FANBOYS #3: Graphic Adaptations

Hollywood has unleashed a torrent of comic book movies of late – from the incredible Spiderman 2, to the abysmal Catwoman. Another genre close to comic books is graphic novels. Yes, there is a difference. Graphic novels are usually longer and deal with more serious content. In terms of movie quality and audiences these are movies “adults” can enjoy. They are also movies that are not obviously comic book movies, with the exception of Spawn and Sin City. With early success in the early 2000’s there was a renewed interest in comic book movies, and eventually graphic novels. Fans bemoan this over saturation of the comic book movie market, but we have gotten to enjoy some higher quality graphic novel adaptations. Here is a look at some of the best. 

10. Spawn

You know its bad when people prefer the DVD of the TV series. At the same time, this 1997 adaptation did help the genre along. Despite the fact that the movie was pretty terrible, it IS the oldest on the list. More specifically it rests at the bottom because of poor dialogue, choppy action, and pure ridiculousness. The movie is more frustrating than entertaining.

9. Art School Confidential

This one left fans of the comic Eightball, in which Art School Confidential was a brief strip, calling for an adaptation of Eightball. But for those of us who did not read the comic, this was a “teen” version of American Splendor – and well acted, including a great John Malkovich – and a beautiful Sophia Myles. There was a noir feel with dark humor that sets Art School Confidential apart from others. The title sequence and some of the drawings throughout help remind us the movie is based on a graphic novel. ASC is a spot above Spawn, but the movie is leaps and bounds better. The dialogue is sharper and the movie is generally more entertaining (Sophia does get naked). What keeps ASC from rising farther up is how the movie loses steam and gets slightly boring. A weird ending almost saves the movie, but does not pass the stop-and-think test.

8. From Hell

I was pleased to see MSN do a send up of graphic novel adaptations that surprisingly included From Hell. From Hell is a Johnny Depp vehicle probably no one has seen, that got a tough break with some bad reviews. But it really is a great imagining of what could have been in the time of Jack the Ripper. As usual, Depp is great, and Heather Graham even manages to turn in a half way decent performance. The ending and many of the scenes with Depp in the opium dens have a laid back comic feel you do not realize until it is all said and done. Despite playing Depp as usual, Depp makes From Hell a lot more fun than ASC – even though From Hell is about a serial killer. The inconsistent pace the movie takes as well as some questionable plot developments prevent From Hell from surpassing its’ over-hyped opponent. At the very least, pick it up to see if pirates can stand up to classic serial killers.

7. A History of Violence

I couldn’t find a bunch of substance on this one, which is kind of surprising because there was so much hype and even some Oscar nods. Personally, I think it is is overhyped. Viggo Mortensen seems to be sleep walking through a pointless story about a man with a dark past. However, the roots are apparent as the senseless violence and graphic sex scenes are hallmarks of graphic novels. This movie makes the list because of the Oscar attention it drew and the supposed seriousness and legitimacy it brought to the genre. Besides that, this movie is not nearly as enjoyable as ASC or From Hell. If you take out William Hurt all the movie has is a dirty sex scene between Viggo and Maria Bello. The camera angles and editing make the film look like it was with the editor for too long – why did they edit out the story? Viggo should have stuck to battling ring wraiths.

6. Ghost World

The success of Ghost World helped launch the career of Zwigoff and Clowes, which paved the way for the aforementioned Art School Confidential. Ghost World is another great character-driven film with Thora Birch, Scarlett Johanson and Steve Buscemi. The sort of cult/underworld geek culture that permeates American Splendor is shown in a different light here. Ghost World is the most likely unseen film on this list, which is too bad because of how unique, and frankly, how good it is. Leaps and bounds above AHoV, Ghost World shows so much plot, character, and emotion that it is hard to believe it is only two hours long. The writing and direction is superb and Thora Birch is AMAZING. And poor Steve Buscemi, as if Banderas did not use and abuse him enough in Desperado, he takes a savage beating in this one.

5. American Splendor

Called “the most ambitious comic adaptation attempted” by Time magazine, this is probably my favorite on the list. Starring a pre-Sideways Paul Giamatti, the movie flaunts the fact that it is an adaptation – mixing mediums of graphic art and film with great success. American Splendor paved the way for some of the other non-superhero films above as it delves into complex themes like death, loneliness, and love, that made people aware of how serious graphic novels are. American Splendor edges Ghost World because of it adult seriousness and the mature skill of Paul Giamatti. While both films are comparable, and both characters share a similar essence, Giamatti is the tiebreaker. Not to demean Birch’s performance, but Giamatti shows here, for the first time, that he is an Oscar-caliber actor. Giamatti would still be flawless in my eyes if only I had not seen Lady in the Water...

4. V for Vendetta

V is a movie – and a novel – that does not banter about its politicking and enjoys its more nuanced antihero theme. Some things are too over the top – but that is what comics do – and V does not take half steps. With the Wachowski touch and a self sacrificing performance from Natalie Portman, this film takes itself very seriously and gives viewers a lot of reasons to take graphic novels seriously. V gets a small edge over Splendor, because, like the movie below, V is more of what we expect from graphic novel adaptations. V is also one of the few entries on this list that can match Splendor’s witty dialogue. With the voice of Agent Smith, it is easy to see how V is so intimidating.

3. 300

300 was so successful Frank Miller apparently has it in him to crank out a sequel. In all seriousness, the action in 300 pushed the envelop – showing that stylized, graphic novel style violence could be cool – like what the Matrix did for anime. Just like Sin City (below), 300 LOOKS like it came directly from the pages – and in a good way – it flows with a sort of action that most films do not and tells a pulp story. 300 beats out V for the same reasons V beat out Splendor – 300 escapes V’s politicking and dives into a comic fanboy’s paradise – action and action and action. While V seems to drag on, falling slow patches of flashbacks and sleep inducing monologues, 300 seems short and full of powerful lines – “This. Is. Sparta” among others. Add in the graphics, intense effects, great acting across the board from Gerrard Butler and Lena Heady, and there are not a lot of flicks that could beat 300.

2. Road to Perdition

Following up the antihero theme of V, Time Magazine describes Road to Perdition as a non-hero story. Road is not a “nonhero story” like Ghost World, Art School Confidential or American Splendor, but rather a darker hero, a criminal who hunts down the criminals who killed his family. With a two time Oscar winner at the helm, Road has more feeling than almost any other action movie – proving graphic novels are more than just pictures – they are great stories too. Just like Giamatti helped Splendor eke out a close victory, the performances of Oscar winners Tom Hanks and Paul Newman as well as startling powerful performances from Jude Law and Daniel Craig give Road the extra lift to beat 300’s well acted, but unknown stars. Road also reverberates with that pulp feel of .45’s and gangsters just a little bit more than history’s ancient Greece. And you KNOW, deep down, you totally want to see ol' Forest mowing down gangsters with a tommy gun.

1. Sin City

Sin City made a big splash when it came out, and for good reason. It was tough not starting with this one because it is the benchmark – it is THE graphic novel adaptation, the gold standard. With its black and white look and its stylized blood and color accentuation, Sin City revived interest in graphic novels and made Frank Miller a Hollywood name. The stories, the language, the characters and the situations gives viewers a kick ass look at what the best graphic novels offer – nonstop action, beautiful girls, and…non stop action. If Road echoes a pulp feel, Sin City magnifies that pulp feel and forces you to stand up and shout – “I love graphic novels!” And did I mention Jessica Alba pole dances? Well she does.

Watchmen, an upcoming movie, might knock one of these off as it is on the “All time top ranked graphic novels” by Time magazine. The story, by Alan Moore, sounds like it is off the hook, a crazy combination of Mystery Men and The Black Dahlia. What does that mean? No clue. The story opens with the investigation of a murdered masked hero called the Comedian and follows a group of masked adventurers in an alternate universe in the eighties where the US and Russia are about to engage in nuclear war. Watchmen is expected to come out in 2009.

If that sounds ridiculous, Frank Miller’s Ronin is even crazier. Ronin takes place in an apocalyptic New York where a boy without limbs, Billy, develops psionic powers that brings his dream hero, a renegade samurai from feudal Japan, into reality. With some crazy thing Miller calls biocircuitry – thinly veiled nanotechnology – Billy becomes the samurai – sprouting limbs and an uncanny skill with a sword. Bet that got your attention. Ronin is expected to come out in 2009.

If graphic novels interest you, a good place to read up on them is right here.

~ Read other article in our Fanboys series ~

FANBOYS #2: Hidden Comic Gems – about the underrated comic book movies you probably have not seen.

Could “Avatar” Win Best Picture?

By Brett Hogan

 

Last week, the trailer for James Cameron’s sci-fi experiment “Avatar” debuted. While initially unimpressed with the teaser, I began to wonder: Could this film win best picture? 

 

Buzz has been generating for this movie for years. Years. The technology to make this movie didn’t exist when Cameron conceived it, so he invented it. When is the last time you heard of a director spearheading the invention of anything? The casting started in 2005. Most movies these days, even epics, are done in half that time. I could go on. 

 

The most important thing to take away from all of this is that people are saying this will be the future of movies. Now, I don’t agree with the idea that CGI will become more prevalent than it already is. But I do believe that this will set the bar miles higher for sci-fi. I mean, that is what Titanic did. And that won some awards if memory serves.

 

I’ll bet you’re asking yourself, how can you even suggest that a film like this will win Best Picture when the initial trailer was nothing better than visual stimulation? Well, there are a couple of reasons. First, the Academy has expanded Best Picture to ten films. This doesn’t guarantee anything other than improved chances for most films on the cusp.

 

Second, after last year’s Oscars debacle, which saw the best film of the year, “The Dark Knight,” not only get shafted in awards but nominations as well, the Academy is pulling out all the stops to appease those with the loudest voices in the film industry, the fanboys. Now, the Academy probably didn’t lose anything because of that other than some viewers of the award show. Perhaps if people are again outraged with the winners or nominees, the heads of the Academy would lose their jobs. So this is all about the Academy protecting itself, which is not so outrageous.  

 

 

Third, there is an economic motive here. I’ve heard this film will cost $190 million, not counting the R&D costs associated with Cameron’s inventions or the cost of getting 3-D cameras into every theater in the country. The Academy will do everything in its power to get people into the seats and make this the next “Titanic” or “The Dark Knight.” But the Academy doesn’t have much power, besides nominating and awarding, so they will slap the “Nominated for Best Picture” moniker onto every commercial and print ad to get the people who didn’t believe the critics to relent and see this movie.

 

Of course, all of this is pure conjecture, and no revolutionary film (Terminator 2, Jurassic Park, etc.) has ever won the Best Picture category because it changed the game. Except maybe Titanic. But still, could this movie actually win? My answer is no but a nomination is certain and who knows what could happen from there. We’ll know more come February 2010.