Author: Jason Zingale (Page 16 of 154)

The Super Hero Squad Show: Volume One

After Marvel was bought out by Disney at the tail end of last year, many comic book fans were concerned about what kind of effect it would have on their favorite characters. Would Mickey Mouse and Donald Duck suddenly be popping up in the pages of “The Amazing Spider-Man”? Or worse yet, would more mature titles like “Deadpool” be watered down? The powers that be were adamant that it was going to be business as usual at the House of Ideas, and for the most part, they were right. But while most of Marvel’s entertainment empire has remained untouched by Disney’s kid-friendly ideals, their new animated series, “The Super Hero Squad Show,” feels a lot like a Disneyfied version of the Marvel Universe.

It’s the kind of cartoon you’d expect to see on Saturday mornings – from the Mighty Muggs-like character designs to the low-brow humor and moral messages built in to each story. This is a show where the heroes live in a town called Super Hero City (with a mayor voiced by Stan Lee, no less) and the villains reside next door in VillainVille, but while it may be embarrassing to watch Mole Man struggle with above-ground flatulence or Doctor Doom pop bubble gum, the show does a pretty good job of servicing older fans as well. Although the core cast only includes Iron Man, Thor, Hulk, Wolverine and Falcon (with recurring appearances by Captain America, Ms. Marvel, and a stupid new character named Reptil), there are cameos from over two dozen other Marvel characters in the first seven episodes alone. And it’s not just the A-listers either, which goes to prove that while “The Super Hero Squad Show” may not be intended for adults, it has just enough fan appeal that most parents could easily enjoy it with their kids.

Click to buy “The Super Hero Squad Show: Volume One”

Entourage 7.2 – Buzzed

Many people have been clamoring for “Entourage” to switch to an hour-long format for quite some time now, but with how thinly plotted each season tends to be, I’m glad that the only thing HBO has changed is reducing this season’s order from 12 to ten episodes. And it appears to be already working, as tonight was jam-packed with so much story that the chance of those pesky filler episodes popping up this season is unlikely.

Vince was also at the forefront yet again, as his newfound addiction to thrill-seeking continues to get him into trouble. I don’t think cutting his hair was a really big problem (if Cassavetes wants to do reshoots, he can always use a wig), but Vince certainly isn’t doing himself or his career any favors by acting out like that. It’s good to see him finally having some fun, even if it’s posing for pictures while leaving a strip joint or skydiving with a bottom feeding agent like Scotty Lavin, but that doesn’t mean he can act like an asshole either. While doing an interview for Access Hollywood, Vince says that his new film with Cassavetes would “probably end up sucking,” and while he may get a thrill out of making a joke like that, it’s also pretty damn rude and unprofessional. And if he was trying to be funny, then he should have at least told Maria Menounos that he was just joking around, because now Shauna, Ari and Eric are forced to run around town trying to fan the flames while Vince leaves a path of destruction behind him.

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And it’s not as if Ari has the time to deal with such childish behavior. After all, he’s finally done the impossible: get a meeting with the NFL. Granted, it’s only Cowboys owner Jerry Jones and a handful of others that take the meeting, but he definitely left a lasting impression, thanks in part to Lizzie, who helped break the ice after begging Ari to sit in. Nevertheless, Jones informs Ari that they won’t be needing his services to negotiate the TV rights, but does invite him to the upcoming owner’s meeting with an eye to bring an NFL team to Los Angeles. Ari loves the idea (although the L.A. Gold sounds more like a WNBA team), and expresses his excitement by dancing with Lizzie around his office… just as Mrs. Ari walks in.

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A Single Man

Renowned fashion designer Tom Ford must have been chomping at the bit to make his jump into feature films, but he was smart to hold out for the right project, because it’s hard to imagine a directorial debut more perfect than “A Single Man.” Based on the novel of the same name by Christopher Isherwood, the film take place over the course of a single day as middle-aged college professor George Falconer (Colin Firth) contemplates suicide following the death of his longtime partner, who was killed in a car accident eight months prior. George spends the day reminiscing about the past, putting his affairs in order, and even enjoying a dinner date with his childhood friend (Julianne Moore) without anyone the wiser, but when one of his students (Nicholas Hoult) takes a sudden interest in his well-being, George begins to rethink his fatal plan.

Admittedly, not a whole lot happens over the course of the film’s 99-minute runtime, but it’s so visually stunning that the anemic plot isn’t a big problem. With Ford’s background in fashion, it shouldn’t come as much of a surprise that the ‘60s-era costumes and production design are flawless, but Eduard Grau’s cinematography is the real treat, transforming the movie into a perfume ad come to life that beautifies the style and sophistication of the period. Colin Firth also delivers a career-best performance as a broken man struggling to get through the day without falling apart in front of his friends and colleagues, and Moore and Hoult offer ample support in limited roles. Though the movie does drag a bit during its final act, “A Single Man” is a poignant drama about love and loss that will serve as the perfect calling card should Ford decide to quit his day job and focus on filmmaking.

Click to buy “A Single Man”

Blu Tuesday: Hot Tub Time Machine, The White Ribbon and Predator

Now that the U.S. has been eliminated from the World Cup, most Americans will probably get back to their normal lives, but for diehard soccer fans like me, the quadrennial tournament remains the best form of entertainment around. Nevertheless, there are still several great titles being released this week, so if you are looking for something to pad out your daily soccer diet, you’ll have plenty of options to choose from.

“Hot Tub Time Machine” (20th Cent. Fox)

It won’t become a cult classic any time soon, and the title is probably the funniest thing about it, but “Hot Tub Time Machine” is still a solid comedy thanks to its great cast and a smart script by Sean Anders and John Morris – the same guys responsible for the equally funny “Sex Drive” and “She’s Out of My League.” From the inspired casting of John Cusack and Crispin Glover (who’s involved in a hilarious running gag involving his bellhop character losing his arm), to playful nods to “Red Dawn” and the King of Bullies himself, William Zabka, the film is a love letter to popular 80s cinema with the comic sensibility of today’s R-rated comedies. It’s just too bad that the Blu-ray’s special features are so tame, because this is a movie that would have benefited from hours of outtakes.

“The White Ribbon” (Sony Pictures)

Michael Haneke’s “The White Ribbon” – winner of the 2009 Palm D’Or and Globe Globe for Best Foreign Language Picture – features an intriguing story, solid acting, and some truly beautiful cinematography. And yet, it’s perhaps one of the most unsatisfying films that I’ve seen in the last few years. Set in 1913 Northern Germany on the eve of World War I, the film centers around a series of mysterious accidents involving the children of a small farming village. Like most of Haneke’s films, “The White Ribbon” is a slow-burn – building tension over the course of its lengthy 144-minute runtime – but when it arrives at its climactic ending, the only thing that the director has to show for it is an open-ended analogy to WWI that will likely confuse and frustrate a lot of people. Up until that point, however, Haneke delivers one helluva suspense film, and though you might not like the way it ends, it’s worth seeing for the craftsmanship alone.

“Predator” (MGM)

With Robert Rodriguez’s reboot of the sci-fi action franchise due out on July 9th, MGM has unsurprisingly re-released the original “Predator” on Blu-ray for the second time in two years. What makes this edition different than the first, however, is a new digital restoration that holds up remarkably well, despite some special effect shots that really show their age. I almost forgot how much fun this movie is, and although Arnold Schwarzenegger is without a doubt the star of the film, the supporting actors definitely leave their mark – from Carl Weather’s cocky CIA agent to Jesse Ventura’s minigun-carrying commando. The single-disc effort also boasts a sneak peek of “Predators” and a new featurette that takes a look at the legacy of the original movie with interviews by Rodriguez and Nimrod Antal. If nothing else, it will serve to get you excited for the new film when it rolls into theaters in a few weeks.

Also Out This Week:

“The Crazies” (Universal)
“The Warlords” (Magnolia)
“When You’re Strange” (Eagle Rock)
“Percy Jackson & the Olympians: The Lightning Thief” (20th Century Fox)

Entourage 7.1 – Stunted

For anyone that read my preview of the new season, you probably weren’t too surprised by the events that took place in tonight’s premiere, but I still enjoyed the episode a lot and think that it’s a strong start to what could be another great year for the series. With Eric more or less taking a backseat this week, the bulk of the episode revolved around Vince on the set of his new action film. And if you thought Vernon, the fictional German director of “Smokejumpers,” was intimidating, wait until you get a load of real-life actor/director Nick Cassavetes. Worried that the audience will know he’s cheating by using stunt doubles for Vince, Nick begs him to do an upcoming car chase sequence himself, and he agrees. That is, only because he doesn’t want Nick to think he’s a pussy, but the minute that Nick leaves his side, Vince goes running to Eric and Ari for help in breaking his promise without Nick knowing it was him who spurred them on.

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Ari has more important things going on in his life as the new head of the biggest agency in the world. He’s got big plans for the company, including a possible deal with the NFL regarding the league’s TV rights, and yet instead of sending someone else to get their hands dirty (much to the annoyance of Mrs. Ari), he visits the set to speak with Nick himself. It doesn’t quite go as planned, however, after he threatens Nick to get the studio involved when he learns that they haven’t been insured for the stunt because he hasn’t told them about it. Nick threatens Ari to keep his mouth shut, and then delivers a little payback later on by taking a full-page ad out in Variety with a picture of Ari in drag and the following text below it: “Ari Gold. My Friend, My Agent, My Bitch.” Has Ari Gold finally met his match? Apparently, because I don’t think we’ve ever seen him step down from a challenge before – and that includes the aforementioned “Smokejumpers” director, whom Drama once referred to as a “cocksucking Nazi bastard.”

Nick piles on the pressure, though, and Vince decides to do the stunt, which doesn’t go as planned when the car fails to brake properly after jumping off a ramp through a gauntlet of pyrotechnics. Vince emerges from the wreck unharmed, and though he appears to be a little shaken at first, once he realizes that he’s okay, he wants to go again. The look on his face seems to say otherwise, but I wouldn’t be shocked if Vince’s big storyline this season involved him becoming a thrill-seeking adrenaline junkie. It would definitely be an improvement from previous years, as Vince tends to get the short end of the stick when it comes to character development.

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