by Steve Habrat
The family who argues together saves the world together in director Brad Bird’s 2004 superhero adventure The Incredibles. One of the most action packed Pixar offerings, The Incredibles is a zippy homage to comic books while also pulling back the curtain on the suburban family and allowing us to see what makes every member of the All-American family tick. While The Incredibles, which was also written by Bird, borrows heavily from the critically acclaimed comic book Watchmen, Bird and the Pixar team tweak the storyline is multiple places, watering Watchmen’s extremely complex storyline down, and allowing the focus to be much more intimate. The results are dazzling with snappy jokes, gripping action, and one perfectly timed joke after another. The Incredibles is also a much more adult film, running two hours with multiple suggestive moments and really earning its PG rating. This is far from the warm and cuddly offerings that Pixar is famous for, especially when we glance back at the films that came before The Incredibles. This is the film that really showed the world the emotional punches that Pixar could throw at audiences all while keeping them wildly entertained and mesmerized.
The Incredibles ushers us into Metroville, where multiple superheroes fly through the sky and save the innocent civilians from destructive foes looking to level the city. We meet Bob Parr/Mr. Incredible (Voiced by Craig T. Nelson), his wife Helen Parr/Elastigirl (Voiced by Holly Hunter), and his best buddy Lucius Best/Frozone (Voiced by Samuel L. Jackson), all who team up together to rid the city of scum. After the government grows weary of all the collateral damage caused by the “Supers”, they put into place the “Supers Relocation Program”, which forces “Supers” to retire their crime fighting ways and fit in with the rest of society. Bob and Helen soon retreat to the suburbs and Bob takes a job at an insurance agency while Helen raises their three children, Dash (Voiced by Spencer Fox), Violet (Voiced by Sarah Vowell), and the toddler Jack-Jack. Bob, who longs to relive his superhero days, is bored with white-collar conformity and grows more and more frustrated with each passing day. After loosing his temper at his job and getting fired, Bob finds himself approached by the mysterious Mirage (Voiced by Elizabeth Pena), who asks Bob to stop a deadly rogue robot on a remote island. Mirage promises Bob that if he can successfully destroy the robot, he will receive a reward. Bob defeats the robot and he soon begins getting other missions from Mirage, all while leaving Helen in the dark about his new job. Bob soon learns that these missions are being controlled by Syndrome (Voiced by Jason Lee), a super-villain who masterminds countless destructive weapons and has a plan that will wipe the retired superheroes off the planet.
At just under two hours, The Incredibles is given room to really develop its characters to the fullest extent possible, paving the way for weighty superhero films that followed in its wake (the next year would see Batman Begins hit theaters, which would set the bar even higher for the superhero genre). We get to see the day-to-day of each Parr family member, seeing what secrets they hide and how they deal with having extraordinary powers while living ordinary lives. Bob has to take mental torment from his boss, each little mental shove just bringing Bob closer to tossing him around like a ragdoll. Violet is an outcast at her high school, hiding behind thick black bangs and practically fainting at the sight of her crush. When he notices her, she activates her power to turn invisible. The troublemaking whippersnapper Dash enjoys placing tacks on his teacher’s chair, using his lightning fast speed to keep the teacher scratching his bald head over how Dash is pulling the prank off. Helen, who acts as the housewife glue of the family, wears a happy face as she spoons meatloaf and green beans onto her family’s dinner plates. Meanwhile, Bob rounds up Lucius for “bowling night”, which really consists of the duo sitting in a car listening to a police scanner and chatting about the good old days. Lucius, now married, tries to keep his wife happy by not ruining special meals, even while a robot pummels downtown Metroville. Each hero is given their conformist demons and they grapple with how to tackle those demons, realizing that they really do need each other to work these issues out.
The supporting characters of The Incredibles are just as fun and hilarious as the first string. Bird thinks up a really nifty villain in Syndrome, who as a boy was Mr. Incredible’s biggest fan. Syndrome, whose real name is Buddy Pine, was always eager to help Mr. Incredible out even when Mr. Incredible would tell him to stay out of the way. Being wounded by his idol makes him all the more interesting and sinister when he is dishing out his payback to Mr. Incredible. Mirage is a character that is a bit underused but I did enjoy the way she would vacillate back and forth from evil to hero. I really enjoyed being kept in the dark over which side she would be aligned with next. The scene-stealer here is Edna Mode (Voiced by Brad Bird), an oriental fashion designer who comes up with the costumes worn by the “Supers”. A chic pint sized motor mouth, Edna is hysterical when explaining why she dislikes capes and recoiling from Mr. Incredible’s dated superhero get up. She really shines when she unveils a new line of outfits for the entire Parr clan. She also seems like she could be a villain in future Incredibles installments, seeming to get quite a bit of joy out of Bob and Helen’s rocky marriage.
You will be surprised to know that The Incredibles never feels like almost two hours. The film flies by and before you know it, you are right smack dab in the middle of a thunderous final showdown between one of Syndrome’s horrifying creations and the Parr clan. The action will keep the kids glued to the screen, even more so than some of the other Pixar films. While the film does get a bit heavy when it deals with the inner workings of a rocky marriage, the kids won’t really notice and instead by enamored with all the nifty gadgets and laughing over Edna. For fans of comic books and superhero films, The Incredibles is essential viewing and in my opinion ranks as one of the better superhero films to emerge from Hollywood. It is just as interested with the people under the cowls and what they carry around in their heavy hearts. Easily in my top three Pixar films of all time, The Incredibles is a touching film about the beauty of family and friends, all while being a relentlessly entertaining superhero thrill ride packed with gut-busting humor and wit. Let’s hope the Parr clan returns to save the world again.
The Incredibles is available on Blu-ray and DVD.
by Steve Habrat
Kick-Ass was one of the best films of 2010 and nobody even realized it. In a year that was loaded with middle of the road releases, Kick-Ass stood out because it dared to be a little different and refused to conform to what a normal superhero film should be. It was a blast watching the little monster Hit-Girl curse like a sailor and rack up an impressive body count. It was an unexpected surprise to see Nicholas Cage TRYING again and actually giving a performance that wasn’t flat out laughable. In the wake of its release, Kick-Ass was caught in a flurry of controversy over the language and the violence that all came from children, some of the outrage being a little overblown. This is a movie, folks! Boasting a well-written and highly intelligent script based on the comic book by Mark Millar and John Romita, Jr., Kick-Ass is a scrappy black comedy that tips its hat to comic book fans all over while also holding up a mirror to our YouTube/social media crazed society. The film also doesn’t hesitate putting you through the emotional ringer.
Kick-Ass introduces us to ordinary teenager Dave Lizewski (Played by Aaron Johnson), who is just another comic book fan that likes to hang out with his buddies in the local comic shop and discuss fanboy topics. He voices his frustration over the fact that ordinary citizens refuse to intervene when a crime is being committed. In his spare time, Dave begins putting together a vicious alter ego called Kick-Ass. Armed with a modified bodysuit and a fancy MySpace page, he takes to the streets of New York City to confront neighborhood bullies who prey on the weak. While his first day on the job ends with a brutal stabbing and a hit-and-run that puts him in the hospital with permanent nerve damage, he begins training himself to be better at confronting small time crooks. After intervening in a gang attack, stunned bystanders record Dave’s heroic actions and he becomes an overnight celebrity. Dave soon catches the attention of the heavily armed and heavily trained father/daughter duo Big Daddy (Played by Nicholas Cage) and Hit-Girl (Played by Chloe Grace Moretz), both who act as masked vigilantes and aim their attacks at local mob boss Frank D’Amico (Played by Mark Strong). As the trio launches attacks on D’Amico, they find themselves approached by D’Amico’s son Chris (Played by Christopher Mintz-Plasse), who has taken on his own alter ego Red Mist and aims to break the group up before they can take his father down.
Maybe Kick-Ass worked its way into my heart because I absolutely love the way the film tips its hat to countless superheroes yet at the same time isn’t content with just celebrating comic books. Director Matthew Vaughn pays tribute to spaghetti westerns, Quentin Tarantino, and teen comedies, all which mix quite well if you ask me. The movie has a twisted love story at its heart, forcing Dave to play gay after his initial embarrassing encounter with two neighborhood thugs. He has the hots for Katie Deauxma (Played by Lyndsy Fonseca), who is oblivious to Dave’s feelings for her and just sees him as a friend. The fact that Kick-Ass deals with some extremely raw emotion is what really makes it so great. On the surface, Vaughn cooks up a vivid cartoon filled with vibrant colors and lots of blood thrown in for fun. Yet he never shies away from giving the film lots and lots of heart. We really feel for the grieving Big Daddy and Hit-Girl and there is a longing to be just one of the guys in Chris D’Amico’s heart. We can really stand behind Dave’s noble quest to protect those who can’t protect themselves, even if he does get his ass handed to him every time he tries. The real heart wrenching moment comes near the end of the film, when our heroes begin to understand the loss that they will face in their quest to clean up the streets of New York.
While the film follows Johnson’s Dave, the real stars here are Cage and Moretz. They sneak in and steal the entire film away from Johnson. Cage is wonderful as a grieving father who has to put on a happy face for his daughter. When he is suited up as Big Daddy, who looks like Batman on a budget, he speaks and moves very robotically and it is downright hilarious. There are moments where he is asked to get real savage and he is most certainly game to do so. He gets a fight scene in the middle of the film that is both awesomely hardcore and horrifying at the same time. Moretz is a little hellion as profanity spewing Hit-Girl, a character that is almost a little too awesome for words. She rips through a room of bad guys with such ferocity that would make muscle man heroes blush. It helps that Moretz, who was very young when this film was released, has impeccable comedic timing and has such a way with stinging one-liners. Thankfully, the novelty that this is all coming from a little girl never once wears off. Some may call the performance irresponsible but I say it is absolutely brilliant and a breath of fresh air.
While much of Kick-Ass may belong to Cage and Moretz, Johnson and Mintz-Plasse do their absolute best not to be completely forgotten by the audience. Johnson does soft-spoken nerd very well and he is a pro at playing ordinary. He quickly realizes that he has gotten in over his head, especially when he begins mingling with Big Daddy and Hit-Girl. I was thrilled to see the fumbling and bumbling Dave finally get his moment to be a hero by the final showdown. Mintz-Plasse shies away from playing lovable dweeb and instead plays an outsider just looking for a friend. It is sad to see him slip over into his father’s shadowy operations. I was glad that Vaughn never relied on him solely for laughs and gave him some room to show audiences he is capable of more than just smartass wisecracks. Mark Strong as Frank D’Amico is handed a fairly cliché gangster role but he leaps into the part with so much enthusiasm, he morphs the character into a snarling cartoon, making him an unforgettable villain.
What is ultimately the best aspect of Kick-Ass is the fact that these characters, while operating in a cartoon world, are flesh-and-blood individuals that are capable of getting hurt and bad. One character gets hurt when jumping off of a dumpster while Kick-Ass himself hesitates from jumping from one building to another, his stomach dropping when he takes a gander over the ledge. The film really gets interesting when one of the major characters is killed off halfway through the movie and the characters are overwhelmed with grief. Kick-Ass reflects on the idea that in this day and age, anyone can make a difference as long as you are armed with a camera and a social media account. You can be as ordinary as could be but with a little bit of drive and motivation, you can do anything you want. It may not always be easy and we are going to fall down, but we have to be willing to get back up and try again. Sound juvenile and incredibly familiar? It is but in a time when trying just isn’t cool anymore, it is a message that needs to be repeated. Overall, Kick-Ass is an of-the-moment adrenaline rush that plays by its own rules, making it one unpredictable puppy.
Kick-Ass is available on Blu-ray and DVD.
by Steve Habrat
Since May of 2008, Marvel has begun to hype their heavily anticipated superhero mash-up The Avengers with little Easter egg hints in the origin stories for Iron Man, The Hulk, Thor, and Captain America. It has been a torturous journey for Marvel fans but we finally have the crown jewel of Marvel superhero offerings and I’m just going to be frank when I say that it kicks a whole bunch of ass. Clocking in at just shy of two and a half hours, The Avengers is one gigantic nerd money shot, not bogged down by any longwinded origin tale or story set-up. With The Avengers, director Joss Whedon, allows his superhero titans to let loose and show off what they are capable of. There is a whole bunch of flying, jumping, punching, shooting, smashing, destroying, hammer throwing, shield throwing, missile launching fun that will keep a smile plastered across your face and drool splattering onto your Thor t-shirt. Yet The Avengers is even more of a triumph because it is actually a really good movie. This isn’t a big empty excuse that stretched things to get all these do-gooders into the same movie, which is what I feared when I first heard about The Avengers.
The Avengers begins in a remote research facility where a powerful energy source and portal known as the Tesseract is currently being held. The Tesseract suddenly activates, allowing the exiled Norse god Loki (Played by Tom Hiddleston) to step through the portal and attack the S.H.I.E.L.D. agents that are guarding it. Loki finds himself confronted by S.H.I.E.L.D director Nick Fury (Played by Samuel L. Jackson), who attempts to stop Loki from making off with the Tesseract. In the process, Loki declares war on planet earth and announces that he is in control of a powerful alien army that is capable of wiping earth out. Running out of options, Fury and Russian agent Natasha Romanoff/The Black Widow (Played by Scarlett Johansson) begin rounding up the exiled Dr. Bruce Banner/The Hulk (Played by Mark Ruffalo), weapons defense expert Tony Stark/Iron Man (Played by Robert Downey, Jr.), Loki’s brother and fellow Norse god Thor (Played by Chris Hemsworth), the recently rediscovered super-soldier Steve Rodgers/Captain America (Played by Chris Evans), and kidnapped assassin Clint Barton/Hawkeye (Played by Jeremy Renner). The group forms a rickety alliance and begins trying to find a way to stop Loki and convince him not to attack earth but it turns out that S.H.I.E.L.D. may be hiding a few secrets about the Tesseract of their own.
Every hero that makes up The Avengers team gets a classic moment that sent the audience members of the midnight showing I attended into a frenzy of cheering, whistling, hooting, and hollering. It helped when the sequences that were filmed in Cleveland blasted their way onto the screen, which really drove my audience wild. Every hero gets the opportunity to fight the other or team up to take on Loki’s relentless army of hideous aliens. A sequence where Iron Man and Captain America gang up on Thor is an earthshaking encounter as well as an aerial battle between Black Widow, The Hulk, and Thor. The Thor/Hulk brawl exceeded awesome when Hulk tries to lob Thor’s hammer at him but is unable to lift it. It is just as glorious as you might expect. The final battle almost exceeds words, each character getting a “HOLY SHIT!” moment that you will have to see to believe. Much has been made over the 3D in The Avengers, which was added in post production, many saying that it leaves a lot to be desired but I was actually impressed with it. Arrows fly out of the screen along with ruble, sparks, and more. Next to Avatar and Hugo, this is one of the movies that if you can see it in IMAX 3D, you should.
While the special effects will blow your mind, it’s Joss Whedon’s script that really sends The Avengers to the forefront of superhero movies. He catches us up on all four of the main heroes; so if you’re worrying about seeing the other films that have led up to this, don’t worry too much. You’ll be able to figure out what is going on with no problem at all. Whedon measures out every hero and gives him or her an equal amount of screen time so they can do their superhero thing. Mark Ruffalo is the newest member to this tights party and he smoothly settles in. He ends up being the best Bruce Banner/The Hulk of all the actors who have tried to tackle the role. Ruffalo is a poor soul who adds the grittiest emotion to the role (a scene where he discusses a suicide attempt will really stick with you), oozing with loneliness and longing for acceptance. Thor, Stark, and Rodgers are not far behind, as the three of them all have to come to terms with their outsider status. Rodgers tries to settle in at a time when the world may not even need him, Thor continues to act like a strutting brute, and Stark continues to act like a self-center brat. Hiddleston’s Loki proves to be a formidable foe for the dream team, a smirking baddie who can do quite a bit of damage on his own. I feared his character would be unable to carry the weight of the villain considering he wasn’t front and center in last summer’s Thor but he rises to the challenge and knocks it out of the park. The two characters that I would have liked to have seen more of and developed a bit further was Black Widow and Hawkeye, who only get fleeting hints at their past. You’ll forgive because Whedon is clearly trying to juggle a lot and pulling it off exceedingly well.
The Avengers does become its own worst enemy in a way. I found myself getting so caught up in the idea of the film (Four legendary superhero in ONE movie!) that some of the sci-fi chatter and story development ends up being overshadowed. When the heroes would sit down with Fury and discuss all the science behind the Tesseract, my mind would wander a bit from the story and I would become antsy for the next action sequence. It was clear that the entire theater was getting restless during these scenes and craving more explosions, rescues, brawls, and more. There is a flipside to this and it works in the film’s favor. Since I have seen the film, I have been itching to get back to the theater to see it again and invest myself more into the story. This isn’t to say that The Avengers is a difficult film to follow (it certainly isn’t) but the gimmick of spectacle outweighs the story every step of the way. But hey, what do you expect from a summer blockbuster?
Despite a few minor hiccups, The Avengers is still a must-see action extravaganza that will be one of the biggest films of the summer. It has everything you could want in a superhero movie and then even more that you didn’t even know that you wanted. The Avengers is Marvel’s best film to date and I fear almost every film they do in the wake of it will pale (unless of course it is another Avengers movie). The film has a strong script with applause worthy one-liners, pristine CGI (get a load of Hulk!!), devoted performances, and a strong patriotic spirit that leaves American soil and infects everyone around the world. Kicking the summer movie season off with a nuclear explosion, The Avengers will awaken the inner fanboy or girl in each and every one of us, even if you think there isn’t one to be found in you. A top-notch crowd pleaser of the highest order.
by Steve Habrat
With 2008’s Iron Man, director Jon Favreau set the bar extremely high for the Iron Man franchise. While it left us all starving for more of the cocky hero, there was the feeling that if there is a sequel, it will most likely be unable to live up to the stellar first installment in the series. My fears were slightly confirmed in summer 2010 when I rushed out on my birthday to see Iron Man 2, which ended up being one notch below the original Iron Man. Sadly, Iron Man 2 was an even more expensive trailer for the upcoming Avengers film and not even really bothering to act as it’s own film. This is not to say that I didn’t enjoy Iron Man 2. It was clear that Favreau and Marvel Studios rushed the sequel into production and they simply drew up a loose story just so audiences wouldn’t have to wait until 2012 to see Iron Man rocket across the screen again. It was also apparent that nobody wanted to tinker with a good thing. Iron Man 2 tries desperately to capture the same clinking and clanging action, the sweet romance, and the clever laughs that made the original such a must-see, but there is too much interference from Marvel which takes some of the flesh and blood out of all the studio steel.
Iron Man 2 picks up with the world at peace in the wake of the Tony Stark (Played by Robert Downey, Jr.) revealing the Iron Man armor to the world. The U.S. government is harassing Stark to hand over his Iron Man armor over to authorities but Stark maintains that it is his own property and all the other foreign competitors are miles away from emulating his powerful weapon. Stark is also finds himself harassed by rival defense contractor Justin Hammer (Played by Sam Rockwell) who desperately wants to create his own line of armor of his own. While racing in the Circuit de Monaco, Stark is attacked by a mysterious man named Ivan Vanko (Played by Mickey Rourke), who has designed a powerful suit of armor of his own with lethal whip-like contraptions hanging from his arms. It turns out that Vanko’s father was an old partner of Stark’s father Howard, who was deported after he tried to profit from technology that he worked on with Howard Stark. Hammer takes notice of what Vanko has done and he recruits him to create a line of deadly drones that he can unleash on Stark. Stark, meanwhile, finds himself slowly being poisoned by the palladium core in the arc reactor that keeps him alive.
Iron Man 2 introduces us to two new characters including S.H.I.E.L.D. director Nick Fury (Played by Samuel L. Jackson, who showed up in a brief cameo in Iron Man) and secret agent Natalie Rushman/Natasha Romanoff (Played by Scarlett Johansson), who acts as Stark’s new personal assistant. Both Fury and Romanoff are present in Iron Man 2 to simply allow the film to set up Iron Man’s place in the Avengers film rather than actually enrich the whole experience. While it is a neat Easter egg for diehard Marvel Comics fans, at times Romanoff seems a bit irrelevant in all the action, as she posseses the bigger role in the film over Fury. This is the exact problem with Iron Man 2, it reeks of studio involvement and control. It is very clear that Marvel demanded Favreau work these characters in at any cost and it takes a minor amount of the enjoyment out of this film. I wish things had felt more natural, much like they did in the original Iron Man. The one character that is allowed to grow is Lieutenant Colonel James Rhodes (Played this time by Don Cheadle), who gets his wish to don the Mark II suit with some pretty hefty modifications and transforms into the scene stealing War Machine. Cheadle outshines all the forced characters that have been worked into Iron Man 2 and I loved it when Favreau would explore the destructive friendship between him and Stark.
Robert Downey, Jr. also gets the chance to build upon his raucous playboy Tony Stark, taking him down the darker routes that the first film slyly avoided. In Iron Man 2, Stark realizes that he is near death from the palladium core in his chest. He desperately searches for a new design but he also has accepted his death and he is determined to live out his last days in boozy style. In the comic books, Stark was a big drinker and it was nice to see Favreau and screenwriter Justin Theroux work that aspect into the film. I know many fans were upset that this aspect of Tony Stark was glossed over in the original film. At times, Stark’s one-liners seem a bit forced and frankly not as sharp as they were in the original film. Further troubling, Downey, Jr. seems like he is pushing the funnies out rather than allowing them to flow naturally. Nonetheless, he is still having a great time as Stark and his enjoyment is incredibly infectious.
Iron Man 2 ends up getting a handful of juiced up bad guys to terrorize Tony Stark. Mickey Rourke shines as the vengeful Ivan Vanko/Whiplash, a frankly much neater villain than Iron Monger (I did enjoy Bridges!). The electrifying showdown between him and Stark at Circuit de Monaco steals the entire movie and had me on the edge of my seat when I first saw it. Equally cool is the snide Justin Hammer, who desperately wants to upstage Stark and humiliate him. Rockwell is basically filling the businessman villain role that was left open from the first film and he does it with just as much enthusiasm as Bridges did. Paltrow also returns in a stronger role than she had in Iron Man, finding herself promoted to CEO as Stark Industries and courted by the stumbling Stark. Favreau and Theroux still can’t help themselves and once again find it necessary to toss her in harm’s way, making her character flirt with the typical superhero girlfriend in distress.
Iron Man 2 attempts to be bigger than the original film, with bigger showdowns, more armored brawlers, extended action, and spiced up special effects. I wish that Iron Man 2 would have taken on a personality of its own and Marvel would have backed off the project. I feel that if Favreau wouldn’t have had Marvel breathing down his back, there may have been a different outcome. Yet there is still fun to be found in Iron Man 2, especially the final battle with Iron Man and War Machine battling a group of deadly drones created Hammer and Whiplash. Thankfully, Iron Man 2 did not feel the need to convert itself into 3D, which I think was a wise decision since 3D was all the rage (and still is) at the time. Overall, there is a bit of magic missing in Iron Man 2 and that is mostly because the film goes through the same song and dance that the first film did, just building slightly on its character which I suppose is a positive. It’s no Spider-Man 2 or The Dark Knight but Iron Man 2 is still a spirited follow-up to its predecessor.
Iron Man 2 is now available on Blu-ray and DVD.
by Steve Habrat
There is no question that Jon Favreau’s 2008 Iron Man is one of the best Marvel Studios films out there. It’s a rollicking good time with an incredibly poised and charismatic hero carrying the whole project to dizzying heights that I never thought possible. Iron Man, which clocks in at a speedy hour and fifty-five minutes, remains light and breezy for much of its runtime, never wandering into any overly dark territory or dealing with subject matter that will whiz over the heads of younger viewers, which is who this is all clearly aimed at. Yet Favreau and his army of screenwriters ground Iron Man in the modern world where terrorism is very much alive and deadly, giving the film a level of relevance that makes things interesting for the older viewers. What makes Iron Man such a great film is that is manages to strike a perfect balance of hearty belly laughs, steamy love story, and heavy metal action that will please every man, woman, or child out there. To make things even better, Favreau populates his film with a remarkably strong supporting cast, all who make sure that Iron Man never has a monotonous moment. Iron Man also happens to be the comeback vehicle for Robert Downey, Jr., who cheerfully embraces clanking around in a red and yellow iron suit, zipping around destroying weapons of mass destruction and trading punches with the dreaded Obadiah Stane.
Iron Man introduces us to wealthy playboy and genius Tony Stark (Played by Robert Downey, Jr.), head of Stark Industries, a weapons defense company that he inherited from his father. Stark loves a strong drink, a beautiful woman on his arm, and to vocalize how great he really is. Stark travels to Afghanistan to show off his menacing new weapon called the “Jericho” missile and while there, Stark and his military bodyguards are ambushed. Party boy Stark is kidnapped by a terrorist organization called the Ten Rings, who demand that Stark build them their own “Jericho” missile and in return that will free him. Instead, Stark builds a heavily armed iron suit that allows him to barely escape with his life. Upon returning the United States, Stark attempts to regain control of his company from Obadiah Stane (Played by Jeff Bridges), his father’s old business partner and company manager. Stark declares that Stark Industries will no longer produce weapons, which upsets Stane and sends the media into a frenzy. Stark also reunites with his pretty and uptight secretary assistant Pepper Pots (Played by Gwyneth Paltrow) and his close friend and military liaison Lieutenant Colonel James Rhodes (Played by Terrence Howard). After Stark learns that weapons made by Stark Industries were provided to the Ten Rings, Stark begins building a modified suit of armor to set out and destroy the weapons that were provided to the terrorists. Soon, Stark realizes that there may be a traitor close to him who is upset with Stark’s decision to change the course of the company and is working on a deadly suit of armor of his own.
Iron Man never shies away from what it truly is, a sleek summer blockbuster meant to slap a big smile across your face. It succeeds in doing just that, even on repeat viewings. You’ll still chuckle during the first disastrous tests of the Iron Man suit or when Stark throws a witty one liner your way. My personal favorite is when Stark would interact with his robot helpers, who are all fond of blasting him with fire extinguishers. The action sequences are finely tuned with wondrous CGI and rock ‘em-sock ‘em force, leaving you clamoring to see the next action packed situation Iron Man finds himself in. Iron Man isn’t all razzle-dazzle, as the film does offer up a true original in the character of Tony Stark, who has to go form uncaring playboy to embracing what he was destined to become. The fact that Downey, Jr. makes Stark come alive is what makes Iron Man the titan that it is. You begin to feel like you actually know this guy, which makes it even easier to root for him. His transformation is rocky at first, but that is part of what makes Tony so human and win our hearts. He has trouble adjusting from nonstop party boy to a man heavy with responsibility.
While this is Downey Jr.’s show, the background players make sure that you walk away from Iron Man remembering their presence too. Paltrow is smoking as Stark’s assistant Pepper Potts, who at times I feel isn’t really given that much to do by Favreau and his screenwriters (Mark Fergus, Hawk Ostby, Art Marcum, and Matt Holloway). She is basically asked to just chase Stark around and shake her head at his childish actions but she does it well. I enjoyed her awkward love story with Stark, another aspect that adds a little flesh and blood to Iron Man. Terrence Howard is his usually top notch self as Rhodes, who tries to be the voice of reason and authority to the free-spirited Stark. The die hard fans will also get a money moment when Rhodes checks out one of the prototype Iron Man suits and makes a comment that hints that War Machine may show up in latter installments. The most surprising turn here is Jeff Bridges as the baddie Obadiah Stane, who whips up an iron suit of his own and becomes Iron Monger. It was great to see Bridges, who shaved his head and grew a beard for the role, get to play antagonist for a change. At times his role seems a bit familiar (a sinister business man), but Bridges seems to be having a grand time in all the superhero chaos and he does such a memorable job, you’ll forgive if some aspects of his character slightly derivative.
Director Favreau smartly gives Iron Man a human heart, which helps to win ours over. While it is obviously a set up for the future Avengers movie, this installment of Iron Man does seem to have a life of its own outside of being an overly expensive trailer for what is to come. Iron Man does come with a few scuffs in the armor, mostly the final battle between Iron Man and Iron Monger, which seems suspiciously short for all of the build up. I have to suspect that Marvel may have held back a bit and viewed Iron Man as sort of a test run to see how audiences would react. It turned out that they had a new Spider-Man on their hands and that they had something that we didn’t know we wanted to see. The main reason to see Iron Man is for Downey Jr.’s comeback. This is the role that placed him back on the A-list and put him in high demand for countless other projects. A superhero classic and one of the best that you will see, Iron Man is a feisty and playful escape that you won’t mind returning to time and time again.
Iron Man is now available on Blu-ray and DVD.
by Steve Habrat
After Ang Lee’s weighty Hulk, Marvel Studios wanted to cut out some of lengthy character development and restart the Hulk franchise to fit with their upcoming superhero mash-up The Avengers. The result was 2008’s The Incredible Hulk, a faster paced and action packed thrill ride that covers the Hulk’s origin in the opening credits and then jumps right into earth shaking battle sequences that aim to give both Hulk fans and average audience members exactly what they are looking for in a summer blockbuster. The Incredible Hulk is a major improvement over Lee’s slower character study in the action department, climaxing in a car-lobbing final showdown in the streets of New York City, but the film is hollow, never asking us to really use our brains in any way. With Lee’s Hulk, Marvel gave us too much of the big green guy and with director Louis Leterrier’s The Incredible Hulk, it feels like not enough. What gives Leterrier’s film the upper hand is the strong presence of a much more effective and present villain to torment the Hulk.
The Incredible Hulk begins with a green tinted opening credit sequence where we see Bruce Banner (Played by Edward Norton) get exposed to the dreaded gamma radiation that causes him to turn into the Hulk. Banner ends up injuring the love of his life Betty Ross (Played by Liv Tyler), who is present during the accident. Banner flees the lab after the accident and Betty’s father General Thaddeus “Thunderbolt” Ross (Played by William Hurt) sets out to arrest Banner for what he has done to Betty. The film then jets to Rocinha, Rio de Janeiro, where Banner hides out while he searches for a way to cure himself. Banner also works on ways to control his anger through breathing techniques that keep him without incident. Banner keeps in contact with a mysterious scientist that he calls Mr. Blue and communicates with him via the Internet. Mr. Blue claims to have a way to cure Banner but he needs information that would require Banner to return to the United States and risk being taken into custody by General Ross. After an accident in the bottling factory where Banner works, General Ross discovers Banner’s location and sends the deadly British Royal Marine Emil Blonsky (Played by Tim Roth) after Banner, who quickly flees and finds himself on a journey back home to meet the mysterious Mr. Blue. Blonsky, on the other hand, finds himself fascinated by Banner and his condition. General Ross agrees to “level the playing field” and inject Blonsky with a serum that can allow him to battle the Hulk but there are horrific side effects.
The Incredible Hulk tosses out Lee’s comic book panel aesthetic for a typical polished summer blockbuster look. We also don’t have to wait until about forty minutes in to catch a glimpse of the big green guy in action. Leterrier is just dying to unleash his new and improved Hulk on us and I must say he is impressive. Gone is the purple compression shorts wearing Hulk and present is a Hulk in tattered jeans with leathery looking skin. The action is also a bit grittier and in your face, just about everything in the Hulk’s way getting tossed, kicked, punched, or used as shields or, (awesomely) boxing gloves. The downside of all the teeth rattling action is that Leterrier focuses a little too much on it and not enough on developing a meaty story. I’ve heard talk that screenwriters Zak Penn and Edward Norton had a longer version with a bit more character development but Marvel rejected it in favor of a faster pace. It’s a shame because I would have liked to get to know a little bit more about Norton’s Banner.
In addition to beefed up action, The Incredible Hulk features a slightly stronger cast than Hulk did. Edward Norton doesn’t spend a good majority of the film moping over daddy issues from his past. Norton possesses a natural gangly and bird-like look to him than Bana’s Banner, which makes his transformation into the Hulk all the more shocking. Bana sort of looked like he could have held his own in a scuffle without transforming into a giant green muscle. Much like Jennifer Connelly, Liv Tyler isn’t given much to do as Betty Ross aside from run around from location to location with Banner. Tyler also happens to speak in a breathier tone than Connelly did. William Hurt as General Ross adds a bit more attitude than Sam Elliot did and when he unleashes his temper, you will want to run for cover. The real star here is Roth, who has a blast flashing a sinister grin as Blonsky, the deadly super soldier who becomes addicted to a serum that turns him into the slimy Abomination. Roth is clearly on top of the world in the role, his excitement level growing as he evolves into a truly formidable villain for the Hulk. With Abomination, Leterrier single handedly lays waste to Lee’s Hulk, just the mere presence of a clear-cut villain a huge bonus.
The Incredible Hulk is a shameless thrill ride that is more enamored with eye-popping CGI monsters and fiery destruction rather than the psychological study that its predecessor was so stuck on. It’s so obviously sugary summer fun but it does its job and you can’t fault it for it. If it boiled down to it, I would probably choose The Incredible Hulk for a Friday night movie if I ever had to make the decision. Norton is clearly the better choice for Bruce Banner and Roth is a devilish delight as the Abomination. You’ll thrill when they begin trading blows in the final stretch of the film. In a way, I wish that The Incredible Hulk had tacked on another fifteen minutes to develop this new Hulk universe and to allow me to warm up to these new interpretations of the characters that Lee introduced us to. The Incredible Hulk also gets a surprise visit from a certain Armored Avenger, which teases us for the epic upcoming mash-up and will drive Marvel fanatics wild. Even if moments of it are lopsided and a bulk of the story gets lost in all the rumble, The Incredible Hulk still manages to get your to be mindless, smashing fun for everyone.
The Incredible Hulk is available on Blu-ray and DVD.
by Steve Habrat
One of the most polarizing films in the Marvel Studios line of films is Ang Lee’s 2003 splashy origin tale Hulk, which shows us the unfortunate accident that turns mild mannered Bruce Banner into the smashing and thrashing Hulk. The film has seemed to divide audiences and critics over the years—some standing by Lee’s psychological evaluation of the pain the Bruce bottles up inside and some practically retching at the mere mention of the film. I stand firm in the above average crowd. Personally, I’m a fan of the aesthetic that Lee applies to the jolly green giant’s first cinematic outing and I do enjoy some of the camp that he lays on oh so thick. Hulk does come with several flaws that do hold the film back, mostly the poorly executed action sequences and some of the brooding character development that takes place during the sagging middle of the film. Much of the grim stuff could have been left on the cutting room floor. Yet when Hulk is firing on all cylinders, it is really, really good and it is hugely innovative.
Hulk tells the tale of genetics researcher Bruce Banner (Played by Eric Bana), who nurses a tragic past. Banner is working with nanomeds and gamma radiation to discover a cure for cancer and multiple other diseases. He works close to his main squeeze, the pretty Betty Ross (Played by Jennifer Connelly), who is the daughter of scheming General Ross (Played by Sam Elliot). When Bruce was young, General Ross and Bruce’s father David (Played by Nick Nolte) had a feud that caused David to be put in prison for many years. After an unfortunate accident, Bruce is exposed to gamma radiation but he miraculously survives. At first, Bruce feels better than ever but he quickly discovers that when he gets angry, he transforms into a destructive monster that lays waste to anything in its path. Fearing for the life of his daughter, General Ross demands that Bruce be taken into custody by the army before he can hurt anyone. To make matters worse, Bruce’s father returns to continue the work that he was torn away from all those years ago and undergoes a dangerous transformation of his own.
The best part of Lee’s Hulk is without question the comic book panel aesthetic that he uses to sculpt the film. It makes Hulk a constant visual treat—like we have cracked open the pages of a long lost Hulk comic book and the pages suddenly sprang to life. Lee’s film could be considered one of the first superhero films that tried to mimic the pages of it’s source, opening the door for films like Sin City, 300, etc. Hulk is one big cartoon, drenched in vibrant colors and action that would seem more at home on the pages of a comic than on a movie screen. Yet it is this very action that causes Hulk to hit a wall. When Lee throws an action sequence at us, he can’t quite keep Hulk contained and on track. These scenes, which are mostly the Hulk versus Hulk-dogs showdown and the final confrontation between Hulk and David Banner swirls into incoherency that completely removes us from the fun.
While Hulk is a visual treat, the subject matter veers into heavy territory that the comic book genre wasn’t particularly used to at the time. Lee doesn’t hesitate to give us multiple glimpses into Banner’s heavy heart and he marries the bottle up demons within Banner with his transformation into the Hulk. His pain and anguish is literally explosive. Lee drags Hulk out to two hours and twenty minutes with breathlessly explaining every psychological aspect of Banner’s inner turmoil. Lee uses Betty as the Banner’s psychologist, someone who stands back and baits Banner into decoding hazy memories from his past. This would be all okay except that Lee begins to repeat himself and he never really attempts to break the film up. He does finally lighten the mood with an extended battle between the Hulk and endless waves off army tanks, helicopters, and waves of soldiers.
Hulk does feature some first-rate performances from its colorful cast, mainly from Nolte as the mysterious David Banner. Nolte, looking as scruffy as ever, is a tortured soul much like Bruce, one who buries secrets within and then explodes into a force of nature. It’s a shame that Lee forgets about his character half way through the film and then suddenly remembers that he has to work him in and give him something to do with his sinister new powers. Connelly is given the routine superhero’s girlfriend job of putting herself in harm’s way but her interactions with Bruce are at times touching. She does everything she can to rise above her clichéd role and often does. Bana does a bang up job of playing the brooding nerd and I have to say I really enjoyed him. He does really send a chill when his face begins to bubble and he sputters out with, “You’re making me angry!” Sam Elliot as General Ross is an egotistical man who torments Banner every chance he gets. He’s the true villain here even if he is planted behind computer screens and shouts orders to never-ending troops of soldiers.
With fairly memorable performances and lots of visual bells and whistles, Hulk musters up several nifty moments throughout its lengthy runtime to really make it a winner. I personally enjoy the cartoonish special effects here and I think they have held up quite well over the years. I enjoy the hell out of the Hulk’s showdown with the army near the end of the film and I personally think it is the highlight moment. Just wait until the Hulk bites the tip of a missile off and spits it at a helicopter. Yet I don’t think a character like the Hulk truly needs such an emotionally complex origin tale for a hero who is basically a green wrecking ball. Furthermore, I really don’t think that Lee needed to drag it out as long as he does, as more than once I checked the time while I was re-watching it. What I want out of a Hulk movie is lots of smashing, destruction, and mayhem with a tiny bit of romance thrown in. I commend Lee and Hulk for trying to add some depth to the superhero genre and for that, I say Hulk is pretty darn good. It’s a risky experiment of imagination and Lee, God bless him, almost pulls it off.
Hulk is available on Blu-ray and DVD.
by Corinne Rizzo
To break third person perspective is to break that fourth wall, to bring to light the idea that the reviewer is not just speaking on the audience’s behalf, but on the behalf of a more biased or more personal concern with a particular film. To break third person perspective goes against all the rules of formal thesis and proper reporting. Breaking third person perspective is necessary here though, as I want to talk to you about James Franco, or as Peter Parker knows him, Harry Osborne.
The choice for casting a character like Harry Osborne could have been a fatal one. The slightest personality trait off, and the whole character is thrown. Harry plays an integral part in the three films and in the legacy of Spider-Man in general, as he is not only the source of Spidey’s eternal struggle with himself (Harry also loves MJ, Harry never has to work for what he wants, Harry has perfect vision, Harry had a psychopath father whom Spidey had to kill, etc.) and without Harry, Spider-Man would have no sense of himself. A reader or viewer would never be able to relate to Peter Parker without a guy like Harry, an outcast but for reasons that are untouchable rather than socially awkward.
The third installment of the Spider-Man trilogy is one of many comparisons, which is why bringing Harry’s character under the microscope was a task worth undertaking. One could argue that there was too much happening in the final film. One could debate whether New Goblin was ever really a threat to Spider-Man. The obvious comparisons involved with knowing that this is the last in a series are limitless, but here is one that got me: We (the collective audience and the physical cast of the film) go from having Willem Dafoe, James Franco, Alfred Molina and Thomas Hayden Church, to Topher Grace as venom. In honest defense of Mr. Grace, the only time I ever think of Thomas Hayden Church is when I think of Sandman, but that is not necessarily a defense when you consider all I ever think of when I hear Topher Grace is Eric from That 70’s Show.
All of this unfair and biased and yes, I understand, but Willem Dafoe needs no defense. James Franco as Harry Osborne, this very specific and integral image in the saga, passes every test and even goes beyond expectations for someone who has a knack for Spidey. Alfred Molina? Who else was supposed to play Doc Ock? And let me tell you that Sandman wasn’t even on my radar so that was just a bonus.
The question even arises in this case, was Venom necessary? Well, I believe he was necessary to the film. He is a dark and twisty character that gave the film edge and so I would even go as far as saying that Sandman was unnecessary, but the casting for what harkens to Spider-Man’s alter ego—Topher Grace?
There is a lot happening in Spider-Man 3—three whole villains. Or two and a half when you consider Harry changed his mind half way through. The list of things to keep track of is tremendous for watching a film that is released as a summer hit and the film seems to rely on some master editing that is supposed to seamlessly take us from one idea to the next—though that master editing left something to be desired. I have never witnessed a selection of scenes quilted together so aimlessly. It was almost as though in an attempt to avoid a fourth episode, there was some agreement to fit everything into the third. That sort of editing is evident in all three films though hadn’t made me say “What the fuck?” until this one.
To his credit, Raimi’s Venom was eerie and unrelenting. Sandman seemed an afterthought in comparison, though a man made of sand doesn’t exactly cause one to shudder. In my humble opinion though, that is where Raimi should have stepped up. Two unrelenting and ridiculous characters could have made up for casting Topher Grace, but Sandman seems to fall to the wayside once Venom latches to Grace’s character, though not for the acting skills, but simply for the doom Venom inspires.
McGuire’s opposite could have been female for all it mattered. Actually, that would have been radical and even creepier. Maybe even a threat to Mary Jane.
It goes without saying that the thinner you spread a plot, the more holes you are going to have to patch and Spider-Man 3 just might have been a stretch. Harry Osborne carries the film with his ability to reinstate the hope and good that all super-hero’s strive to belay and James Franco is just the right class of man to carry a film when it’s on its back. While Peter is traipsing around doing theatrical dance numbers, the plot gets lost and Harry is there to remind the viewers of what is important. When faced with the challenge that is Sandman, it should be a no brainer for Spidey to defeat him and it should have been a no brainer for Raimi to either step it up or leave him out. And Topher Grace just bothers me—he must have a good agent.
Spider-Man 3 is now available on Blu-ray and DVD.
For more from Corinne, check out her new website the ish.
by Corinne Rizzo
If the first installment of the Spider-Man trilogy didn’t quite drive home the idea that Sam Raimi can and should always create a villain, Spider-Man 2 should be able to convince any audience that Raimi is essentially the king of all that is evil.
Here in the second installment, the viewer meets Raimi’s portrait of Doc Ock, or Doctor Octavius—a man that shares a love of science with Peter Parker as well as the capacity for good and for hope. For the most part though, Octavius reins darkness over the film as he attempts to show investors his latest energy experiment, harnessing a man made fusion, similar to the effects of the sun. When all is said and done and the experiment is near a successful exhibition, the villain can’t exist unless something goes wrong and surely it goes wrong in every possible way.
With Peter Parker foreshadowing the idea that the good doctor could blow the entire city to smithereens if the procedure isn’t handled correctly, Octavius loses control of the fusion experiment and is left with the death of innocent spectators, and a terrible mutation leaving him and the doctors who are trying to save him in a predicament they’ve never encountered.
Though it is the scene that follows the downfall of the experiment that makes the film a signature Raimi film and that scene is one of operating rooms, slain nurses and doctors, loads of horrific screaming and operational power tools buzzing about, blood splatters. Four extra limbs, mechanical, maniacal. The scene is straight out of a horror film and for a minute, the viewer is no longer watching a summer blockbuster, but a suspenseful and graphic thriller.
In fact, the sequel in this trilogy is probably the best out of the three films and one could say that it’s Raimi’s style to not only make the horror film, but make the sequel to the horror film one debatably superior.
Parker finds his own struggles in this sequel and becomes even more tortured than last the viewer received him. The charade with M.J. is on-going and is almost too belabored. For the sake of the audience, it can be assumed that Raimi made the choice to cut the romance dance short and just get the two kids in love and talking marriage already, which makes Spidey happy, which makes Spidey possible. All things the audience responds to.
Meanwhile, the darkness inside of Harry Osborne rises and becomes just another threat to Spidey, after Spidey killed his best friend’s father. No longer are the headlines making things rough for Spider-Man, it seems as if his competition is multiplying as well. Will the conclusion to the three films be a villain paradise?
Spider-Man 2 is now available on Blu-ray and DVD.
For more from Corinne, check out her new website the ish.
by Steve Habrat
How refreshing it is to finally see a mockumentary blockbuster that doesn’t feel the need to be a horror film! Behold Chronicle, a mysterious, mean, and sometimes flawed mockumentary that chooses the route of superpowers rather than supernatural. The thanks should go to director Josh Trank and writer Mike Landis for thinking outside the box, attempting something different, and breaking some new ground within the genre. Similar to Cloverfield but without the big budget and monsters, Chronicle makes a whole lot out of very little and, boy, did it thrill the hell out of me. It also refuses to dumb itself down which causes it to be fairly thought provoking, psychological, and extremely driven to earn our respectable. Much of the success also falls on the shoulders of the unknown actors in front of the camera who pull off a naturalism that many of these films lack. It all comes together to shape a shocking final act that turns downtown Seattle into a battlefield.
Chronicle is told from the perspective of loner Adam (Played by Dane DeHaan), who sulks into the camera with circles under his eyes. He cares for his sick mother, who seems to adore every moment she gets to spend with him, and he avoids his alcoholic father’s rants and beatings. He begins documenting his day-to-day routine, taking his camera to school with him and capturing the hell he endures. He is the target of bullies, ignored by girls and most other kids, and many call him “creepy” when they see his camera. His only true friend is Matt (Played by Alex Russell), his cousin who consistently encourages him to come out of his shell and reluctantly looks over him. When Adam and Matt attend a secluded party, they go exploring in the woods with the popular kid at school Steve (Played by Michael B. Jordan) and they end up finding a strange cave-like hole in a clearing. They decide to explore the hole and make a mysterious alien-like discovery, which rubs off on them and as a result, they end up with telekinetic powers that they at first use for teenage pranks. Soon Adam begins sharpening the powers and he beings abusing his gift, which leads to a destructive and bloody showdown in the streets of Seattle between Matt and Adam.
Chronicle scores brownie points for putting us on the side of the villain, giving us insight into Adam’s evolution from loner with good intentions to a murderous antagonist. His descent into villainy is piteous and we do feel for him. Every victory he has is ruined for him and his father’s physical and mental abuse sends him over the edge. He begins to suspect that Steve isn’t truly his friend and rejects his friendly concerns. The result is multiple deaths and the creation of a monster that deems himself an apex predator. In the beginning we can smell whiffs of anger in Adam, a ticking time bomb, but when his fury is unleashed, it sucks all the air out of our lungs.
The early bonding scenes are a treat to watch and when Adam, Matt, and Steve play pranks with their new found powers, they are often times hilarious, typical antics of puckish teenagers. The standout is when the three boys discover they can fly and they pass around a football above the clouds. There is also a wonderful talent show sequence where Steve and Matt reveal their powers to their fellow high school students. The scene belongs to Adam and I got the feeling that Steve was trying to give Adam his moment in the sun, which makes their sudden falling out all the more dramatic and crushing. Yet it is these scenes that also bring out the true humanity of these teenagers, who come off like real everyday teens you’d pass on the street. They discuss girls, popularity, sex, parties, and their dreams, all while never missing the opportunity to give each other a hard time. These teens also quote Carl Jung, which is a bit left of center but brave nonetheless.
Chronicle packs epic battle sequences that will shake the walls of your theater. They also end up being the most flawed aspects of the film, sometimes being a bit incomprehensible and distant. There are shots that are too far away to really tell who is winning in the climatic showdown and I was left wishing that Trank had focused his camera in a little bit closer. I understand the approach he is taking but he has to understand that he is yanking us out of the moment when he pulls away. Yet he makes a mountain out of a measly pile of dirt. Chronicle reeks of having a shoestring budget yet we get explosions, cars crushing like soda cans, helicopters smashing into the panic-stricken streets, and destruction of the famed Seattle Space Needle. We get scenes of the kids leaping through the air, dodging airplanes, making heroic catches of both each other and innocent bystanders. Trank makes the action unfeigned, bloody, and yes, the kids get hurt. Bad. It’s far from the standard superhero films where the blows don’t really faze either individual. Our dueling characters are barely standing halfway through their confrontation.
In the end, Chronicle features well-written dialogue, multidimensional characters, booming action sequences, and an unforgettable climax. The most glaring issue with the film is the lack of an explanation over what the kids find in the cave and all we really get is some shaky neon shots of what looks like a giant neon crystal spider (trust me, it’s actually pretty cool looking) that emits rumbling electronic booms. The film never backtracks to explain further which I found to be frustrating. The true hero of Chronicle ends up being the villain, DeHaan, who is a little too convincing at times in his rage. For a February release, Chronicle manages to be a step above the other warmed over releases by Hollywood. It’s a step above because it captures how kids in this situation would act and react. And you can’t help but reflect on what you would do if you suddenly gained superpowers. Would you play pranks? Use it for destructive purposes? Use them to protect your family at any cost? Or use them to make a teddy bear levitate to scare a young girl? But kids will be kids I suppose and the shenanigans are expected. There is no question or doubt that Chronicle is one of the coolest movies of 2012 so far.