Fantastic Four reboot

[bransen2099]

Thats cool but if you want a new vision then make a different movie not mess up what was already made. its clear that this movie was made to keep the license and nothing more. I don't like all marvel movies but the reason Feige tells directors what to do is because he knows the character and he prevents people from making stupid **** ups like this.
I don't know what happened with iron man 3 though. Anyway this movie deserves all the hate for trying mess with somthing thats laid out infront of you. We have so many Great stories ruined because the director had a "Vision" for what he wanted to do. DB evolution rings a bell.

I'm gonna throw in Avatar The Last Airbender at the end there.

 

[DFanatic]

Honestly whats so hard recreate muscular man in metal plating armor with green hood

I'll never understand whats so hard about bringing doom to life.

It's simple, It's on the hands of the wrong studio. Wait until Marvel/Disney gets the rights back and you'll see.

I watched a video describing the production problems this movie had since day one and it's like watching a train wreck in slow motion.

 

[olbertfrog]

Guess i ll never understand since im a movie guy not a comic book guy.

Fantastic four is a flawed movie eaten by the virus of the constant critics screamed all over the web for 3years by angry fanboys who know how it should be done better than anyone else.
Well they have been heard and the result is Simon Kinberg taking charge doing rewrites and reshoot.
Wish they would have just stfu and judge Trank movie, sadly we Will never see that one it seems.

 

[EVILFACE]

It's simple, It's on the hands of the wrong studio. Wait until Marvel/Disney gets the rights back and you'll see.

Yep, see Doom get taken out in funny way like all the other MCU villains.

 

[Snake Plissken]

I didn't really see what was wrong with the first series of films... they weren't great, but I think they could of done a third and had Galactus.

 

[jye4ever]

Yep, see Doom get taken out in funny way like all the other MCU villains.

There were even a couple of jokes thrown around before Pierce got taken out.

 

[cmiller99]

12%

This must be an all time low for a comic book flick.

Guess Jurassic Word might keep the opening box office record...This might make 30 mil.

Still seeing it and The Gift this weekend.

11% now...

 

[jye4ever]

I won't go see it until it hits 4%.

Watch, I'll probably end up liking it.

 

[cmiller99]

Will it break 10? Who knows. I'm probably going to be in bed when it happens.

 

[EVILFACE]

How to Australians keep from falling out of bed?

 

[cmiller99]

We have to strap ourselves in, like the folks on the International Space Station.

 

[jye4ever]

FANTASTIC FOUR Review: It’s Clobberin’ Time

The latest FF movie is way better than you expect.
By DEVIN FARACI Aug. 05, 2015


Legend has it that Marvel publisher Martin Goodman was playing golf with some pals from National Periodicals when they bragged to him about the sales on their new comic, The Justice League of America. Goodman, wanting to compete, ordered editor and writer Stan Lee to make a superhero team to rival the Justice League. Stan Lee got together with Jack Kirby and together they came up with the Fantastic Four.


As a concept the Fantastic Four couldn’t be any more different from the Justice League; instead of disparate solo heroes brought together the FF were an ersatz family, united in the moment of their creation. In fact the reality is that the Fantastic Four have more in common with another, earlier Jack Kirby creation - The Challengers of the Unknown.


Fantastic Four the movie - the third attempt at the concept - was kickstarted very much in response to someone else’s success in the same field. But much like the original FF, this version doesn’t simply ape the current status quo of superhero movies. What this film does is something different, something actually sort of in line with the original Challengers of the Unknown. This Fantastic Four is a science fiction movie, and it’s a cracking good one… until the third act when it is dragged kicking and screaming into being a superhero movie and falls apart.


This iteration of the FF is based heavily on the Ultimate Fantastic Four, with young genius Reed Richards and young tough Ben Grimm being best friends from way back and with Reed being inducted into a special program for gifted youth at the Baxter Building. There he works with Victor von Doom, a troubled young genius, and Sue Storm, an icy young genius, and Johnny Storm, a hothead (who is maybe not a genius) to crack interdimensional travel. Together they want to be the first people to step foot on an alien world in another dimension.


For the first two acts this movie hums along. There is a real sense of the wonder of science, of the awe of exploration. Just as in the original comics this team illicitly takes control of their experiment - von Doom, worried that NASA will take their tech, asks if anyone knows who built the Saturn rockets while pointing out that everyone knows Neil Armstrong. Tipsy, impetuous, driven by the glory of breaking boundaries, the team ends up on what is called Planet Zero, and then things go all sorts of wrong.


They go wrong for the movie too. What had been a strong character piece, anchored by intriguing relationships between real, deep characters. I was thrilled watching these characters bounce off each other, with each actor bringing their own twist to classic archetypes I have known my whole life. No, the Reed Richards played by Miles Teller isn’t the pipe-chomping father figure from the original Marvel comics, but I see how this character can become that guy. Teller’s Reed isn’t some kind of STEM casualty, lost in a robotic world of science, and he isn’t a totally socially inept doofus. He’s a nice guy, slightly clueless, completely sweet, used to being smart as hell and totally misunderstood.


He’s the best character in the film, a brainiac who isn’t rooted in the modern neuro-atypical vision of scientists. He’s rivaled - in all ways - by von Doom; Toby Kebbel brings a sneering superiority to the character that is never cartoonish. Doom isn’t bad, he’s cynical, he’s distrustful.. and he’s a little egomaniacal. He’s a layered, textured character, and this iteration of him is - for the first two-thirds of the movie - among the best I have ever seen.


Kate Mara’s Susan Storm is more the distracted, detached genius type. We know that Reed and Sue get married, but there’s not much more than a hint of that future here. In fact Sue is weirdly sidelined in a way that troubled me tremendously and should launch a thousand thinkpieces - she isn’t part of the team that travels to the other dimension. Why exclude Sue? From a character standpoint I get it - the boys are BOYS, and they’re too bro-y to include the girl - but the movie itself needed to address and deal with this. Sue still gets powers, but in a way that violates the spirit of the original stories. And in a way that feels too much like shuffling the woman to the side.


I expected Michael B. Jordan’s Johnny Storm to be the breakout of the movie, and while he’s good he never quite has a scene that truly takes him to the next level. This is Reed’s movie, and Johnny is there to support. Jordan does hothead exceptionally well, and later in the film when the team is trying to cure themselves his resistance makes sense, and Jordan plays it perfectly. Why would he want to give up this power?


Finally there’s Jamie Bell as Ben Grimm, sidelined to an almost terminal degree. The Thing works better in action than feared (and his voice is appropriately modulated) but Grimm himself doesn’t get enough screentime, especially before the transformation. There’s a whole stretch of the film where you would think Ben had simply been forgotten, until Reed brings him in at the last minute to challenge the unknown with him. It’s a pity because Bell works - he’s scrawnier than my vision of Ben Grimm, but he has the quiet intensity of a guy who can handle himself but would prefer not to resort to that.


All of these characters - even the shortchanged ones! - work, and they work in different permutations with layers of complexity between them. The film throws a great wrench into it all in the immediate aftermath of the accident that gives them powers, leaving the group distrustful and split and emotionally damaged… and then the movie rushes to a CGI climax that is unearned, narratively incoherent and, worst of all, detached from the emotional stakes built up for the previous 70 minutes. There are moments in the finale that work - Doom striding through a military base exploding people’s heads is great - but eventually it all comes together in a CGI landscape where characters throw CGI at each other without a sense of reality, geography, physics or even meaning. Doom is trying to destroy the world for reasons that make no sense in a method that makes no sense and the fight that ensues is low on stakes, drama and meaning.


Josh Trank approaches this film with a refreshing eye that is focused squarely on the people in it. The film has an extended sequence where the characters first discover their powers that is extraordinary not just because of the imagery - which is dark and terrifying - but because these characters are hurting, and we like the characters. But the film doesn’t dwell on this - it mixes the body horror with wonder, and the movie focuses on the resiliency of these people as they deal with their strange new lives.


This is why the ending is such a letdown. For the first two-thirds Trank, working from a script by Jeremy Slater and Simon Kinberg (and himself), is able to craft a reality that is based in humanity, and then it’s all thrown away for a plug-and-play CGI finale. It’s heartbreaking that all of this is thrown away at the end; the characters’ tangled, complicated emotional relationships are never resolved, Doom’s own truly complex story is simply tossed into a portal in the sky, and the entire thing races to an unsatisfying conclusion. This movie could been better and should have been better, and the proof is right there in the first two acts.


As much of a letdown as the ending is, I like the actors here. I like this iteration of the characters. I like this world, one that has a foot in reality and a foot in the sort of gee-whiz scifi where whiz kids build and use a dimensional transporter. Yes, Fantastic Four faceplants, but there’s too much good in here to dismiss it completely. There’s too much quality, too much talent on display to hope that this iteration joins the rest on the trash heap of history. What the movie gets wrong is infuriating and disappointing, but what it gets right completely captures what I want a movie like this to be.

 

[YoNoSe]

Faraci being contrary. Yup, it's Thursday.

 

[chewblacca]

I always imagined the FF as a team of special people that take on the weird and strange threats to the world. Buildings suddenly start disappearing? Call the FF! Giant sea creatures come on shore and threaten people? Call the FF! If the Holywood writers and directors keep this in mind I think they can make a great FF movie.

 

[Anzik]

Once again they went for a "clever re-imagining" of a comic book and failed. How about finding someone who loved the comic book, who can explain why they loved the comic book and let them make that movie? Before you re-imagine it, try faithfully imagining it. Marv Wolfman did an incredible run on the FF back in the 70's. Thats what sums up the FF.

 

[Hellion]

Why is it so hard for Hollywood to get this look right? Strangely Roger Corman came the closest yet.....

 

[RIDDICK]

Once again they went for a "clever re-imagining" of a comic book and failed. How about finding someone who loved the comic book, who can explain why they loved the comic book and let them make that movie? Before you re-imagine it, try faithfully imagining it.

 

[chewblacca]

Like I asked before, why can't comic book writers write comic book movies?

 

[jye4ever]

Like I asked before, why can't comic book writers write comic book movies?

Complicated screen writer union rules.

You should've seen what I went thru just to extend my fence another 4", I had to get like 3 permits and 2 inspections, imagine writing a 150 million dollar movie.

 

[Plastic Bateman]

FANTASTIC FOUR Review: It’s Clobberin’ Time

The latest FF movie is way better than you expect.
By DEVIN FARACI Aug. 05, 2015


Legend has it that Marvel publisher Martin Goodman was playing golf with some pals from National Periodicals when they bragged to him about the sales on their new comic, The Justice League of America. Goodman, wanting to compete, ordered editor and writer Stan Lee to make a superhero team to rival the Justice League. Stan Lee got together with Jack Kirby and together they came up with the Fantastic Four.


As a concept the Fantastic Four couldn’t be any more different from the Justice League; instead of disparate solo heroes brought together the FF were an ersatz family, united in the moment of their creation. In fact the reality is that the Fantastic Four have more in common with another, earlier Jack Kirby creation - The Challengers of the Unknown.


Fantastic Four the movie - the third attempt at the concept - was kickstarted very much in response to someone else’s success in the same field. But much like the original FF, this version doesn’t simply ape the current status quo of superhero movies. What this film does is something different, something actually sort of in line with the original Challengers of the Unknown. This Fantastic Four is a science fiction movie, and it’s a cracking good one… until the third act when it is dragged kicking and screaming into being a superhero movie and falls apart.


This iteration of the FF is based heavily on the Ultimate Fantastic Four, with young genius Reed Richards and young tough Ben Grimm being best friends from way back and with Reed being inducted into a special program for gifted youth at the Baxter Building. There he works with Victor von Doom, a troubled young genius, and Sue Storm, an icy young genius, and Johnny Storm, a hothead (who is maybe not a genius) to crack interdimensional travel. Together they want to be the first people to step foot on an alien world in another dimension.


For the first two acts this movie hums along. There is a real sense of the wonder of science, of the awe of exploration. Just as in the original comics this team illicitly takes control of their experiment - von Doom, worried that NASA will take their tech, asks if anyone knows who built the Saturn rockets while pointing out that everyone knows Neil Armstrong. Tipsy, impetuous, driven by the glory of breaking boundaries, the team ends up on what is called Planet Zero, and then things go all sorts of wrong.


They go wrong for the movie too. What had been a strong character piece, anchored by intriguing relationships between real, deep characters. I was thrilled watching these characters bounce off each other, with each actor bringing their own twist to classic archetypes I have known my whole life. No, the Reed Richards played by Miles Teller isn’t the pipe-chomping father figure from the original Marvel comics, but I see how this character can become that guy. Teller’s Reed isn’t some kind of STEM casualty, lost in a robotic world of science, and he isn’t a totally socially inept doofus. He’s a nice guy, slightly clueless, completely sweet, used to being smart as hell and totally misunderstood.


He’s the best character in the film, a brainiac who isn’t rooted in the modern neuro-atypical vision of scientists. He’s rivaled - in all ways - by von Doom; Toby Kebbel brings a sneering superiority to the character that is never cartoonish. Doom isn’t bad, he’s cynical, he’s distrustful.. and he’s a little egomaniacal. He’s a layered, textured character, and this iteration of him is - for the first two-thirds of the movie - among the best I have ever seen.


Kate Mara’s Susan Storm is more the distracted, detached genius type. We know that Reed and Sue get married, but there’s not much more than a hint of that future here. In fact Sue is weirdly sidelined in a way that troubled me tremendously and should launch a thousand thinkpieces - she isn’t part of the team that travels to the other dimension. Why exclude Sue? From a character standpoint I get it - the boys are BOYS, and they’re too bro-y to include the girl - but the movie itself needed to address and deal with this. Sue still gets powers, but in a way that violates the spirit of the original stories. And in a way that feels too much like shuffling the woman to the side.


I expected Michael B. Jordan’s Johnny Storm to be the breakout of the movie, and while he’s good he never quite has a scene that truly takes him to the next level. This is Reed’s movie, and Johnny is there to support. Jordan does hothead exceptionally well, and later in the film when the team is trying to cure themselves his resistance makes sense, and Jordan plays it perfectly. Why would he want to give up this power?


Finally there’s Jamie Bell as Ben Grimm, sidelined to an almost terminal degree. The Thing works better in action than feared (and his voice is appropriately modulated) but Grimm himself doesn’t get enough screentime, especially before the transformation. There’s a whole stretch of the film where you would think Ben had simply been forgotten, until Reed brings him in at the last minute to challenge the unknown with him. It’s a pity because Bell works - he’s scrawnier than my vision of Ben Grimm, but he has the quiet intensity of a guy who can handle himself but would prefer not to resort to that.


All of these characters - even the shortchanged ones! - work, and they work in different permutations with layers of complexity between them. The film throws a great wrench into it all in the immediate aftermath of the accident that gives them powers, leaving the group distrustful and split and emotionally damaged… and then the movie rushes to a CGI climax that is unearned, narratively incoherent and, worst of all, detached from the emotional stakes built up for the previous 70 minutes. There are moments in the finale that work - Doom striding through a military base exploding people’s heads is great - but eventually it all comes together in a CGI landscape where characters throw CGI at each other without a sense of reality, geography, physics or even meaning. Doom is trying to destroy the world for reasons that make no sense in a method that makes no sense and the fight that ensues is low on stakes, drama and meaning.


Josh Trank approaches this film with a refreshing eye that is focused squarely on the people in it. The film has an extended sequence where the characters first discover their powers that is extraordinary not just because of the imagery - which is dark and terrifying - but because these characters are hurting, and we like the characters. But the film doesn’t dwell on this - it mixes the body horror with wonder, and the movie focuses on the resiliency of these people as they deal with their strange new lives.


This is why the ending is such a letdown. For the first two-thirds Trank, working from a script by Jeremy Slater and Simon Kinberg (and himself), is able to craft a reality that is based in humanity, and then it’s all thrown away for a plug-and-play CGI finale. It’s heartbreaking that all of this is thrown away at the end; the characters’ tangled, complicated emotional relationships are never resolved, Doom’s own truly complex story is simply tossed into a portal in the sky, and the entire thing races to an unsatisfying conclusion. This movie could been better and should have been better, and the proof is right there in the first two acts.


As much of a letdown as the ending is, I like the actors here. I like this iteration of the characters. I like this world, one that has a foot in reality and a foot in the sort of gee-whiz scifi where whiz kids build and use a dimensional transporter. Yes, Fantastic Four faceplants, but there’s too much good in here to dismiss it completely. There’s too much quality, too much talent on display to hope that this iteration joins the rest on the trash heap of history. What the movie gets wrong is infuriating and disappointing, but what it gets right completely captures what I want a movie like this to be.

Faraci being contrary. Yup, it's Thursday.

I genuinely can't stand that obnoxious little troll.

It's now down to 8% on Rotten Tomatoes. If it goes any lower I think it's going to set a new bar for superhero movies