Monday, March 14, 2011

Warlocks and Trolls: The Legendary Adventures Of Two Sorcerers And Their Ward



NOTE 1: I started writing this last week as soon as it was announced that CBS fired Charlie Sheen from the hit sitcom Two and A Half Man. It should have been obvious to everyone that the Charlie Sheen media blitz was coming to an end. When vocalizations of insanity get co-opted as catchphrases for t-shirts and bumper stickers, it loses its appeal. Sure, we had a fun week or two, but how long can it last after the initial shock? People were getting tired and, worst of all, bored with the situation. Even Charlie seems to have come down from his manic frenzy but still has to maintain the character long after the novelty has worn off and he wants to move onto different projects. He has become typecast in his own life. Then the Japanese earthquake/tsunami/earthquake happened and Charlie Sheen has moved off the front page completely. So obviously, I'm a bit behind the curve when it comes to throwing in my two cents to the situation.

NOTE 2: I've never seen Two and a Half Men so, like everyone writing about a topic they know nothing about, I relied on Wikipedia. (Fun Fact: Half Man is Jon Cryer's character's son.)

NOTE 3: Just bear with me. Or don't read.




With last week's announcement that CBS fired Charlie Sheen from
Two and a Half Men, everyone (well, a lot of people) was (were) left wondering, “What’s going to happen with the show?” Well, Charlie Sheen himself practically wrote the show's next season.

As the show's ninth year begins, Charlie (a genuine warlock) is missing. Following the loss of their patriarch, Jon Cryer and The Kid must don their cloaks and go on a grave adventure of endless forests and enchanted castles to find their hero. As Charlie is a warlock, so is his brother, Jon Cryer. The Kid serves as an apprentice.

As they progress along their peril-filled journey, we (and Jon Cryer and The Kid) learn about Charlie's kidnapping. While practicing magicks, Charlie peered through the looking glass and saw the world as it truly is. Evil Trolls (Racist Jewish caricatures like Billy Crystal in The Princess Bride) control the money; the Brothers Warner control the people through mead and traveling propaganda troupes; and the Catholic Church controls the government. When Charlie attempted to warn the people of the shire, the Warriors of the Joint Venture captured him.

See, Charlie is no ordinary warlock. His tiger blood and Adonis DNA exist in the perfect proportion to make him the most powerful warlock of the land. If the bad guys can harness his essence, it will grant them one thousand years of total control. Furthermore, each evil party has their own plans for Charlie. His ability to turn tin cans into gold (similar to Rumpelstiltskin) can drastically affect the economy, and Trolls love gold. The Catholic Church wants to torture Charlie because his work as a Vatican assassin cost them hundreds of their top spies. And the Brothers Warner want to brainwash Charlie, bring him back into the fold, and use him to further manipulate the townspeople who eat their slop like pigs at a trough.

Jon Cryer and The Kid collect most of this information from Knights of the Realm, who are on their own quest to destroy this tyranny, during a 5-6 episode storyline early in the season. Ring Wraith-ian creatures obliterate the Knights during November sweeps.

Meanwhile, also in the story, Jon Cryer and The Kid learn about their wizardry powers as the audience learns about the strange new world they inhabit. For example, when Troll King Chaim tries to infest the two with his poisons (similar to the poppies scene in The Wizard of Oz), all they need is their minds to break free of the addiction. No matter how many drugs they ingest, they don't just survive but throw parties of legend, told for generations through myth and song. They encounter Goddesses like April Bowlby, Holland Taylor, Courtney Thorne-Smith, and Melanie Lynskey in bodices. I guess throw in a Sword of Winning needed to defeat some dragon or cross a bridge or something.

The series ends with the gang finding a captive Charlie about to die, still unwilling to submit to his captors even at the expense of his own life. A battle ensues. A Troll fatally wounds Jon Cryer. A ward of the Brothers Warner is about to slice the throat of The Kid. And Charlie, with his last breath, expels his life force into the villains.

Troll children and sons of the Brothers Warner weep over their parents' exploded bodies. The Kid, the lone survivor on the side of good, finally accepts his destiny and understands that they're like animals. And he slaughters them. Like animals. He hates them. No longer an apprentice, he rides into the horizon, ready to bring peace to the land.

Failing that, there's always Apocalypse Now. We know real Charlie has a penchant for the movie and that fake Charlie is a jingle writer. Fake Charlie knows the truth about advertising, manipulation, and brainwashing the gullible public into buying garbage. He has seen the inner workings of industry, the patheticness of man, the emptiness of souls dying to be filled with cutesy slogans and emasculating beer commercials. Fed up with this bullshit, he hides out in Canadian wilderness sending out tweets and u-streams exposing our depraved society. Charlie's employers contact Jon Cryer and request that he terminate his brother's contract, with extreme prejudice. As Jon Cryer travels up the Pacific Coast, he begins to identify with Charlie, understand his message, and view the world as hopeless and broken. When he arrives at the Charlie's compound consisting of Midwesterners that made a pilgrimage to their leader's camp, as well as a half-mad photographer from Entertainment Weekly, he's torn but knows his duty.

Thursday, March 10, 2011

The Mishandling of X-Men: First Class




When X-Men was first released in 1999, it ushered in a new age of superhero movies. A Golden Age so it were. (Unless those racist serials in the 1940s were the Golden Age, the era from Superman: The Movie (1978) to Batman & Robin (1997) was the Silver Age, and this is the Bronze Age. Some might argue that Blade (1998) really started it all, but at most, the R-rated vampire action movie was a test run for more established, mass friendly, superheroes.)

Whatever the case, the success of that film changed the entire film industry for the next decade and into the current one. Every year we must contend with a summer landscape peppered by everyone from Spider-Man to Scott Pilgrim. In 2011 alone, we met The Green Hornet in January, and over the next several months we will encounter Thor (May 6), Priest (May 13), X-Men: First Class (June 3), Green Lantern (June 17), and Captain America: The First Avenger (July 22- though it should be released for the July 4 weekend- stupid Transformers: Dark Of The Moon).

In hindsight many people look back at X-Men with disdain due to its anticlimactic finale, small scale, focus on Wolverine, and “Do you know what happens to a toad when it's struck by lightning? The same thing that happens to everything else." But its impact remains notable, it was good for the time, and still places in the top two X-Men movies. X2 in 2003 corrected many of the problems from the first film by drastically expanding its scope. And the conclusion featuring the Phoenix logo led to countless geek squeals and palatable anticipation for the next entry in the series.

Then director Bryan Singer left the franchise (for the blunder Superman Returns), and X-Men: The Last Stand ruined everything. Directed by the passionless Brett Ratner, X-Men: The Last Stand killed most of the best characters, turned Dark Phoenix (one of the greatest comic storylines in history) essentially into Bane from Batman and Robin, and made Rogue into a coward willing to abandon everything that made her unique.

When the remaining X-Men took their last stand, it was with two main characters (Storm (poorly played by Halle Berry) and Wolverine (the face)), two essentially cameo characters (Colossus and Iceman), and Kitty Pryde (arguably a newcomer having been played by different actors in all three films). In this final battle against hundreds of evil mutants, the very least we should have gotten was for Rogue to get over her angst, absorb the powers of several mutants, and rise to the air as the Ms. Marvel-powered Rogue from the comics. But we didn't. Of course, when the vast majority of the bad guys' powers seem to be jumping awkwardly, we probably wouldn't have gotten that joy anyway.

Although X-Men: The Last Stand made the most money out of all the X-movies, it essentially killed the franchise- at least as far as sequels go. Guess that's what happened when you shuffle Professor X, Cyclops, and Jean Grey off this mortal coil.

Nevertheless, FOX squeezed more life out of the series. 2009 saw the release of the nonsensical and disappointing prequel X-Men Origins: Wolverine. Hugh Jackman will pick up the claws again for 2012's non-sequel, non-spinoff, stand-alone movie Wolverine directed by Darren Aronofsky, one of the few directors whose involvement obliterates prior misgivings. The studio also planned to develop other prequels- one with Magneto and one with Professor X- but those were abandoned in favor of X-Men: First Class, a set-in-the-1960s origin story of the X-Men.

The announcement of X-Men: First Class was met with understandable doubt. The franchise had already been squandered. Trying to match up a prequel with its earlier sequels is a difficult fete at best, just ask Wolverine. Or George Lucas. At least a flat-out reboot would give a new director the chance to get it right again without destroying the potential of the Dark Phoenix saga. The selection of Matthew Vaughn (Kick-Ass) as director and writer was interesting. The cast (consisting of Jennifer Lawrence, Rose Byrne, Kevin Bacon, and topped off with James McAvoy and Michael Fassbender as Professor X and Magneto, respectively) was surprisingly good. But even combined, this was not enough to overcome the ill will that many had towards the concept.

FOX released the X-Men: First Class trailer on February 10, 2011. For the most part, fans reacted positively. The film had a color and style unlike the previous four films. The X-Men wore actual costumes and not padded leather suits. The movie, against all odds, looked as though it might actually be good.


So wherein lies the problem? It comes from how FOX refuses to let the movie stand on its own. From the start of the trailer to the posters, everything has to do with whom Erik and Charles will become, rather than who they are. We need not, we should not be reminded us of the franchise that once existed, but rather imagine the series that this can become. We needn't shots of Professor X's wheelchair or Magneto's cape to convince us to see it; the name X-Men and the footage from the movie should be enough.


These two are the worst posters for any movie in the history of film.

Where the Star Wars prequels failed (well, one of the thousands of places where the Star Wars prequels failed) was their inability to do much other than prey on our nostalgia. Somewhat similarly, Marvel blundered with Iron Man 2 by linking it too closely with its future project, The Avengers. This tact sapped a lot of the interest in Tony Stark's journey and has already made people wary of Thor and Captain America: The First Avenger, fearing that those movies will also end up as commercials for the next film. And who can blame them? Captain America punched Hitler in 1941 and with that subtitle he comes across as an afterthought.


From the little we've seen of X-Men: First Class, the film itself does not seem like it follows either of those two paths. It has a vibe and personality of its very own. And the marketing people should respect, and work with, that.

X-Men: First Class will hit theaters on June 3, 2011.