Apr 11 2017
We’re up to 62 superhero movies since 2000. You can download the full data here. Some observations:
- R movies are making up the quality gap with PG-13 movies.
Apr 11 2017
We’re up to 62 superhero movies since 2000. You can download the full data here. Some observations:
Mar 24 2017
You are a funny guy. How did you become a super hero? What do you do when you’re not doing anything? Do you like being a superhero? Why do you wear a mask? Why do you wear red and white? Are you Canadian?
Getting superpowers is sort of a long story. Some people are born mutants or work in a nuclear power plant. I got an organ implant from a doctor I found at an IHOP. (I mean, I got the DOCTOR at the IHOP, not the ORGAN, that would just be nasty).
When I’m not doing anything, I make fun of X-Men and my studio and my writers, that keeps me plenty busy.
The last Canadian I met tried to murder me with his claws a few times. And that was before I tried hitting on his sort-of-daughter, who ALSO has murder-claws. That’s since been adapted into two movies, Logan and Saw 3. #CanadianDating
“Why do you wear a mask?” To make it possible for Ryan Reynolds to play me in the movies. With the mask off, he looks more like an avocado than a mercenary (and about as threatening as a door-to-door Bible salesman).
“Why do you wear red and white?” It’s easier to wash blood out of red clothes. White helps if pigeons are around. New York has a lot of pigeons.
Your Friendly Neighborhood Deadpool
Is it true you don’t like to be called a hero? I like it when you make jokes. They’re really funny.
In your movie, why did you count your bullets when you could have picked up an enemy’s gun?
I also heard you don’t like the X-Men, is that true? How many enemies do you have?
I don’t call myself a hero, but I don’t care what other people call me, except for the time that Spider-Man called me Cable’s sidekick. NOT TRUE, CABLE WORKS FOR ME. He doesn’t even have a movie yet. I don’t think he even knows what a chimichanga is, which would probably explain why he’s so bad at taking food orders.
“I like it when you make fun jokes.” Thanks! Sometimes inspiration for a great scene hits me. We were enjoying a hockey game in Toronto and a Zamboni came by and I was like, “We can totally kill someone with this.”
“How come you counted your bullets instead of picking up an enemy’s gun?” Guns are like hockey teams: you don’t swap them out. Unless you find someone much better. Or you have a katana. Actually, maybe guns aren’t like hockey teams.
“I also heard you don’t like the X-Men.” TRUE. When I was in Wolverine’s movie, they sewed my mouth shut. When I asked Wolverine to be in my movie, or maybe someone badass like Gambit or Cable, the X-Men sent me a Twitter-addicted negasonic teenage warhead.
“How many enemies do you have?” I don’t keep like a running kill-count or anything but probably 100 less than at the start of my movie. Several remaining names: Wolverine (tried to kill me after I flirted with his daughter WHO TOTALLY COULD HAVE BEEN 18), Wolverine’s daughter (same), Sweden (The Katana Incident), Madcap (me but less funny) and probably HYDRA (they hate everybody).
Deadpool, how’s your granny? I heard your girlfriend kicked you out of the house. What do you think of your job? I hope your girlfriend will take you back.
How’s your day? When are you going to make another movie? In your last movie I liked it when you got your girlfriend back. I hope you make a new movie soon.
“How’s your granny?” SHE’S NOT MY GRANNY. She’s just someone I’m sharing a room with, who happens to be a granny, and also probably addicted to cocaine. I think that’s how she went blind. It’d also explain why she took a hitman as an AirBNB guest, just saying.
“What do you think of your job?” I have a job? I definitely didn’t get paid anything for taking down Ajax. I wasn’t even able to sell the Zamboni. If Batman and Iron-Man have taught us anything, being a billionaire playboy is every bit as amazing as it sounds. If I have taught you anything, don’t go on a one-man journey of revenge and murderous redemption without getting paid for it.
“I hope your girlfriend will take you back.” Unlike the granny, she’s not blind (and I’m not a billionaire), so it won’t be easy.
“I hope you make a new movie soon.” Deadpool 2 is coming out next year. My sidekick Cable’s going to be in it. More importantly, me too.
Why did you think about becoming a hero when you got an offer? I love the part in your movie where you cut your hand off, that part made me laugh so much.
Why did you make a movie? Why is your name DeadPool? Why do you live with an old lady? Do you have a pet? Do you have a car? If you wanted a car what would it be?
“I love the part in your movie where you cut your hand off, that part made me laugh so much.” When you’re filming a movie, most scenes get practiced 30-40 times to get the performance just right. Check out the take where I pass out from blood loss. Comedy gold.
“Why did you make a movie?” My life is grim, dirty, and loaded with murder and betrayal. It was either Hollywood or politics, and I don’t look good in a tie.
“Why are you named Deadpool?” A deadpool is when people bet on who’s going to die first. I had cancer (and a lot of it), so most of the people at my bar thought I was going to die first. JOKE’S ON THEM, SUCKERS.
“Why do you live with a old lady?” She’s blind and slow, two of my main requirements in a roommate. Anybody else would have run to the cops years ago.
“What was your favourite part in the movie when you were acting?” The romance scenes were all my idea. And, no, we didn’t use stunt doubles. The studio is still working out whether my ideas for the sequel are okay for a rated R movie, though. Or legal.
Nov 08 2016
Nov 06 2016
Each submission will be a supervillain sitting at a huge table explaining why they should be voted as the Supreme Archvillain, then they go into a story, etc. Reprint excerpts and new writers welcome.
Sep 18 2016
1. This movie is about as bad as Catwoman but, in Catwoman’s defense, it had okay action scenes.
2. Man of Steel particularly struggled with family dialogue. E.g. Clark’s Kryptonian parents take 3 minutes to describe their plan to send him to Earth and say their goodbyes. It’s pretty bland stuff, e.g. melodramatic intonations like “Goodbye, my son, all our hopes and dreams travel with you.” For much better family sequences, I’d recommend checking out Up, Incredibles, and Inception, non-dramas that happened to have some highly emotional and sometimes tragic family scenes. Let’s look at Inception’s vault scene, where a son insecure about failing his imposing father’s expectations is about to inherit a business empire from his dying father. He quietly hates his father because he thinks that his father has rejected him (e.g. not acknowledging a photo of a homemade pinwheel that’s probably the only happy memory they ever shared).
If you can get through this scene without shedding a tear or smiling at all, I’d recommend talking to a WB casting director because apparently they’re really into that. Also, the dialogue in this scene takes about 1:15. Compare to 3:15 of “Goodbye, my son, all our hopes and dreams travel with you and maybe also an AI which will spend another 5-10 minutes narrating to you later.”
(For some extra tragedy, this scene from Inception is a dream sequence created to trick the son into breaking up his father’s empire. In actuality, the father probably actually was a bastard).
2.1. When Pa Kent reveals to his son that he’s an alien, he bends over backwards to be weird about it. E.g. “You’re not on the periodic table”, “You’re the answer to ‘are we alone in the universe?’”, and “You need to decide whether to stand proud in front of the human race or not.” Clark doesn’t respond at all to this weirdness (his father gets 146 words in this scene, and Clark gets 13 – like most scenes between Clark and a parent, it’s more of a parental monologue than a conversation).
2.2. When Ma Kent’s son locks himself in a closet at school, mixing in some conflict would probably be more interesting than trying to be a yoga instructor. (“Focus on my voice. Pretend it’s an island. Out in the ocean. Can you see it?”) Alternately, maybe having Clark react when they take conversations in exceptionally weird directions. In this scene, Clark’s mom gets 80% of the words. Contrast to more effective conversations in Dr. Strange – even the most New Age-sounding lines from the Ancient One address problems and advance goals in a serious, practical way.
3. A question-and-answer session between two entirely cooperative characters is almost never the most interesting way to convey information. If the backstory of what had happened on Krypton actually were important, I’d recommend cutting the first 20 minutes of the movie on Krypton and most of the conversation between Clark and Jor-El, and have General Zod briefly mention or allude to important pieces when he shows up. Even that’s probably unnecessary.
3.1. If you’re rewriting a scene that feels like an 100% cooperative Q&A session, I’d recommend considering building some conflict between the characters, some mistrust, some concealment and/or lying and/or self-serving, not being willing and/or able to tell the whole story, and/or unreliable answers, etc. Also, there may be some degree of “cost” to the questions — e.g. if you sent your son to another planet and could have come yourself but chose not to, you might be uncomfortable freely admitting that because he’d probably think that you abandoned him. There probably should have been some pushing/conflict before Jor-El elaborates on what happened there.
4. The movie heavily overfocuses on Clark’s parents, who delivered twice as many lines as Clark/Superman gets (26% vs. 13%). Minor characters (mostly the military and minor Kryptonians) made up another 39%. Giving 2/3 of the lines in the movie to minor characters that have little bearing on the plot, little personality, and almost no unusual decisions between them is a bad idea. If your superhero is so boring that sidelining him for his parents might be a good idea, something has gone catastrophically wrong for your superhero story.
|Characters||Word Count||% of Total|
|Everybody else (mostly military + minor Kryptonians)||2,815||39%|
4.1. Arguably the worst part of the conversations between Clark and his parents is that his parents are windbags that relentlessly info-dump at him in the most grandiose, messianic terms what he symbolizes and the unbelievably wonderful things he’s going to accomplish some day when he gets off his ass and stops listening to windbags telling him about it. Jor-el: “You will give the people of Earth an ideal to strive towards. You will help them accomplish wonders. You will guide them so they might not make the same mistakes we did. You will show them this was the moment when the rise of the oceans began to slow and the planet began to heal.” Pa Kent: “You were sent here for a reason. All these changes you’re going through, one day you’re going to think of them as a blessing, and when that day comes you’re going to have to make a choice, to stand proud in front of the human race or not… You just need to think about what kind of man you want to grow up to be, because whoever that man is, good or bad, he’s going to change the world.” Who the **** cares what he symbolizes? Get him doing and saying interesting things. In the first hour, he doesn’t come close on the first or attempt the second.
4.2. If ANYBODY takes 80% of the lines in a conversation with your main character, the scene-stealing characters damn well better be hyper-charismatic and/or critical to the plot, on the order of a Hannibal Lecter or Han Solo or Blake (the “coffee is for closers” sales instructor in Glengarry Glenross). In Man of Steel, virtually every scene with Clark’s parents sidelined Clark, which is very unusual for a lead character. I don’t see what they were going for. Clark didn’t get a lot of opportunities to have personality, develop himself and/or be interesting.
4.3. There’s one point at which the ghost of Jor-el tells Clark “If only Lara could have witnessed this.” Nah, three hyper-generic parental figures should be enough, I think.
5. The entire plot is a festering cancer of incompetence.. Being in Man of Steel is like barrel-rolling a Jeep full of incontinent donkeys. Nobody walks away looking good.
6. Emotional variety is missing. I think Clark smiles twice in the entire movie and there are literally no moments that are exciting or cool. Compare to much more effective dark movies, like Chronicle and Deadpool and Kick-Ass and Watchmen, which have a lot of despair and suffering, but ALSO have some levity and a lot of energy. E.g. in Chronicle, one of the main characters has an abusive father and is generally an outcast at school, but everybody gets occasional bursts of excitement and happiness and most of the characters are living semi-functional lives. Man of Steel is a gray pile of sadness where Superman stumbles from one tragedy to the next.
6.1. Here are some faceshots from the movie. Clark’s emotional expressions could use some work (e.g. his pose for seeing Lois for the first time is virtually identical to when he sees by a corpse).
6.2. I can sort of understand the rationale behind doing several scenes with military extras – Superman has virtually no good dialogue in this movie, and his powers don’t lend themselves well to interesting fight scenes. However, if you spend so much time on military characters that they have more lines than Superman does, I’d recommend having the military extras actually be sort of useful (e.g. taking down one of the minor villains or something rather than just shooting ineffectually).
7. Jesus Christ, how tragic can one person’s life be?
8. A recurring problem for Superman: an active Superman is so powerful that he can instantly solve most problems that come his way. For most of the movie, they opt for “Clark wants to act but instead does nothing to hide his powers, and then has a 3+ minute debriefing where a parent monologues about why he had to do nothing to hide his powers.” If you’re going to have so many of these scenes, I’d suggest at least having him TRY to overcome his problems without superpowers (e.g. talking his way out of it, run for help, or make some friends by having any outside interests or anything going on in his life besides random disasters and tragedies) or maybe some sly use of superpowers like using his heat-rays to start a fire alarm to bring out witnesses at an in-school fight.
9. Characters should respond more naturally to each other. For example, if Clark says something like “You’re some guy that found me in a cornfield” to his adopted parents, please write a sharper response than “Clark!” / “No, honey, it’s alright.” If you want to have Lois to declare that Hardy is trying to measure dicks with her, please give Hardy a sharper response than nothing. Other moments in the movie that probably deserved more of a response than they actually got:
10. For a dramatically effective version of soldiers fighting an impossibly powerful enemy, I strongly recommend looking instead at the final scene of Rogue One (doomed rebels in a terrifying encounter with Darth Vader). The scene lasts less than a minute and is completely non-redundant with everything else in the movie. In contrast, Man of Steel (and Suicide Squad) have 4+ emotionless scenes where military extras get mowed down emotionlessly just to burn time off the clock.
Sep 17 2016
I spent 5 hours this week watching Man of Steel and taking 5,000 words of notes. It was like being trapped on an alien planet where the atmosphere consists 80% of characters telling Clark what incredible, grandiose things he symbolizes, 20% of daringly bad action scenes, 15% of grimly constipated expressions, and 15% of acting this bad. 130% lethal to humans.
(Much) more to follow for the masochistically inclined.
Aug 19 2016
Out of the Past is a 1947 noir thriller so brilliant I cannot do it justice. I would definitely recommend it, particularly if you’re working with…
Aug 14 2016
1. The character introductions were lacking. Having Waller narrate the characters’ backstories to a minor character in a no-stakes infodump was probably not ideal. If Waller’s MO is that she’s ruthless and/or exploitative, would have preferred a scene with her coercing Flag to work on the project and/or why they selected these guys rather than any other high-stakes criminals available. Also, given that virtually all of the characters are total unknowns to most viewers, a smaller team would probably have helped with character development. (Failing that, if you start with a large team of antiheroes, having several deaths would probably have helped raise the stakes and establish a mood).
2. It probably would have helped if the main mission of the movie had been more shady and/or disagreeable. If a supervillain is ravaging a city, it’s not clear why the government needs a “plausible deniability” option here of unwilling gangsters with guns and bats rather than, say, asking Batman or Wonder Woman to step in. Or that having 6 minor criminal patsies would have helped explain at all why a sorceress wrecked a major city. I feel like a very messy police mission like trying to destroy a major gang and/or killing somebody that’s gone rogue and/or helping a VIP (maybe Waller) deal with a major case of blackmail would have been a better fit.
2.1. Waller’s trying to fake an answer to the wrong question. If a villain magically turns millions of people into zombies, the blame coming your way doesn’t have anything to do about who did it, but rather that you either didn’t have a plan and/or it involved sending guys with guns and bats to stop a sorceress rather than, say, asking Wonder Woman. Also, if you DID need to falsely claim that someone zombified a city, could I suggest somebody more plausible than a group of minor criminals headlined by a crocodile and a prison psychiatrist?
2.2. The blame coming your way might also have something to do with “why was somebody as incompetent as Waller within 1,000 miles of a life-or-death assignment?”
2.3. “When Enchantress started killing millions of people, why didn’t we immediately flip the kill-switch on her magical device?”
3. The music selection was ugly. E.g. playing “Sympathy for the Devil” to introduce a shady character with semi-sympathetic goals calls out the viewers as idiots, I think. Not nearly subtle enough. In contrast, Killer Croc got the much more imaginative “Born in the USA”, rather than (God help us) Crocodile Rock.
4. June is the worst archeologist in the world. She spends less than 10 seconds in the temple before twisting the head off a priceless relic that nearly destroys the world. Whoops. Not to be outdone, she falls for the worst soldier in the world, whose superpower is playing golf without a handicap and bungling pretty much everything he touches.
5. The team selection is an odd choice: Harlequin, Killer Croc, Captain Boomerang, Diablo, Katana, Deadshot, and Slipknot. Slipknot and Captain Boomerang are joke characters that contribute very little to the plot. (Seriously, Slipknot’s reason for being on the team is that “he can climb anything”). Harlequin and Deadshot (and secondarily KC and Diablo) feel like a pretty good personality fit for the movie, and the four of them dominate the memorable lines. I would have removed or overhauled CB, Katana, Slipknot, and maybe Rick Flag – they have little impact on the plot, and there just isn’t time.
6. Enchantress feels like a serious mismatch for the protagonists. Someone shootable would probably have created more interesting interactions and better fight scenes, seeing as almost everyone on the team is a badass normal. (The team’s only superhumans are Diablo, Killer Croc, and maybe Katana – not the most intuitive choice for stopping a world-ending threat).
7. Characters raise plausible concerns about Waller’s plans in a fair way (and thoroughly exhaust standard police and military alternatives). In context, it almost feels believable that serious people would agree to this crazier-than-crazy plan. (If we pretend that Batman and Wonder Woman were dealing with some other world-ending threat somewhere else, it almost makes sense). Also, in the interests of making Waller/Flag look better than “totally useless”, it might help if the problem the team had to deal with was not 100% created by Waller being a dumbass. In, say, well-executed noir movies like Out of the Past, characters create their own problems, but without compromising their competence.
8. Although this movie did as poorly as Batman vs Superman on Rotten Tomatoes, I think Suicide Squad is considerably better-executed and more entertaining. E.g. Will Smith’s attempted negotiation with Flag and Waller actually did a great job advancing character development, establishing conflicts between characters, and advancing the central plot. I don’t think there were any scenes in BVS that managed any one of those besides maybe Bruce Wayne’s very brief conversation with Diana Prince.
9. Even for a superhero movie, SS asks you to check a lot of realism at the door. E.g. 3 helicopter crashes for major characters without any deaths or injuries. Seriously, it would have been okay to kill off some of these characters. No one in this movie besides Batman and maybe Joker is integral to the success of the DC Universe moving forward. Also, Rick Flag is a notably passive, weak character – besides killing off Slipknot early, he is curiously reluctant to respond to provocations from his team. I was actively rooting for his death.
10. Several of the characters (notably KC, Joker and Diablo) are taken in an unusually gangsta direction. It feels really strange for Joker, who comes across as more sketchy than threatening. For Killer Croc, it got oddly humorous, in a non-PC way.
11. Harlequin’s background as a psychiatrist does not feel like it fits with the rest of the character.
11.1. The sexploitation was actually pretty effective.
11.2. Harlequin getting punched in the face by Batman probably got the loudest laughter from the audience, followed by Deadshot trying to negotiate in prison.
12. Villains threatening worldwide destruction generally don’t give protagonists much to work with. Enchantress felt like a sorry rehash of the most recent Fantastic Four’s Dr. Doom and Green Lantern’s Galactus, even down to the purple vortexes of death and terrible CGI. It’s much harder for characters to interact with a force that has nothing to talk about. Off the top of my head, the only superhero movies with global villains that worked out creatively very well were the Avengers series and Guardians of the Galaxy, and they relied on exceptionally interesting interactions between the protagonists rather than with the villains.
13. Most of the teammates – and Flag and (if you go as far back as Green Lantern) Waller – have a tragic backstory to soften them. I was sort of hoping for at least one character to have an unapologetic Walter White-style “I did it for me. I was good at it.” The closest we got was Harlequin stealing a purse. While that helps reinforce the character’s craziness, maybe something more important to the central plot?
14. Deadshot’s final scene with his kid (helping her with geometry) was surprisingly heartfelt and refreshingly dark. The kid isn’t just a sweet plot device, and it’s probably the closest this movie got to daring. I wish they had tried it more often (e.g. see Deadpool). For example, maybe giving characters more opportunities to do more antiheroic things than stealing a purse? Giving Diablo and Flag more of a pulse? Making Waller competent?
14.1. Deadshot shows off technical expertise in his final scene very naturally – compare how he talks about the geometry of shooting people and the curvature of the Earth to virtually every Fantastic Four conversation about science.
15. It’s so hard to feel for the setting. It’s very generic and, like every DC city besides Gotham, it’s just a soulless cardboard box to wreck. No interesting characters, no interesting places, no distinctive mood to the city… For God’s sake, it’s called
Fauxcago “Midway City.” How much personality could it possibly have? PS: Would suggest checking out better noir movies for better alternatives to “dark and rainy all the time.”
16. The last 60 minutes of the movie (50:00 to 1:48:00) were a single, REALLY LONG mission where the characters break into Fauxcago, rescue a VIP, and ultimately defeat the villain. I strongly prefer the pacing of virtually every other superhero movie (e.g. Avengers and Incredibles), where several (much shorter) action sequences build up to a climactic confrontation with the villain. That would have also made it easier to work in dialogue into scenes than it was for Suicide Squad – e.g. look at how weirdly paced the bar scene is. (The world’s about to end, but hey, let’s talk about Diablo’s backstory!)
17. Across the movie, I counted about 38 minutes of action scenes. I think that’s about twice the average for superhero movies. Some issues here. First, it got tedious. Second, most of the fight scenes were ineffective. E.g. did we really need 3-4 separate scenes of soldiers/helicopters/aircraft carriers getting wrecked? There are so many characters that could have used most of that space more.
17.1. Most of the action sequences setting up each SS member were wasted.
18. The movie took far too long before the teammates first meet each other 45 minutes in. Virtually all of the moments in the movies that actually worked featured Squad members interacting together (or Deadshot with Flag or his daughter), and getting the Squad together much sooner would probably have helped with the pacing. If your first 45 minutes of the film give more screentime to Waller, faceless government extras, and Joker as the titular heroes, it’d really help if these side characters got more opportunities to be interesting or memorable. In comparison, most of the great superheroes movies that introduce the main case exceptionally late, like Iron Man 1 and Incredibles, used the extra time early on for scenes that were very interesting, hilarious, emotionally effective, developed the main characters, or developed critical plot elements – hell, Tony Stark’s “Merchant of Death” scene and Bob’s attempt to prevent a suicide accomplished a lot on all 5. In Suicide Squad, the first 45 minutes don’t have anything that well-executed… I’d argue the closest is Deadshot’s interactions with his client, which create some character development and humor.
18.1. The odd men out here are definitely Waller, Joker, Enchantress and her brother (Incubus), and arguably Batman. Ideally, I think it would have helped to replace Enchantress/Incubus with villains that could interact with the heroes more directly, made Batman’s scenes more distinctive or removed him altogether, and significantly accelerated the setup to the squad coming together. I think Joker would be a candidate for lead villain, but I wouldn’t keep him on as a side villain because there are so many characters fighting for space. Also, overhauling Waller (more competent, more believable, more logical, more reacting to an actual problem rather than creating a problem that doesn’t exist yet, more threatening to teammates rather than maintaining no surveillance on the team, etc).
19. A point worth belaboring: Waller is outlandishly incompetent.
19.1. While Rick is not as legendarily inept as Waller, he’s not exactly covering himself in glory.
Jul 26 2016
1) If you’re mainly looking for something believable, most major U.S. cities use one of the following:
2) If you’re looking for something more exotic and/or more thematic, I’d recommend starting with a syllable that has the right sound/feel and then adding suffixes from there. E.g. if I were trying to name a city that was economically wrecked and high-crime, I might start with a syllable like Bent or Pac or Mar, and then add a suffix (don, ion, ola/oma, burn, dere, atur, ville, port, er, burg, boro, rst, oma, sen, iet or whatever suits you). In this case, maybe Marburn or Bensen or Paccola.
3) Unless you’re going for a very “comic booky” feel, I recommend against combining an English adjective/noun and “City”. For example, names like “Central City” and “Star City” tend to be very generic and don’t sound like actual names. (Of the 100 largest U.S. cities, only 4 end in “City” and only 7 use a common English word besides a surname: New York City, Oklahoma City, Kansas City, Jersey City, Aurora, Phoenix, and New Orleans).
Jun 04 2016
1. I think the movie is overrated at 90% on Rotten Tomatoes. I’d put it at 60-70% (notably less awful than the year’s other superhero-vs-superhero movie, Batman vs. Superman, but probably the worst-written MCU movie not starring the Hulk).
2. My biggest complaint against the movie is that it guts well-established character development for no readily obvious reason.
3. Out of all the people that could really benefit from financial assistance, the MIT student body is probably pretty low on the list.
4. The cast was probably unnecessarily large. Hawkeye, definitely unnecessary. Black Panther, more on him later. This version of Spider-Man was not written well enough to earn his time/space in the movie. Wanda, arguable. Falcon, probably unnecessary. Of the five, I feel like Falcon was the biggest disappointment, not because I had terribly high expectations for the character (I think his main contribution is that he can eventually replace Chris Evans when he hangs up the shield), but because if he ever were going to establish himself as a character different than CA in any way, this probably would have been his best chance. (“Umm, hey, we know that you’re very close to your WWII teammate, who happens to have been mind-controlled into a superpowered serial killer, but maybe there’s a better way to help him than punching out 20+ police officers?”)
5. The writing for Spider-Man was sort of an odd choice. E.g. bending over backwards to make him annoying, and emasculating him with the scene where Iron-Man pulls him out of the fight. (Over the last 60 superhero movies I’ve seen, when a superhero gets taken out of a fight, typically he either gets knocked unconscious or his combatants withdraw or maybe he faces superior odds and withdraws himself). If you hate a protagonist you’re writing this badly, I’d recommend writing him out of the script. Maybe see Turtles Forever for another example here?) If this was the best they could do with the character, why work him into a movie that already has 10 superheroes in it?
6. Waukanda felt goofy. It’s not the first time a fictional country has been introduced into the MCU (Sokovia in Avengers 2 was a fairly generic setting that mainly showed up to get blown up, and blowing up an actual country might have been too dark). The mix of Waukanda’s 19th century government (king as actual head of state) and very advanced technology might have felt less goofy if it had been established in a separate Black Panther movie rather than in an ensemble movie. Also, I think Thor/Asgard has already covered a lot of this ground, but Thor actually has the fantasy background to make it work.
6.1. Black Panther is a martial artist, a billionaire heir, randomly a jet pilot, apparently a master investigator (he found Bucky quite easily), and driven to revenge by the murder of a parent. If the writing for a character rips off Batman that badly, I’d strongly suggest not making him look like this.
6.2. Unfortunately, they didn’t rip off the stellar lines that Batman typically gets, and personality and character development were sort of missing. With so many characters fighting for time, this probably wasn’t the best opportunity to introduce him. I hope his standalone movie in 2018 will be much better.
6.3. In Marvel’s defense, it wasn’t the worst Batman movie this year.
7. Tony Stark’s creative contributions have been waning over time. I think he had maybe 3 very clever lines in the movie. Weariness doesn’t seem to help him very much.
8. Ant-Man was probably the MVP of the movie in terms of personality and writing, though his role in the plot was negligible. Also, I had previously been skeptical that his powers would allow him to contribute much in combat in a superhero ensemble movie, but he actually contributed more to the fight scenes than most of the other characters.
9. Bucky is hard to care about – he’s less of a character than a mind-control plot device to be fought over. I think Manchurian Candidate, Jessica Jones, and even the pilot episode of Alphas handled mind-control much more effectively, generally from the victim’s perspective. Here’s the introductory scene of Manchurian Candidate.
May 09 2016
I was looking at a few relocation scenarios. Some observations:
*My driving is so bad I once got in a low-speed chase with a possibly sober deputy by accident. If you’re comfortable driving 6+ hrs without incident, I’d recommend that instead. Just give yourself 2-3 days to spread out the driving.
Mar 24 2016
This is the worst Batman movie since Batman & Robin ~20 years ago. The writing was sub-cartoon grade. If you didn’t enjoy the latest Fantastic Four movie or Man of Steel, I would stay far away from this one.
Feb 29 2016
We read a book to experience the journey a hero takes and to relate to the person they once were. However, a hero’s journey runs stagnant without a villain capable of proving their worth. Without a cunning villain, you have a hero basking in his awesomeness. Without a memorable villain, you have a hero walking a path we’ve grown bored with. Without a compelling villain, you have a story falling flat on its face and just going through the motions. The superhero can only be as mighty as the super villains they face.
Brian has already discussed the motivations for both heroes and villains. It is true the majority of motivating factors can be boiled down into a mere handful, so how is it possible to make a villain stand out amongst the plethora of evil organizations and bad guys with advanced degrees? While the overarching reasons to turn to villainy can be simple as love or the temptation of power, it is the flaws of these well-known troupes that create a character strong enough to rival our heroes.
For the sake of discussing supervillain archetypes, I’ll use three whose construction is elevated beyond many. The first is Magneto, to this day, my favorite villain of all time. His backstory is as complex as his emotional state. Born to Jewish parents and witnessing the Holocaust, Erik Lensherr’s primary motivating factor as a villain is to rule the world to bring order to a chaotic system and to a lesser extent, punish those who have done him wrong. Magneto has arguably one of the most impressive powers in Marvel (he did nearly destroy the planet, steal nuclear warheads, and create an outer space base of operations) but he holds a fundamental flaw as a villain: he knows what he is doing is bad.
How can the knowledge you are a bad guy create a villain to survive the ages? He witnessed one of the greatest horrors as a youth and later, as Genosha is nearly eradicated, he witnesses it again. We have a man who is reflecting on his life’s work, realizing that his mighty strokes of villainy has done nothing to change the course of mankind. Worse yet, he realizes that he has become the thing he loathes and he moves from villain to dubious hero. We hope as an audience he will find absolution, not only for the horror’s he’s witnessed but the ones he’s perpetuated. The weight he bears as he rescues Kitty Pryde from certain death is but one of the many grand gestures he partakes in to regain a piece of himself loss to his misguided efforts. We witness Magneto, master of magnetism, feel sorrow for the wrongdoing he’s committed. A flaw as a villain that give us perpetual hope he’ll become a badass hero.
However, not all memorable villains need the hope of redemption to be seared into our minds. I think one of the greatest portrayals of a villain in the live action world is Vincent D’Onofrio as Wilson Fisk in Netflix’s original series Daredevil. The mystery of who is running the crime in Hell’s Kitchen was well known to the viewer, and we eager anticipated the despicable businessman turned crime mastermind entering and dominating us with his unrivaled tenacity. Our first image of Wilson Fisk is not acting as the Kingpin, it’s of a man trying to understand the meaning behind a piece of art. What we see is Fisk lost in an emotional state, pondering sensations he’s uncertain of how to process. Fisk has a backstory a mile long in which we feel he is the victim, but in this single moment, we experience his humanity as he relates the work of art to a wall from the days of being abused.
Now, it’s not enough we see our villain as human. Fisk is the perfect example of how villains are created, not born. It’s rare for our super villains to be perfectly evil, instead, more often we find them driven to their profession. Fisk’s abuse at the hands of his father creates a common story and accessible by many viewers. As he is beaten, we root for him to go from the underdog to the man in power. What we don’t realize at the time, he becomes a man of power, to a man we detested in the first place. While he is now this powerful man, we see glimpses into his humanity. The need to feel sorrow fuels him as he stares into the painting. We only see him become more vulnerable when he courts the gallery owner, Vanessa. We sympathize with this man, forgetting his power or influence as he awkwardly tries to ask a woman he finds beautiful on a date. We’re geeks, we’ve been there and we feel a victory when she accepts.During the final battle, I found myself wanting him to win, not because I wanted to see Daredevil lose, but because I wanted the flawed man, who had endured so much, to walk away with yet another victory.
Netflix has proven it can create a villain we love to hate, they only solidified this in Jessica Jones when we met Kevin Thompson, aka Kilgrave (known as Purple Man in the comics) played by David Tennant. With the ability to control anybody with his voice, he previously forced Jones into a “relationship” against her will. Exerting his abilities on Jones, we understand her past with him equates to rape. So how can a man who is so extremely vile be considered memorable? Kilgrave wants the one thing he can’t have, a woman, Jones, to love him of her own free will. Again, we see a flaw, a flaw we have been victim to many times, wanting the object of our affection but not having our feelings returned. We see a sinister form of ourselves and we’re faced with the question, “If I had his powers, what would I do?” With such a great power, his machinations are extremely shortsighted and he has little desire for world conquest or even to be more than what he currently is. The only thing he wants: the thing he can’t have; a do-gooder with a serious attitude problem.
Kilgrave spends the series, forcing her into situations in which she must confront herself. She fears that his abilities will trap her again. Even when we discover *spoiler alert* that he can not trap her with his abilities, he creates situations resulting in her volunteering to become his girlfriend. For a moment, we witness Kilgrave being capable of good. Because underneath the destruction he causes to obtain Jones, he feels he is doing what he must to court the girl and win her over. His incredible intellect is flawed by his inability to comprehend the world beyond himself due to his sociopathic behaviors. We understand that he’s trying to win her over and has no idea how to do it because he can’t understand anything beyond himself. Jones has to face this reality and in a moment when she believes she will be captured by him forever, she confronts her demons and imperfections and walks away victorious. We’re left understanding why it ended the way it did, but we feel pity for the poor Kilgrave and his need to be loved.
In these three villains, we have a range of one who wants to rule the world for the betterment of his people, to a man who wants to overcome his past, and another desires love. Each of them are the product of their insecurities and we find their insecurities, partly because of the scale, and partly because of the super-status, blown so largely out of proportion we’re left wondering as the viewer, “Would that be me?” A villain can not be a hurdle for the hero to overcome and surpass to prove their own heroism. There is a formula to create a memorable villain, but it does require a certain amount of willingness to delve into the mind of the villain and explore them as a character.
Amazing powers and an awesome uniform do not make a villain memorable. It’s the flaws in their humanity that breathe life into the characters. Be sure to treat them as a character and not just a punching bag for your hero. Let them develop, because as they develop, the strain between them and your protagonist will increase and you’ll be left with a dynamic that has us turning the page to see who will emerge victorious. Give them chances to be human and let the reader inside their world more than just the confrontations. Let us see them on date night or how they take their tea. The more we connect, the more we remember.
About the Author
Jeremy Flagg has written several books including the young adult Suburban Zombie High Series as well as a non-fiction book memoir, I.Am.Maine: Stories of Small Town Maine. He lives and writes in Metrowest Massachusetts. For more information you can find him at http://www.remyflagg.com
Children of Nostradamus (Nighthawks, Book 1) is currently available for order on Amazon.
Feb 21 2016
Are there any circumstances under which a highly inactive protagonist would be more promising dramatically than a more active protagonist? E.g. a main character that is weakly unenthusiastic about participating in the plot*, or opts to do nothing in situations where almost every protagonist in the genre would have taken some sort of move (like a superhero story about someone that develops superpowers but doesn’t want to be a superhero/villain or otherwise interact with superhero activity).
*Weakly unenthusiastic: not all that promising. In contrast, I think someone who’s being coerced into doing something but actively rebelling/sabotaging is helluva more promising.
Feb 03 2016
Under what circumstances (if any) would it be possible to make a grossly incompetent main character likable and engaging? Are there any cases where making the main character consistently incompetent would make a story more interesting?
Jan 27 2016
God, how many hours of counting character lines must have gone into this? Thanks, researchers!
Oct 19 2015
If you happen to find yourself in Hong Kong from November 2-4, Marvel is hosting a preposterously swanky 8-course meal at Bo Innovation, a 3-star Michelin restaurant. “From the Avengers to Spiderman to Guardians of the Galaxy, each chef will have one night to create an exclusive Marvel-themed menu…” At a price of $300/person, this better include a flambe raccoon and a super-serum apertif. If you’re interested, you can reach Bo Innovation at +852-2850-8371 or via email at firstname.lastname@example.org
Aug 31 2015
In the Deadpool trailer, Ryan Reynolds’ character takes a shot at his last superhero movie, Green Lantern. I predict that it’ll actually do even worse critically than GL did (26% on Rotten Tomatoes). His movies (e.g. Green Lantern and RIPD) tend to be fanatically committed to comedy but have an awful record at actually being funny. For example, in the Green Lantern oath scene below, the desperate attempts at humor suck the time/space out of anything else the scene could have contributed (like character development, interesting choices/motivations, conflicts, or side-plots). DP’s trailer looks like it’s headed that way.
Aug 25 2015
John Lucas just published a superhero novelette about a superhero whose marriage counselor told him to grow a set. “Less than 24 hours later, he finds himself mired in an underworld of crime, violence, and ill-advised self-improvement.” The novelette, A Hero Is Always Alone Sometimes, can be downloaded for free on Amazon from 8/26 to 8/28. Unlike the last novel I reviewed, this is one that I definitely wouldn’t recommend for a 4th grade classroom. 🙂
Aug 07 2015
Jul 19 2015
My expectations for the Ant-Man movie were exceedingly low — mainly based on concerns about the source material (no memorable villains, not much interesting personality, not conventionally useful superpowers, etc). In actuality, it’s a consistently funny movie with reasonably good fight scenes. Right now it’s averaging 79% on RT and I think that’s about right. Some observations:
–The main villain is a one-dimensionally psychotic businessman. His lack of style and depth is probably my biggest knock against the movie. At the very least, if you absolutely need a psychotic businessman (which has already been used quite heavily in superhero movies), other movies have blazed this path better. E.g. generally Spider-Man 1’s Harry Osborne and Incredibles’ Syndrome felt like they could be real people with major mental issues. Not so much here. That said, I really liked the scene where the villain asked his mentor Dr. Pym why he kept the villain at such a distance. At the very least, the villain did give a really good opportunity to develop a side-protagonist’s personality.
–Using reformed sort-of-criminal* Scott Lang rather than generically brilliant scientist Dr. Pym as the main protagonist was an excellent choice. I think we’re overstocked on brilliant scientists at this point.
*He committed one theft, a Robin Hood-style crime where he returned the money to people that a company had overcharged them. The filmmakers softened the edges on his criminal work so much that it didn’t look like they were completely convinced that a criminal-turned-superhero could work. For PG-13 movies, I prefer the Guardians of the Galaxy mold (where protagonists have more latitude to at least talk about committing selfish crimes**, even if most of the things they actually do aren’t).
**Even removing someone’s spine, which is actually murder, and also illegal.
–In the comics, Scott Lang gets back into crime to help his sick daughter. Boohoohoo. In this case, it was to make child support payments (after a hilarious failure at Baskin Robbins), which felt a lot less cheesy/generic than the comic version.
–The side-cast in this movie and the (somewhat outre) comedy were much better than anyone had any right to expect. E.g. I believe comedic side-character Luis was created for the movie, which must have been a series of leaps of creative faith. “I know this guy, Michael Pena. Well, my cousin was at this PTA meeting, you know, and…”
–Falcon’s cameo is probably the closest he’s come to being interesting, especially when Luis goes into storytelling mode for the second time. This is also the most interesting SHIELD/Avengers cameo in any of the Marvel movies so far. Doing it with Falcon (who doesn’t have a personality independent of Captain America yet*) is just plain impressive.
*E.g. “I do what he (Captain America) does, just slower.” I believe the most charitable interpretation for Falcon is that his main purpose is to replace Captain America if/when Captain America’s actor Chris Evans stops making CA movies. He’s essentially a slow-rolling reboot.
May 21 2015
The most important thing in writing comic books is finding and honing your own unique voice. A unique voice makes your writing exclusive and authentic. Authenticity connects with readers.
Many comic book writers have trouble developing their own unique voices when they are starting out. Fortunately, there are a few exercises you can do to develop your voice and improve your writing.
Study Another Writer’s Voice
Studying other Writer’s voices will make it easier to identify and develop your own voice more clearly. Picking a comic book you really like and aping the style makes a fun writing exercise that will help you do this. Everyone has their own style of writing comic books. Good writing styles are practically invisible. Aping a comic book’s story will help you see the style and better understand the writer’s creative decisions.
What do I mean by aping a comic book? I mean tell your own story, but with the beats of the comic you’ve chosen to ape. Plug your characters and concepts into the other Writer’s story beats. He uses five panels, you use five panels. He uses a caption, you use a caption. He does thought balloons, you use thought balloons.
You will be more comfortable writing in your own style once you’re comfortable with another writer’s style.
Take an inventory of yourself to identify your voice so you can accentuate it. Ask yourself some pointed questions:
Ask other people what they think is unique about your voice. You can find out a lot about your voice in reviews.
Look at Your Writing
Free-write something. Just write something you enjoy without doing any editing. Then, look over what you wrote and ask yourself if this is the kind of writing you’re publishing. Is this the kind of stuff you would read? If it isn’t something you would read, then change your voice to make it something you would enjoy reading. Do you like what you’re writing while you’re writing it? Does it feel like work to write? If it does feel like work, then there’s a good chance you need to change the way you’re writing.
Do you feel afraid or nervous before you publish? If you aren’t feeling vulnerable when you’re putting your work out into the world, it might be time to work on making your voice more personal. Try to write dangerous stuff. You want to be scared of what people will think when they read your work.
Finding Your Voice is Important
A unique voice can help you in many ways. Most writers who don’t write with a unique voice burn out eventually. Your unique voice is what makes people fans of your work. Finding your voice is important for writing comic books. However, it’s even more important to continue developing your voice once you’ve found it. Try these exercises and see what you find out about your voice.
Dec 07 2014
Comics are a visual medium, and that can be an advantage over prose when it comes to storytelling. The motion and force in Wonder Woman’s punch, the adorkable grin on Ms. Marvel’s face, that gorgeous two-page spread of Gotham City: these are images that can be harder to get across in writing. But don’t get discouraged, novel writers. Prose has its own advantages, and one of those is that it can be much more immersive than comics through the use of sensory details.
Touch, smell, hearing, taste: use them right, and it can deepen your reader’s experience, making them feel like they’re right there with your characters. This isn’t central to your story. A solid plot and well-rounded characters always come first, but when you’re revising your second or third (or tenth) draft, look for places where you can enrich your description with sensory details like the examples below:
Small details like these can make the world of your novel feel more real to the reader—which is important when that world is populated by mutants, aliens, and men and women in colorful tights. Sensory details alone won’t make a good story, but they can add another layer to already good writing.
Aug 07 2014
I’m going to be out of the country. If you’re waiting on a review or have a question, I’ll probably need to hold off until I get back. Japan pictures here.
Aug 01 2014
My expectations were modest — e.g. “What if they made a watchable version of Green Lantern?” The movie is better than I think anyone could have reasonably anticipated. It’s more like an exceptionally funny version of Star Wars. 5 stars.
PS: I’d suggest against bringing most kids younger than 13. The violence level is more like a Vin Diesel movie than a talking raccoon movie. (You did notice that the talking raccoon has a machine gun, right?)
May 26 2014
May 22 2014
Often with works of fiction that involve superpowers, writers look for ways to effectively limit or check those powers. This is done to keep characters vulnerable to challenges while maintaining dramatic effect within the story. After all, if a character can consistently deal with situations by using their unrestricted abilities, how invested will a reader (or publisher) be in the work? Probably not very.
Writers of comic books, superhero novels and other forms of speculative fiction utilize a variety of approaches in addressing this issue. Examples include requiring a specific power source or item to use an ability (e.g. Green Lantern’s ring or Mr. Freeze’s diamond-powered freeze gun). Another example is requiring the character to be within a specific proximity (e.g. in the film Push, Kira has to be able to see people to tamper with their minds). Sometimes a character is susceptible to a specific substance or external force (e.g. Superman and kryptonite or his vulnerability to red sunlight).
These limitations are mostly environmental or physical contingencies that the character must yield to. One alternative is using a character’s progressive learning curve to limit their capabilities.
If you want to restrict a character who can channel cosmic energy as concussive force blasts, a good place to start might be by asking: What does the actual development of that proficiency look like? (Keep in mind this question can be asked of anyone in any endeavor, not just fictional superheroes. Choosing to spend time with it as a literary theme could be a good way to develop relatability within the work.)
So what does it look like for a character to actually learn about their extraordinary powers over the course of a novel? Is it believable that they would start out fully knowledgeable in their understanding, or would there be gradations of trial and error, of setbacks and success, of growth? A character learning to use concussive force blasts will provide their own limitations in the form of their inexperience. Be encouraged to explore that. It could be a much more resonant and effective restriction than a target that has to be within X amount of feet. Even as the character grows in the use of their powers, surpassing old limitations, the learning process by nature should continue to supply new thresholds for them to meet and be challenged by.
In the sci-fi novel Psion by Hugo Award-winning author Joan D. Vinge, the main character Cat is recruited into a psychic research program. The technicians are able to determine the vast amount of telepathic power Cat possesses; they can ascertain what he should be able to do… But Cat can’t do those things because doesn’t know how to be psychic. Even as he gains greater understanding and command of his telepathy throughout the course of the novel, his learning curve continues to provide natural limitations and challenges for him in the use of his powers.
Of course, not every story’s main character is a fish out of water. While most superhero stories handle the initial emergence of the primary hero, some characters come to the plate further developed than others. And that’s fine. Even in those instances, I’d encourage writers of superhero fiction (especially novels) to consider the learning curve (specialized here, perhaps) as well as the more concrete and specific limits meant to rein in the chosen superpowers.
Wolverine can be used as an example of an already expertly-skilled character forced to negotiate the learning experience. When he first joined the X-Men, he was leagues beyond his teammates in training, combat experience and the use of his mutant powers. Despite this he still had a significant learning curve dealing with the way the team functioned and occasionally his approach to obstacles was more detrimental than helpful. Additionally, it was because of his experiences with the X-Men that he learned to take more control of his berserker rages, which were a danger to everyone.
Well-rounded characters resonate more with readers. Going through the journey of learning to use superpowers along with those characters – most notably experiencing how that process provides limitations, checks and challenges in organic and relatable ways – can contribute greatly to the development of that relationship, potentially endearing readers even more than originally considered.
To finalize, focusing on the superpower learning curve can be an enormous boon as there are potentially countless ways writers can incorporate it regarding their character’s superpowers, specifically as a means to limit those powers. These elements can be made to manifest as significant and effective by simple virtue of being so unknown, or it can be more a matter of learning to use familiar capabilities in entirely uncharted situations. In either instance, this also demonstrates the flexibility and personalization of the learning curve, in that it can be uniquely shaped to fit each character. This kind of development and attention to theme can greatly increase the depth and resonance of a novel while providing necessary restrictions and challenges for the characters within them.
May 01 2014
One of my coworkers (who asked to remain anonymous) received this business proposal from Ghana.
My name is Barrister Agams Enoch Mifetu, the personal attorney of late Mrs.Eunice Maccabee based here in Accra republic of Ghana I did a lot of web search before choosing your contact from the skype. It is with trust and sincerity that I approach you for assistance in this business.
Please do accept my apology if my mail infringes on your personal ethics and honestly it will be my humble pleasure if we can work together.
I would like you to act as an executor of late Mrs.Eunice Maccabee my deceased client who made a deposit of (US$14,000,000.00) with a Bank here in Ghana a few years back. She died in Plane crash with her husband and their only child leaving behind no next of kin. And a citizen of my country cannot stand as next of kin to late Mrs.Eunice Maccabee that is why I contacted you.
Dear friend I am ready to share 70/30 with you, if you are interested mail me immediately for further details in this great future relationship.
If you are interested write me with your email and telephone number,reply me immediately.
Barrister Agams Enoch Mifetu
Dear Honorable Mifetu,
Thank you exceedingly much for contacting me! It has been many years since I have heard the name Eunice. What a shock it was to hear that name again and from such a surprising, but altogether trustworthy, source.
Now, your position as barrister affords you the close knowledge of many things personal to the Maccabee family that one in your position would have and know of from the very nature of the position that you hold in close proximity to those in the family whom hold the secrets close to their hearts of which I speak.
However, there are some things that you may not know. Firstly and foremostly, is that Eunice was not all that she seemed to be. Please know, now, that at the time of her fiery death, she had quite effectively become the black dingo of the family. You see… Eunice was actually born under the name Eugene.
It was with great consternation of the family that the family’s general practitioner admitted to the accidental circumcision of the boy during a routine visit for treatment of dengue fever. While the name of Eugene was hidden from public purvey, the incident itself is well documented in the Ghana Premier Aboriginal Court of Law of which I am quite sure you are well accustomed. The case played out over years and, toward the end, even appeared in an episode of Current Affairs.
But I digress… let me speak more of Eugene… that he lived his early years as a woman was only the beginning of the shame that would befall the Maccabee namesake in the coming decades. Eunice, as she wished to be called after the accident, would go on to make her own name before the court, in activity ranging from strong arm tactics to online thievery, of course, it should be noted that most of the rape charges were effectively dropped as the court believed that she (he) had no way of carrying through with her threats of same.
Now, speaking of ethics… it is with the humblest of sincere intentions that I must inform you of the other piece of information that I am certain you are not aware of: You said the plane crashed killed Eunice, Bentley and the boy… but this is just the story we wanted the press to hear. I survived. I SURVIVED, Agams! I AM EUNICE’S SON!
I don’t blame you for not knowing. No one knew. I was found in the jungle, still in the loving arms of my mother-father, and they say I was quite sun burned but crying. That’s how they found the plane; a woeful child’s cry in the dense jungle.
Which brings me to the following: A very much appreciated the offer you made… but as I am a man of business, I am prepared to counter offer: Because of your sincere due-dilligence, and to keep you from revealing the secret of my identity, I offer you a substantial piece of both the inheritance, which as it has been accruing interest in the National State City Bank of Ghana since the seventies, is quite substantial. I cannot reveal numbers here, but let me just say that should you see this figure written down on a piece of paper, your eye balls would quite literally fall from their respective sockets.
Along with this, you are also welcome to keep a portion of the monies of fourteen million of which you earlier spoke. This is chump change to me as, I am sure you have done your research, know now that I am a tin foil magnate and make fourteen million in my sleep every month.
Your only requirement is that you breath not a WORD of any of this to any party, and should I learn that you went to the press with any of this information ALL POSSIBLE OUTCOMES WILL BE REMOVED. I hope I have made myself abundantly clear.
So, Mr. Enoch, it is up to you now to contact me.
-Uncle Maccabee The Third Esq.
Apr 05 2014
My expectations were far too high — with a Rotten Tomatoes rating of ~90% at the time I saw it, I was expecting a really excellent movie. There were a lot of competent moments but personally I wouldn’t recommend rushing out to theaters to see it.
In Scott Pilgrim, there’s a scene where Chris Evans (Captain America’s actor) parodies a really bad action star. Captain America 2 gave him so little to work with that I feel he came off like the bad action star.
Some notable issues with the movie:
Dec 16 2013
Email: “One of my protagonists is a detective looking for superheroes/vigilantes. What sort of traits might tip him off?
Here are some trends that come to mind for American superheroes.
“Too Long, Didn’t Read” Version:
Almost every adult superhero will meet at least at least 5 of the following: