Summer movie extravaganza
The city of Buffalo is finally hitting temperatures over 40 degrees, which can only mean one thing: summer is right around the corner.
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The city of Buffalo is finally hitting temperatures over 40 degrees, which can only mean one thing: summer is right around the corner.
Grade: A-
Grade: D+
Grade: A The history that has been recorded is not entirely true. In fact, the course of history was guided by a secret organization fending off alien invasion and keeping dark cosmic secrets. This is the focal point of up-and-coming writer Jonathan Hickman and artist Dustin Weaver new series, S.H.I.E.L.D. The two uncover and explore the hidden undisclosed annals, that range from ancient Egypt to the Renaissance to the cloak and dagger spy exploits of the '50s. S.H.I.E.L.D opens as a seemingly normal person named Leonid being is accosted by two government spooks. Here Leonid shows off his true colors, a skin that looks like a starry night sky. The increasingly mysterious Leonid is taken to a massive underground city located under Rome where the titular organization explains to Leonid the truth about the world and for some reason Leonid is an important key. Fast-forward to three years later and Leonid has an unusual guest: The Night Machine, Leonid's father. He gives him cryptic explanations of his whereabouts and things to come. Leonid's life is thrown into chaos once again as he sets upon a path to find out the secrets surrounding his past and the world's. Intercut with the mysteries of Leonid are revealing scenes of the past of the Marvel Universe. Epic battles between Egyptians and insect monsters, Renaissance inventors fighting off a devourer of worlds, and warriors fighting off alien hyper beings in China all unfold in this issue in beautifully rendered pages by Weaver. With already a number of great indie reads, The Nightly News hailed as one of the best books of 2007, Hickman has been quickly becoming one of the better writers of mainstream comics. After making critical hits with Secret Warriors and Fantastic Four Hickman adds another Marvel hit with S.H.I.E.L.D. In the span of a few pages Hickman is able to create a wondrous world filled with new and interesting ideas. Each page adds a new layer to the story that slowly drags the reader into Hickman's astounding story. Along with the grandiose world that Hickman is building, he also plants the seeds for an intriguing mystery. Hickman's characters all have a mystifying aura among them. From the Night Machine to the agents that brought Leonid in, all the characters have secrets and back stories that Hickman is building to in nice, slow-burn way. The mystery centers on Leonid, whose strange powers and place in the world is one of the better parts of the book. The way Hickman writes Leonid as the everyman that has been thrown into this fantastic world definitely works in the book's favor. Leonid's curiosity matches the readers and works as a great cipher to explore Hickman's world. Perhaps the most fascinating part of S.H.I.E.L.D is Hickman's use of historical characters. It might be strange at first to see famous figures of history, like Da Vinci and Galileo, as quasi-superheroes, but Hickman's execution is nothing short of brilliant. Beside, the image of Da Vinci flying into battle against strange creatures from beyond is a sight to see. The combination of Hickman's mysteries and historical cast feel give the book an epic feel that is another big draw for the book. A story spanning hundreds of years with a large amount characters could be overwhelming but Hickman is able to weave it all together nicely. S.H.I.E.L.D is a well thought out and dense read making it one of the more intelligent in superhero comics on stands. Along with Hickman's great writing is Weaver's artwork. Weaver's work here is topnotch and is able to capture the grand feel that Hickman's writing invokes. Hickman is able to let his imagination run wild on the book with a world of limitless possibilities and with a lesser artist the book would have been severely hurt. Weaver translates all of Hickman's wild thoughts wonderfully, from sixteenth century steam punk inventions to crazy `50s sci-fi technology. Hickman and Weaver have crafted a new and more entertaining history of the world. Filled with sword swinging, space invader-fighting pharaohs, and cosmic Renaissance painters, S.H.I.E.L.D is one of the more interesting reads of mainstream comics. E-mail: arts@ubspectrum.com
Grade: A-
Grade: D A surefire way to bring on the wrath of the gods is making a film about them that is so terrible, it's insulting. Clash of the Titans is the remake of the 1981 cult classic of the same name. Instead of the endearing and cheesy stop motion effects, a multi-million dollar CGI budget and 3D effects have taken its place. This can't help the final product, though. The film is a combination of bad acting, terrible writing and uninspired directing. It looks pretty, though. The film centers around the world of ancient Greece and the pantheon of the gods. Man has had enough of the reign of the gods and has decided to no longer worship them. Many of the gods want Zeus (Liam Neeson, The Wildest Dream) to wipe out the human race, but the king of the gods still loves mankind and hopes for them to change their minds. Enter Hades (Ralph Fiennes, Nanny McPhee and the Big Bang), who has concocted a convoluted plan to get the mortals to worship them again. Stuck in the middle of all of this is the hero, Perseus (Sam Worthington, Avatar). After Hades kills his family, he sets on a path of vengeance against the gods. The hero joins up with a group of cannon fodder to go save a kingdom or something. By the end, all the plot points intertwine into one of the worst climaxes ever. The story and the writing are downright terrible. It is an inane and confusing story, and although it has potential, it seems to just push the movie toward each action scene. Hades's "brilliant" plan is disgustingly transparent, but the characters are written as idiots and not able to comprehend it. Character work and development is horrible and nearly nonexistent. Perseus is written as little more than a thug. The men he joins up with are nothing more than bodies to be killed off, and as monsters slaughter them, the audience won't be able to remember their names or care for them. The so-called love interest, Io (Gemma Arterton, St Trinian's 2: The Legend of Fritton's God), is only a walking plot device. Dialogue does not rise above the usual big-budget blockbuster level. Characters' lines are trite and forced, and the film is filled with unfunny one-liners that are nothing short of embarrassing. Worthington strikes out yet again. He brings his boring tough act out of Pandora and the robotic American wasteland and into the world of myth. Worthington's character is dull and it's hard to get attached to him or his plight. He becomes laughable trying to force out emotional lines through his gritted teeth while his Australian accents comes and goes. Fiennes, as the god of the underworld, fares slightly better than Worthington, but not by much. Fiennes can be entertaining at times but most of his screen time he is just a bore to watch. The highlight of the group is undoubtedly Neeson. The actor has some uncanny ability where, no matter how terrible the movie, he is able to pull off a decent performance – see Star Wars: Episode I. The only real problem with Neeson is that he is basically Ra's Al Ghul from Batman Begins, only slightly nicer. The land of ancient Greece is filled with English, American, Australian, Scottish, Russian and possibly Italian accents. Nobody told the actors what a Greek accent sounds like or how to keep a consistent one. Along with the poor performances the directing does not fare well either. Director Louis Leterrier does an abysmal job at capturing the action of Clash of the Titans. Many of the action scenes are nearly incomprehensible to look at, with the camera uncontrollably jumping around. Combine that with the 3D and it leaves the audience with a massive headache. The CGI is great to look at, but in this film, it is simply a crutch for the rest of the problems. Clash of the Titans is nothing more than a terrible film wrapped up in a nice package. E-mail: arts@ubspectrum.com
Just days after announcing their stellar lineup for Spring Fest, the Student Association is ready to unleash a brand new event. It is sure to put both Spring and Fall Fest to shame. After weeks of closed door meetings, hundreds of thousands of dollars spent, and possibly one or two awkward favors, SA is proud to present, for the first time ever, Summer Fest 2010. In continuing such long-running traditions as the other Fests, a concert will be held during the titular season for students attending summer courses. Summer Fest grew out of a need for an event for students taking these classes. "I would like this to be my swan song," said SA President Ernesto Alvarado, "my final gift to the students." Summer Fest will boast the longest lineup of stars in UB Fest history. Plans have set the concert to be two-day festival. Acts range from rock to hip hop and even some comedy. Headlining the first day will be all American Psycho enthusiasts' favorite band, Huey Lewis and the News, with legendary hip hop group Kid 'N Play. Joining the headliners will be a multitude of music gems, including Aaron Carter, everyone's favorite Internet interruption Rick Astley, the mariachi band from my cousin Steve's wedding, Dio, and that dude who sings "I Wear My Sunglasses at Night." Classic new wave band Flock of Seagulls is still in contract talks. Opening the show will be superstar comedian Sinbad. The real surprise came when SA announced who will headline the second day. Will Smith, who is determined to get back to his roots with the concert, will headline the final day of the musical festival. Smith will reteam with his old DJ, Jazzy Jeff, and cover Willennium in its entirety. Smith, though, was quite mum with his involvement in the concert. "Aw, hell no," Smith said when asked whether he would like to comment about his involvement with Summer Fest. Summer Fest's lineup seems to fall on the expensive side with its many A-list acts. Alvarado was quick to dispel any concerns. "The books show that we didn't get spend-crazy with the event, no matter how many number and budget discrepancies there are," Alvarado said. "And if you keep asking, you can find out where we hid the last three students that were looking for answers." Alvarado then said that he had left his oven on, jumped into in his car and sped off. For students who will be at the school beyond May, they are more than happy over the news of the concert. "There was nothing for us to do," said Bernard Gert, a junior arts and crafts major. "I mean absolutely nothing. Sometimes, I would just sit in my room for days and just cry because I was so bored." Others are hoping that the event will keep them safe due to the crime that arises out of boredom. "It got quite dangerous around here in the summer," said Ronnie McCoy, a sophomore Canadian history major. "People started fight clubs, students formed singing and dancing gangs, and I think at least one of the engineering majors built a robot." Summer Fest will be held July 15 at Baird Point. Admission will be free to all undergraduates, while tickets will be $3.50 for the general public. Senior citizens will get a 50 percent discount. E-mail: arts@ubspectrum.com
The Student Association has announced the lineup for this year's annual Spring Fest concert. The show will include a large range of different styles of music, with a unique mixture of rock, hip-hop and folk. The headliner will be Canadian rock band Three Days Grace. Joining the group will be the Pharrell Williams helmed hip-hop band N.E.R.D and acoustic folk rockers, Lady Danville. Two more acts will join the lineup. The two remaining acts have yet to be made public and will be announced next week. Rumors that 30 Seconds to Mars and the Goo Goo Dolls were on the bill but pulled out of the event are untrue. Both bands were approached by SA but had to decline due to scheduling issues, according to Lauren Skompinski, public relations manager for the Student Association. Spring Fest is scheduled for April 17 in Alumni Area. Admission will be free for undergraduates while tickets for the general public will be $35. E-mail: arts@ubspectrum.com
Grade: B+ At this point, everybody must be sick of bloodsucking fiends. Ever since Twilight, there has been an explosion of mediocre vampire stories. This is not the case for American Vampire. It took the combined forces of a master of horror and some new blood to the comic world to help rejuvenate the slate mythos of the vampire. Plus they bring along some devilishly good art to help them. Superstar writer Stephen King and co-writer Scott Snyder have crafted an original tale of vampires in America. The result is nothing short of brilliant, although there are a few rocky moments along the way. On art duties is Rafael Albuquerque, who has provided beautiful images of both the glitz and glam of Hollywood to the grime and dirt of the Wild West. American Vampire centers around two interwoven stories in two radically different time periods, Prohibition-era Hollywood and the final days of the cowboy run west. Snyder tackles Hollywood, while King writes about an undead outlaw. The book opens with a chilling scene that involves mysterious robed figures and a talking corpse. It is an effectively creepy scene that outright shows that these are not going to be the pretty-boy Twilight-era "vampires." The main story centers around two characters: Pearl, a struggling actress, and Skinner, one of the most vicious criminals alive. King and Snyder weave and mirror each story effectively, creating a unique tale that spans decades. It is an interesting take on the vampire tale that hasn't been seen yet. With the storytelling styles that the duo pick, it feels as if they are giving readers two different comics, making the book very worthwhile. Snyder leads the book by telling the story of Pearl and her time in Hollywood. Pearl is a struggling actress looking for her big break. She works as an extra and moonlights in a speakeasy – that is, until a big-time actor finally recognizes her for her "talents." She is then invited to a party made up of Hollywood's elite. Of course, everything isn't what it seems, leading to some horrific results. Snyder's section is a great combination of dreamlike Hollywood and a gruesome underbelly. He presents Pearl as almost a naïve figure, searching for nonexistent dreams. The glory of Hollywood here is nothing more than a thin coat of paint covering the terrible things underneath. Tinseltown is filled with dark nuances, from an eerie voyeuristic stranger to the shadowy producers. All these factors add layers to the darkness of the story. The party scene proficiently shows this aspect of Snyder's story. He effectively sets up a glamorous scene filled with Hollywood's best at the time. That is, until Snyder pulls Pearl and the reader deeper into the mansion. The scene explodes into violent horror, expertly written by Snyder. The second story, by King, follows charismatic criminal Skinner. Skinner, who has been recently captured, is now on his way to his trial and execution. Much of his story takes place on a train, with Skinner gloating and taunting his captors. Unbeknownst to them, a team of Skinner's partners in crime is waiting for them, eager to take back their leader. King is no stranger to vampire or western tales and once again creates a great story. It's a fun action-packed western yarn with some dialogue between Skinner and his captors. Skinner seems like he is going to be the standout character of the series: he's rude, crude and great to read. Snyder is surprisingly able to beat King at his own game and out-horror him. Skinner's story is filled with action and great writing, but it lacks the scary punches that Pearl's has. American Vampire provides two great vampire reads, but it is not without its faults. In some instances, the dialogue can come off as slightly awkward and stilted. These dialogue issues, though, do very little to detract from the story. Even though both King and Snyder do wonderful jobs on their stories, perhaps the standout of the story is artist Albuquerque, who beautifully renders the book, hitting every note perfectly. His Hollywood transforms from enchanting wonderland into a dark, forbidding hell, especially Pearl's ending scene. The background seems to melt away, leaving an aggressive red, brilliant colored by Dave McCraig. All the glitz seems to vanish into undead shadows. Sure, there are hundreds of different vampire stories out there, but American Vampire is one that actually shows some originality. Its decades-long story and distinctive setting lets it stand out from the others, giving readers something to sink their teeth into. E-mail: arts@ubspectrum.com
We interrupt your usual program of Oh my god, I'm a middle class college student with a test to study for and there's blood in my mucus for something else, something slightly worthwhile.
Twenty-five years ago, magician, conman, and downright bastard John Constantine slyly waltzed into the world of comics. Now Constantine's original writer, Jaime Delano, returns to the character he helped create.
Grade: A
Stop.
Rating: C+
Rating : F
Title: Aliens vs. Predator
Rating: B+
Rating: C- The beginning of Fox's Human Target opens with a speech about losing your identity and becoming something you're not. Sounds like an interesting topic for a show to tackle. The show quickly disappoints, however, dashing away any notion of intelligence or originality. Instead, it opts to be a banal, run-of-the-mill action series. Based on the DC Comic series of the same name, Human Target tells the story of Christopher Chance (Mark Valley, Fringe) and his unusual work. Chance is a sort of bodyguard/private investigator who flushes out would-be assassins in order to protect his clients. Chance's first mission on the show is to find and protect the designer of a bullet train from an unknown hired gun. The episode quickly turns into a simple cat-and-mouse chase and a formulaic routine riddled with clichés. It is apparent that Human Target will not deviate from this boring procedure. Although Christopher Chance was created in the 1972 comic series Human Target, he is much more famous for the later Vertigo comic series by Peter Milligan. The show makes radical changes for the worst, leaving behind a poor imitation. The comic explored the human condition in terms of identity loss and insanity. It also presented a much deeper Christopher Chance; Chance from the comics was gung-ho and cocky like the one in the show, but there was something underneath that made him an uneasy character. He possessed a subtle creepiness that didn't make him the shining knight. He has some unoriginal problems in the show's version. It might not be fair to compare the show, in its short life, to the comic that has been around for decades. The show, though, seems like it will never touch the more mature themes presented by the comic book. Instead, it sacrifices these deeper issues in exchange for mediocre action. The cast of Human Target is strong, but its potential is lost in the lousy writing and poorly constructed premise. Valley is able to capture the heroic side of Chance, but only to a certain extent. His performance as Chance leaves much to be desired and leaves much of the potential of the character untapped. Valley and the writers have ditched any depth that was found in the comic version of the character for an unoriginal action hero with superfluous, melodramatic psychological problems. Chi McBride (Pushing Daisies) joins Valley as Chance's business partner Winston, who provides support to Chance while he is on his missions. McBride is good as the straight man to Valley's off-the-wall Chance. While the two characters' back-and-fourth is fun to watch, McBride is given little to do in the episode. He is left mostly behind a computer without much action. Hopefully, the character will be expanded as the show continues. The highlight of the cast and the show is, without doubt, Jackie Earle Haley (Watchmen) as Guerrero, another one of Chance's associates. The difference between him and Winston is that Guerrero is not afraid to get his hands dirty. Guerrero is dripping with creepiness and Haley is perfect for the role. Haley seems to excel at playing deranged characters, from Watchmen's Rorschach to the upcoming Shutter Island and Nightmare on Elm Street remakes. The show shines whenever Haley is on the screen, especially when the unhinged Guerrero meets up with the straight-laced Winston. The best scene of the episode is when the small Guerrero meets up with a pair of intimidating leg-breakers. When he turns the tables around on them, it is disturbing, but very entertaining. Human Target is a show filled with more misses than hits. It showcases some potential that hopefully outgrows its current incarnation. Right now, though, Human Target is a mediocre, unoriginal action show. E-mail: arts@ubspectrum.com
Rating: B+