Veshark's forum posts

#1 Edited by Veshark (9446 posts) - - Show Bio

Loved it. Now that's how you hype your audience up for a superhero film.

There were plenty of freeze-the-frame-worthy moments in this entire trailer (Ant-Man and Hawkeye doing their little MUA2-style fusion attack, Black Panther in general, the Raft, and of course the final Spidey reveal at the end), but my favorite bit was definitely when Cap tells Tony, "I could do this all day." Not only is it the Russos paying homage to The First Avenger, but that sums up Cap's entire character arc in the MCU - from TFA to Civil War. That's Steve Rogers: a man who will not compromise his ideals, and will never stand down, even in the face of impossible odds. Yeah, Iron Man's probably gonna unquestionably whoop Steve's butt there, but that's Cap for you - doesn't matter if it's Iron Man or the bully in the alley, Steve won't back down if he's fighting for what he believes is right.

The Russos have got the perfect handle on the character, and if this movie kicks ass (which, judging from early screening reactions and TWS, I believe it will. Heck, I have more faith in this than BvS, if anything), and if they prove they can juggle all these characters while still maintaining such a focus on Cap...we're in for a real treat with the 60+ characters of Infinity War.

As for Spider-Man: I thought the voice was fine, and perfectly in line with the character. He's a teen going through puberty, after all. I mean, between Maguire's crying voice and Garfield's speech impediment stutter, I don't see what you folks are complaining about. I don't think there's enough to judge. And as for his dialogue, Spidey's the new kid on the block, thrown into a civil war between the freaking Avengers. We're talking Earth's Mightiest Heroes - not some street-level vigilantes; these are the best of the best, and now this team's split down the middle. I don't see why'd he be particularly wisecracking or cheery (but I do expect some jokes later in the film).

Not too crazy about the new costume though. Every time they try to modify Ditko's magnus opus, it never works and they always go back to the original (see ASM1 > ASM2). But with the retractable lenses, my guess is that this is this film's version of the Iron Spider suit, and hopefully Pete will have his more traditional look in future MCU installments. But I will admit, I absolutely love this mask though. The design of it is so quintessentially Ditko/Romita Sr., I'm surprised no one's mentioned that. The darker lines, the cartridges (?) on the belt, and the smaller chest logo definitely call to a more Silver Age-inspired design.

@thepreface Pretty cool to see another Elzhi fan on CV.

#2 Edited by Veshark (9446 posts) - - Show Bio

It depends on how long it takes Stark to realize that Gregory's powers are derived from his nanofleet, and to use his EMP to disable them, Ezekiel Stane-style. From what little we've seen of Gregory Stark in combat, he can more or less match Iron Man in brute force. But Tony has a quick solution to disable Gregory, and the Iron Man has also been shown to have built-in defenses against EMPs. The few seconds that it takes Gregory's nanofleet to reboot is more than enough for Tony to take this. The only roadblock I can see is the winning condition - Tony generally doesn't go for the kill unless it's necessary, and if he were to disable Gregory's suit, he'd likely knock the Doctor out rather than outright executing him.

#3 Posted by Veshark (9446 posts) - - Show Bio

@laflux said:

I like Nas more at his best, but Jay Z is consistently better IMO.



#4 Edited by Veshark (9446 posts) - - Show Bio

It depends on the writer, honestly.

Byrne's Luthor was more of an amoral Machiavellian industrialist - basically the worst that capitalism had to offer. That one issue with the waitress in the diner is of particular note. Morrison goes for the brilliant scientist driven to villainy by his pettiness - the worst that humanity has to offer. His Luthor reminds me of Steve Jobs; he's a megalomaniac who can't stand anyone being above him, so Superman's very existence is a threat to his ego.

Cornell's Luthor is similar to Morrison's, except he's a little less 'mad-scientist' and maybe more empathetic (given the nature of The Black Ring, that's not surprising). Then there's Johns' Luthor, which is probably one of the more layered takes on the character. Johns' Luthor is clearly egotistical, selfish, and manipulative - but there's a lot of emphasis on his humanity, however little he has. This Luthor's also more direct about his superior intellect, rather than the flowery monologues that other writers' Luthors tend to do.

In conclusion, there are various incarnations, but the general traits that define Lex Luthor is his intellect, his ego, and his relationship to Superman.

#5 Posted by Veshark (9446 posts) - - Show Bio

I think folks who didn't grow up on Smallville don't realize how far we've actually come in terms of superhero costumes for television. Seriously, these look fantastic. The CW has been killing it with all their recent costumes. Arsenal and Black Canary looked badass, and I love Green Arrow's new look. Even the suits that were initially a little iffy like A.T.O.M. and Diggle's new look have started to grow on me.

#6 Edited by Veshark (9446 posts) - - Show Bio

Maybe it's just not your cup of tea.

The Sopranos still remains one of my favorite dramas of all time - it basically set the benchmark for all the quality cable shows we've had in the past few years like Breaking Bad and Mad Men. It perfected the formula that HBO's Oz started. But I do have a few buds who just can't get into the show for one reason - it's a little too 'real-life' for them. The Sopranos is basically the antithesis for all the high-concept romanticized mafioso flicks like The Godfather, it shows the mundane and everyday nature of running a (albeit illegal) business. It doesn't use violence and grittiness to make it more 'realistic', it just shows all the boring daily stuff that television usually filters out for you. Which is something I understand some people don't really enjoy.

It's an aspect of the show that I personally do, though, because I feel it adds a lot of verisimilitude and dimension to the characters. When I see the way Tony and Carmela bicker, or when they show affection to one another, it reminds me a lot of my parents or other people in my life. The more dramatic elements like the mob killings and all that are obviously something I can't relate to, but the show deals with a lot of other stuff that I connected with on an emotional level. Racism, sexuality, infidelity - the Sopranos covers all of these without any unnecessary embellishments. There's a great episode in the fifth season discussing how Chris feels left out whenever Tony hangs out with Tony B., and I remember being surprised by how real that felt, and how much I could empathize.

Anyway, that's just my two cents on how I feel about it. Till this day, I still rewatch episodes from what I consider to be the finest thing HBO ever put out (yeah that's right Jon Snow, shots fired). Oh and R.I.P. Gandolfini.

#7 Posted by Veshark (9446 posts) - - Show Bio

When written correctly - and I emphasize this bit because it always comes down to who's writing Clark - I'd like to think that Superman doesn't throw the first punch not because he underestimates his foes and overestimates his own power...but because he's a hero. Superman always gives a chance for his opponent to stand down. And of course, most times the baddies will decline the offer (because, hey, we need punching and drama in our comics!), but I think it's a subtle reminder to the reader that violence is always the last resort for Clark.

Of course, context is key. I'm not saying Superman shouldn't immediately disarm a criminal pointing a gun at a hostage. But I like it when - under the pen of guys like Morrison, Waid, Pre-52 Johns, or Busiek - Superman gives the baddie an opportunity to surrender before making a move. He doesn't immediately fly off the handle, which is something I feel like New-52 Supes sort of invokes. Superman, as one of the most powerful beings on the planet, shouldn't be that aggressive.

Long story short, I'm more concerned with the character implications rather than any notion of 'feats' or 'power'.

#8 Posted by Veshark (9446 posts) - - Show Bio
@_mongul said:

@WarBlade539: So what I'm hearing is you can't prove it and don't want to show your pimply ass face?

Got it.

Calm down. There's no need to throw personal shots.

#9 Edited by Veshark (9446 posts) - - Show Bio

Found this article on ToplessRobot - titled 'The 10 Biggest Movie Fight Mistakes'. It's written by a man with an extensive background in martial arts, so presumably he knows what the heck he's talking about. Anyway, I thought it made for interesting reading, particularly his comments on CBM fight scenes.

Here are the highlights if you're too lazy to read the whole thing:

On Overly-Choreographed Fight Scenes

Films such as Crouching Tiger, Hidden Dragon and Jet Li's Hero put the art in martial arts, but not every movie need feature brilliantly filmed - and exceedingly fantastical - moves in their fight scenes. If you're going for a gritty, realistic fight scene, or even a fun one between super-powered beings, too much polish rubs off much of the initial sheen and threatens to expose the rough chalk beneath.

Even Ronda Rousey, by far the most dominant fighter on the planet right now, got pretty damn sloppy in her latest 34-second domination of overmatched Brazilian challenger Bethe Correia, taking several hard shots in a phone booth brawl en route to another quick stoppage win. If you want us to feel the tension of a fight scene between two highly skilled combatants, don't be afraid to embrace the chaos. Fights are messy, and even the best of the best rarely come out unscathed.

Got It Wrong: The Dark Knight Rises

Much as it was hyped up, the second-act showdown between Batman and Bane in TDKR has to be one of the most disappointing fight scenes I've ever seen. Not only is it short and choppy, but the supposed skill on display is so bad as to be almost laughable. We're supposed to buy Bruce Wayne as a highly skilled ninja assassin when his entire fighting style seems to consist of loading up on haymakers and throwing poorly-timed elbows from close range?

What happened to the lithe, tactical Batman that used speed, cunning and the element of surprise in his fights? How about a master of martial arts employing an actual martial art to defeat a slightly larger body builder who fights with the rough skill of a strip club bouncer?

Got It Right: Captain America: The Winter Soldier

Opinions vary on which of the MCU's extensive library is the best overall film, but I'll plant the flag right here and now that the freeway fight from The Winter Soldier stands alone atop the mountain as being without equal in all of comic book moviedom.

In this hard-hitting fight scene, the Russo brothers managed to film two superhuman weapons in a tense, violent fight that emphasized skill, daring and the aforementioned chaos that would have any experienced fighter nodding appreciatively. When Bucky Barnes introduces a knife to the proceedings, Steve Rogers modifies his style immediately. The choreography is so fantastic here because it feels totally natural to the situation at hand, as if Rogers and Barnes are learning on the go, which is exactly how a real fight feels.

On Feinting & Faking

If you have anything higher than a 50% striking accuracy in the UFC, you're doing something very right. If you believe the movies, it's a lot harder to miss a punch or kick than it is to land one, even against supposedly skilled, moving targets.

Now, if your opponent is a mall cop and you know what you're doing, you shouldn't have much trouble placing your punches, but against a skilled adversary, both parties will aim to minimize risk while maximizing reward. Setting up strikes requires timing, patience and no small degree of gamesmanship, which is why fakes and feints are key.

Got It Wrong: Daredevil (Netflix)

Before you bust out the pitchforks, let me just say that Daredevil got plenty right when it comes to staging effective fight scenes, exceeding much of what we've seen out of the MCU on screen. Still, for a guy with a radar sense, incredible reflexes and an extensive martial arts background, Matt Murdock sure does get straight to the point, foregoing any sort of probing offense and opting instead of an all-out blitz most of the time.

Granted, Murdock wins his fights, but perhaps being a little more patient would save him a few trips to the Night Nurse.

Got It Right: Mission Impossible: Rogue Nation

I unabashedly loved Rogue Nation; everything from the stunts to the cinematography was top notch, but perhaps the biggest surprise of the film for me came in the final act, when Rebecca Ferguson's Ilsa Faust used real cunning and skill to take out the Bone Doctor in a surprisingly realistic knife fight in semidarkness.

Faust used some crazy acrobatics to deliver the killing blow to her much larger opponent, but up until that point, it was all speed, agility and threatening feints with her blade that got her opponent's respect and helped set up the killing combo. What's even better about this scene is the fact that said opponent clearly knew his way around a knife fight as well, his initial bullishness giving way to healthy caution as the cuts began piling up.

On Knockouts

I can forgive action movies and even Avengers for not bothering with the subtleties of moderate concussions, but one of the most annoying trends in the realm of the fight scene is the phantom KO, and virtually everyone is guilty of it.

Knockouts do happen, on the street and in the ring, but they're far from the norm the movies make them out to be. Most movie knockouts involve one-strike masterpieces that literally leave the victims snoring in an alleyway for the better part of an hour. In actuality, knockouts look a hell of a lot more vicious, victims often twitching with their eyes open as their consciousness takes the 30 seconds to two minutes to reboot.

Got It Wrong: Ant-Man

The phantom knockout quotient was so high in Marvel's latest offering that it took me out of the movie completely on several occasions, not the least of which involves Michael Pena's character sleeping a trained security officer for what felt like an hour during the climactic heist. I get that it's being played for comedy, but in a movie where several characters, Scott Lang and Darren Cross included, absorb unexpected haymakers and rub their sore jaws with a chuckle, it feels unnecessarily dumb.

Got It Right: Captain America: The Winter Soldier

The Winter Soldier's second appearance on this list is owed to a stellar opening scene, in which Cap takes on Batroc (played by former UFC champ Georges St-Pierre) in a fight that lasts as long as Cap wants it to. What I loved more than the back-and-forth choreography of this scene is that fact that it takes a few huge shots, including two knockdowns, from the super soldier before the very mortal Batroc is put to sleep. What's more, Batroc is up and running not two minutes after a devastating elbow puts him down for the count.

Perhaps the fight coordinators got a few tips by having a real world champion on set during filming.

At the end of the day, these fights were made primarily for the Rule of Cool and less so to reflect any realistic standards of combat, but still, it's interesting to hear what someone with that background has to say about them.

#10 Posted by Veshark (9446 posts) - - Show Bio