost Rider movies starring Nicolas Cage), but their batting average over this period, beginning with Blade in 1998, is pretty damn good.

Things are different now, of course, since Marvel is owned by Disney. But by the time of that purchase in 2009, Marvel had already launched their own film unit to make movies with the characters other studios didn’t have – Iron Man and Incredible Hulk had both already come out and production was underway on Iron Man 2, Thor and Captain America: The First Avenger. By the time Marvel was a Disney property, they’d proven that they could make great films on their own, and Disney has wisely stayed the hell back and let them do it, the way they did when they bought Pixar in 2006. (Disney seems to have a three-year cycle for buying other companies, they got Lucasfilm in 2012. That means I have until 2015 to create a franchise with lucrative enough IPs that I can sell them to Disney and retire in luxury.)

This, more than anything else, is what Warner Bros needs to learn in regards to any DC Cinematic Universe. It’s not about copying Marvel’s storytelling or casting tricks or format. It’s about letting the people who know the characters do what they do best and getting out of their way while they do it.

Marvel needed to raise the profiles of their lesser-known characters or Avengers never would have been the hit that it was. DC has a different problem. Ten years ago, nobody who wasn’t a comic book fan knew who Iron Man or Thor were. DC’s problem is that everybody knows many of their characters – Wonder Woman, Aquaman – but they fundamentally misunderstand them. Aquaman is a punchline, he’s “the guy that talks to fish.” But as writers like Geoff Johns and Peter David have shown us, he can be so much more than that – a tragic monarch, a man who struggles with the responsibility of protecting two-thirds of the surface of the Earth… not to mention the fact that the physical changes necessary to allow a person to survive on the ocean’s floor would make them pretty strong and otherwise badass on land. Putting Aquaman in a movie doesn’t necessitate that you explain who he is, it necessitates you explain what makes him awesome.

So if I was in charge of the Justice League movie, this is what I would do.

First, start with this summer’s Man of Steel. The film is generating some positive buzz and I’m excited about it. I’d work in a small reference to a larger DC Universe – have some news report about Green Lantern in the background, or a page of the Daily Planet referencing the chaos in Gotham City that happened during The Dark Knight Rises. Nothing that would really influence Superman’s story, but enough to nod at the fact that he’s not – as Nick Fury said in the first Iron Man – the only superhero in the world.

Then, I’d work on putting together a phenomenal Justice League story. I wouldn’t start with the big bad that was in the previous script, Darkseid, for two reasons. First, Marvel is already using Thanos in their movies, and although Thanos was largely a Darkseid rip-off when he was created in the comics, movie fans won’t get that and will think it’s the Justice League that’s being derivative. Second, he’s too big for the first movie. Where do you build from there? You need a threat big enough to justify bringing all of these characters together, of course, but they shouldn’t go up against the biggest threat in the universe their first time out.

Next, get the recognizable aspects from the current DC films and put them together: Henry Cavill as Superman, build off the end of The Dark Knight Rises (as a spoiler consideration I won’t be more specific than that), and yes, I’d get Ryan Reynolds back as Green Lantern. That movie had problems, but his casting really wasn’t one of them. Then I’d add the characters that the public has heard of but doesn’t understand – Wonder Woman, Aquaman, the Flash. Use this movie to showcase them the way Avengers suddenly turned everyone in America into fans of the Hulk for the first time in decades.

Don’t bother with everybody’s origin. It’s a convention of the superhero genre, true, but it’s often the least exciting part of it. You don’t need to know why John McClane became a cop to enjoy Die Hard, so why do I need to see Barry Allen get struck by lightning when I’ve already accepted a world with a man from Krypton and another guy with a magic ring? After Justice League, we’ll start spinning the other characters off into their individual movies – if necessary, work in the origins there. There’s no rule that says they have to take place after the Justice League movie just because they’re made in that order, although even then, I think a quick flashback would probably be more than sufficient in most cases.

Finally, make it clear that the Justice League isn’t the be-all and end-all of the DCU. Marvel can’t reference Spider-Man, the X-Men, or the Fantastic Four, because the rights to those characters are still tied up with other studios thanks to deals they made before they were purchased by Disney. DC doesn’t have that problem. Guillermo Del Toro is working on a movie featuring some of DC’s supernatural characters like Swamp Thing and Deadman – a Justice League movie could drop in a reference to them. Give us veiled hints or rumors about other Leaguers from the comics like Zatanna, Plastic Man, Firestorm… characters that have potential for their own films in the future, assuming of course that they’re done right. Even better – if you have some sort of huge battle for the end piece, the sort of thing that the public can’t help but notice (like the battle of New York in The Avengers, and it just shows how great that movie was structured that it keeps being the best analogy), give us glimpses of some of these other heroes fighting their own battles while the League takes on the Big Bad, whoever it happens to be.

And most importantly, make sure that the story is one that satisfies the fans but is broad enough to grab people who don’t know all of the characters. This is what Marvel has done brilliantly and what Warner Bros has prevented DC from doing for years. If you can pull off that trick, we’d have a movie that could launch not just one franchise, but an entire universe.

Of course, that’s what I would do. But what do I know? I’m just a guy who reads comics and watches movies. It’s not like I’ve got the pedigree of the man who gave the green light to Jonah Hex.

(If that line isn’t enough to convince people I should be running the show, nothing will be.)

Anticipating 2013

Okay, folks, since people are talking about such things, I’ve put together a list of my ten most-anticipated films of 2013. This, of course, is based on what trailers I’ve seen, what news I’ve heard, and my previous experience with the franchises in question. Assuming I remember, I’ll come back at the end of the year, take a look at these ten films, and let you know if I think they met with my expectations. In alphabetical order, because I find it hard to rank such things.

  • Ender’s Game-One of my favorite books of all time. Harrison Ford as Admiral Graff. I know some fans are upset that they aged the kids and compressed the story into a year, but I can honestly understand why. It’s a reasonable concession to make the story work for a movie, and I’m willing to give them a pass on it if everything else works.
  • The Hobbit: The Desolation of Smaug-I’ve always enjoyed Tolkien and I liked the first installment quite a bit. Looking forward to watching it continue.
  • Iron Man 3-I really loved the first two and Avengers was amazing. I’m hoping Marvel Studios can keep the energy up there.
  • Man of Steel-Because I am a lifelong Superman fan and the trailer kicked ass. Amy Adams is a perfect choice for Lois Lane, and Christopher Nolan’s involvement as producer gives this movie some serious potential.
  • Monsters University-The original Monsters, Inc. is one of my favorite Pixar films, and the trailers for this prequel have made me laugh.
  • Oz: The Great and Powerful-I’ve loved the Oz books my whole life, and this looks like Sam Raimi actually mined the novels for material pretty deeply. I’m interested.
  • Pacific Rim-Directed by Guillermo del Toro, first of all. And judging by the trailers, it’s basically Robotech versus Godzilla. If that doesn’t get you excited, I don’t want to know you.
  • Saving Mr. Banks-Tom Hanks playing Walt Disney in the story of how Mary Poppins was brought to the screen. Perfect casting, high hopes.
  • Star Trek Into Darkness-The last movie made me a Trek fan again long after I thought Voyager killed that piece of my heart.
  • The Stupidest Angel-I’m a big fan of Christopher Moore’s novel about an idiot angel who screws up a kid’s Christmas wish and almost brings about a zombie apocalypse. A heartwarming tale of Christmas terror indeed. And Rhea Perlman is in it, for crying out loud.