I realize this has probably been beaten to death here, what with the raw numbers of comics people around here. But I can’t hold in the pain any longer. I’ve already bitched to everyone I know in real life, and both of my imaginary friends are sick of it.
WHAT IS THIS MOVIE? JESUS. For Ebert to pan it on “scale in Venice” is like zeroing in on socialist realism as a reason to dislike Communism.
It reinforced a couple of points I had been mulling over in the past. One, as an acquaintance of mine pointed out, Sean Connery is basically Burt Reynolds with a Scottish accent. At this point, it must be inferred that his better performances (“Junior!”) are the exceptions that prove the rule: he is not a good actor. In fact, as of LXG, the only reason he doesn’t deserve to be classified as a crime against humanity outright is because of his contribution (existing) to SNL’s Celebrity Jeopardy.
Also, is it simply better that they give up on making Allan Moore into movies? I mean, From Hell and League are abominations in comparison with the original works. At least From Hell was watchable, sort of.
I shiver to think of what would be done with (to?) Swamp Thing.
Lizard: It’s nice to find a point that we can both agree on. I suggest that consolation be found by re-reading Watchmen and/or LXG, and fervently pretending that neither the LXG movie or Communist Russia EVER EXISTED.
I should have been more clear. Moore’s take on Swamp Thing is what I am concerned about, which came out a few years after the movie. The old Swamp Thing they can make a Disney ride out of for all I care.
In any case, when you think about it, the big problem with the Reynolds comparison is that it is insufficiently demeaning. I mean,
and of course, Zardoz?
Shir Sean can shuck it. Before I saw LXG, I was convinced America was hated for a variety of reasons around the world. After this heap of shit gets distributed around, I think they will be able to trace beginning of the fall of Western Civilization to the moment Hollywood tried to foist this botched abortion on us.
Man, he spent all of Zardoz running around in red shorts with a seam up the ass. Every time he crouched, it looked like he’d just taken a king sized dump in them.
Peta Wilson rocked in that one episode of La Femme Nikita where she gets this Interpol love interest and ends up shooting a bunch of Operations’ agents and then herself so he can get away.
Sadly, La Femme Nikita jumped the shark with the flashback-filled episode where they mind-wiped everyone but then at the end of the episode everyone got their brains put back. Bleah. After that, everyone was everyone else’s father or sister or incestuous lover. Even Mr. Jones couldn’t save the series.
For some reason, the bizarro WB rerun scheduling here makes it coincide perfectly with my ain’t-got-shit-to-do-time.
Sadly, La Femme Nikita jumped the shark with the flashback-filled episode where they mind-wiped everyone but then at the end of the episode everyone got their brains put back. Bleah. After that, everyone was everyone else’s father or sister or incestuous lover. Even Mr. Jones couldn’t save the series.
I watch it on mute sometimes. And I don’t feel like I understand it better or worse than with sound. :(
It’s kind of like when I watch the Chinese channel, but LFN has way more of that Miami Vice pretense of large budget that I love.
Swamp Thing was based on the earlier Wein stuff, yeah. But Return of the Swamp Thing (1989) (also a mooo-vee) starring Heather Locklear was directly based on Moore’s run. Specifically the part where Moore tackled what happens when a vegetable and human fall in love. Um… Moore handled it better.
Very interesting. So does this mean their should be a new Moore’s law, something along the lines of “Thou shalt not attempt to make movies based on his works”?
There’s a great Onion AV club interview with him where he basically says that he sells the rights and then has nothing more to do with it. He sees movies as seperate and doesn’t even help as a consultant. He gives them carte blanche. When asked if his stories are ruined by Hollywood he points to the graphic novel on the shelf and says: “The story I wrote is still there.”
It’s not a bad policy actually. He comes out looking pretty good at the end because the fanboys are pissed at the studio and the critics always say “the graphic novel is much, much, better” (and he gets the money and, sort of, keeps his integrity).
Not a bad policy? I read that article, too, and it came off more “take the money and run” than a good policy on Moore’s part. And of course, the saddest part of all this is that a great movie or mini-series could be made of From Hell, and League could be a great series in the Brit tradition of six or so episodes a year. Just pocketing the cash and walking away also ensures that a lot of people are going to watch the cinematic garbage and walk away thinking that Moore and comics are crap. Why wouldn’t Moore want the movies to show his work in the best possible light, to get more people to read his stories?
