Friday the 13th (1980)
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NOTE: Anti-Film School does not claim ownership of the attached trailer.
by Steve Habrat
It’s a great time to be a fan of comic book movies. The quality of these products have never been better and in the wake of The Dark Knight, there has been a scramble to craft another megahit superhero film that can submit both the spectacle and the complex storytelling that the mighty The Dark Knight mixed so brilliantly. While May’s Thor surpassed many of the recent releases as downright entertaining even if it was a bit hollow, the closest to perfection is without question X-Men: First Class. I always wrote off the X-Men films mostly because I found them to be quite inaccessible and their only appeal was to X-Men fanboys who were familiar with the countless hoards of mutants invented by creator Stan Lee. What ultimately rubbed salt in the wound was the flimsy origin tale Wolverine, which seemed to exist simply to be an indulgent pet project for the limitedly talented Hugh Jackman. It also put the bullet in the head of the X-Men film franchise.
Rejoice, fanboys! Marvel has cleaned house in their quality control department (Did you SEE some of the movies they were releasing before this summer? Seriously? Elektra? Ghost Rider? Anyone?!) and brought in Matthew Vaughn, the competent director of such films as last year’s underrated gem Kick-Ass and the ferocious dark comedy/gangster pic Layer Cake to shock the franchise back to life and infuse it with some fresh blood. Paired up with Bryan Singer, the director of the respectable X-Men, X2, and the lifeless Superman Returns, the two make a heady, personal, flashy, and swinging thrill ride that turns out to be the best origin film for superheroes since 2005’s Batman Begins. X-Men: First Class is set during the Cold War and finds itself besting the recent Cold War superhero extravaganza Watchmen in almost every way. It’s funny that this film would be the knockout punch to Watchmen, which many consider to be adapted from arguably the greatest graphic novel ever written.
Marvelously weaving history with the atomic age heroes, X-Men: First Class harkens back to when Professor X (Wanted’s James McAvoy) meets arch-nemesis Magneto (Inglourious Basterd’s Michael Fassbinder). Professor X, or Charles as we know him here, is a beer swilling genius whose groundbreaking studies on mutants is earning him a large amount of notoriety from the academic realm. Magneto, or Erik, is a bitter, shattered victim of the Holocaust. He is subjected to cruel experiments after it is discovered that he can manipulate metal. Erik vows revenge on the evil scientist who tortured him as a boy in a concentration camp. Jumping ahead into the early 1960s, a CIA operative discovers that mutants exist and are hell-bent on igniting nuclear war. The CIA seeks out telepathic Charles to locate and round up an army of mutants and train them to battle against the Hellfire Club, lead by one of the greatest superhero villains since Heath Ledger’s unforgettable turn as the Joker, Sebastian Shaw (an undeniably wicked Kevin Bacon). Shaw can absorb kinetic energy used against him, which grants him super strength and speed.
In writing, it sounds absolutely absurd. The film is aware that it is absurd and embraces its own absurdity, which remarkably, makes it impossible to resist. It’s campy one moment and the next; it’s ominous and heart wrenching. Perhaps Vaughn and Singer studied at the Chris Nolan school for superhero directors, because like The Dark Knight, the film features an electrifying climatic stand off that, as layers pull away, reveals one horrifying revelation after another.
X-Men: First Class also ends up breaking the golden rule when it comes to big budget blockbuster films—it has many subtle personal flourishes from its makers, mostly stemming from Singer, who is an open homosexual. The film becomes a rallying cry for acceptance from society. This actually adds to the power of the film, giving it a voice rather than just opting for the businesslike route it could have so easily taken. Marvel and the filmmakers have embraced some depth and given the characters some fleeting personality. While some of it is brief, the film does take place during a time when homosexuals were facing a great amount of prejudice as at this time, the American government deemed homosexuals un-American. Funny enough, the mutants face an eerily similar dilemma in the show-stopping climax.
This is a summer movie, after all, and the film does offer up its fair share of summer movie moments. The film becomes a showroom for stellar special effects, but Vaughn makes sure he does not loose his characters in all the action. The performances from its young leads are the true reason to see the film and they will leave you wanting a hell of a lot more. James McAvoy plays the party boy genius Charles with some unforgettable charm. And Michael Fassbinder flexes his acting muscle as snapping from sinister to heartbroken in the blink of an eye as Erik. One scene in particular hints that in the future, this man may have an Oscar in his possession. And bombshell Jennifer Lawrence as Raven/Mystique continues to prove that she is, in fact, more than just a bombshell and a serious actress even if she is spending much of the movie nude and blue. I also cannot ignore the impressive turn from Kevin Bacon, who plays one self-centered and cold-hearted bastard.
The X-Men series has finally returned to form and has left this guy wanting much, much more from it. Even at 132 minutes, it feels too brief and will have you hounding for a sequel if it doesn’t lure you back to experience it all again. While some of the characters are not fleshed out enough, you are willing to forgive as the film is taking on quite a few characters. It does it’s best and it’s best shapes up to be one of the greatest superhero movies ever made. You’ll be replaying the aerial battle between Beast and Azazel in your head for days. It thrills you to the core, but it will also creep on your emotions, which any great film should do. With expert direction and a seriously well-written script, X-Men: First Class strikes a perfect balance between blockbuster and character driven epic. You will not be disappointed. Bring on the sequel. Grade: A
X-Men: First Class will be available on Blu-ray and DVD September 9th.
by Steve Habrat
Last year, Hollywood released the highly intelligent but morally questionable Kick-Ass. It shocked audiences with it’s unblinking portrayal of what it would be like if an ordinary citizen decided to don a cape and prowl the streets fighting crime. They would be beaten to a bloody pulp. And yes, Kick-Ass had plenty of Looney Tunes moments sprinkled throughout but it was unfathomably offensive. It also happened to be a wonderful movie that had quite a bit of depth to it. Early this summer, director James Gunn released his indie superhero outing Super, which globs on the black humor and spurting arteries with such maniacal glee, you almost start to question Gunn’s sanity. Yes, it’s THAT twisted.
I will admit that I found moments of Super enjoyable and the climax was an emotional sucker punch. I will confess to chuckling when Rainn Wilson’s dopey Frank would conk evildoers on the noggin with a monkey wrench and yell, “Shut up, crime!” But I sat stirred by how savage the film behaved even outside the inevitable action scenes. It wears a crooked grin even while it blindsides us with rape, child molestation, substance addiction, and endless foul language that would please Judd Apatow. Don’t get me wrong, I’m no prude when it comes to films of this nature but I completely understand why the film was never released into mainstream theaters.
Frank thought he had everything going for him in life. He had a beautiful wife Sarah (Played by the cooing Liv Tyler) and a mediocre job as a cook. He thought he had aided Sarah, who was apparently an ex-junkie, in kicking her habit and changing her life. That all changes when ostentatious drug dealer Jock (Played by Kevin Bacon, who seems to be everywhere this summer) shows up and steals Sarah away from him. One night, in a sequence that appears to be left over from Gunn’s zombie/alien opus Slither, Frank has a vision from God. He is told to don an amateurish suit of armor and parade around the streets as The Crimson Bolt. While building his alter ego, he strikes up a quirky friendship with a local comic book store clerk Libby (Played by an extremely off-putting Ellen Page). She convinces him to let her be his mad, bloodthirsty sidekick and together, they aim to take down Jock and get Sarah back.
Super does offer up its fair share of craggy authenticity. The film is shot with a handheld camera and at times, if the violence isn’t making your stomach groan, the camerawork sure will. It’s twitchy but alarmingly confident. Like Kick-Ass, the film realizes (only every once in a great while) that it has to use some sort of idiosyncratic distraction from the gruesome atrocities at hand. It does this by juxtaposing the action with freeze frames and animated “BOOM”s and “WHACK!”s that look like scribbling from a teenagers own private comic book creation. It’s efficient but also seems like just a petty attempt to soften the blow of the relentless cruelty.
The shining star in this bloody mess is Rainn Wilson’s disciplined and committed performance as Frank. It’s a relief to not see the Office funnyman relegated to tween scum like The Rocker but after Super, I have to wonder about Wilson’s actual character (according to the Blu-ray features, he stood by the project from the get-go). The worst part about the film is the abhorrent performance from Ellen Page, who is downright out of control. I failed to see anything funny about her character and see this as one of the lower points of her career. Everyone else is incredibly underused including the surprising presence of Michael Rooker (Henry: Portrait of a Serial Killer, The Walking Dead) as Abe, Jock’s right hand hitman. All his character does is munch on jellybeans, stare at Frank, and occasionally remember to fire his pistol. There is none of the subtle brewing intensity that he is so famous for. Bacon, however, seems to be having a blast in the role playing another villain (he was also the baddie in X-Men: First Class) and Tyler, who claims she found the script “touching”, seems to be bored to tears.
Overall, the film has an arresting climax that is great compensation for the warped first portion. It is moving and almost becomes a tearjerker. The final showdown between Jock and Frank is guaranteed to shake you up even if you have found the rest of the film despicable. Super is just simply not a film for everyone. If you are in the target audience, you’ll have a blast with it. If not, you will just walk away shaking your head and wondering why Hollywood doesn’t make more wholesome movies like they use to. Either way, it will get a reaction out of you and that is what good cinema should do. While I consider myself in the target audience for a film like this, it left me feeling a bit underwhelmed. I was left wishing the first half were as gratifying as the second. I also could have done without Page but I think all will safely agree that Wilson is downright magnetic. He is the heart and soul of Super and believe it or not, that allows us to forgive most of its morally contestable moments. Grade: B-
Super is now available on Blu-ray and DVD.