Quick Takes: "Iron Man", "Incredible Hulk", "Thor"

"Iron Man"

Directed by Jon Favreau

Did anybody else think it was an absolutely terrible idea to give this franchise to Jon Favreau? Don't get me wrong, because the guy got it started damn well. The first 90 minutes of this film are characteristic of the great film everybody believes it to be. The Stark character is very intriguingly placed in our world, and his purview is stated firmly as a go-between of military power and moral integrity. He's an idealist, but one that fits pretty firmly into a certain mindset that is closed off. He never questioned things, until his convoy was attacked, murdered, and him taken into captivity. That's where we see a dynamic shift in the character, and while Favreau may not be so interested in it, Robert Downey Jr. relishes it.

It's enough to have a chance for pure fun when Downey Jr. is concerned, and his natural comic timing hits best with the screw-the-script-we-have-an-outline-let's-improv-it mentality that the film takes on. The rest of the cast doesn't quite keep up, specifically Terrence Howard. He was no great loss, to be entirely honest. Gwyneth Paltrow, however, is rather adaptable to it. But all intriguing juggling of technology and morality work, until the Iron Monger moves in. As soon as the plot builds up the requisite villain, it loses its way. It simply doesn't know how to finish, and it ends up mindlessly action-oriented. No plot. No full-circle resolution to the arcs. It simply doesn't work, and that's what stops it from being Marvel's tops.

To the Bifrost!

I'm bored. "Thor" came out on DVD this week. I liked "Thor". That's enough excuse for me to show this here, right?

Summer 2011 a disappointment?

This is pretty much the last week of the blockbuster season of this Summer that kicked off with Thor, an unassuming and seemingly silly superhero film that many wrote off within the first trailer. Admittedly, I did to. I realize how wrong I was, and in fact Thor is still the most competent blockbuster of this year. Since then things have been hardly keeping themselves afloat, at least in this viewer's opinion. I know many who were more than pleased with Super 8, Harry Potter and the Deathly Hallows: Part 2, and X-Men: First Class, even if I wasn't. Hell, I even found Captain America of all things to be a somewhat welcome and campy reprieve from all the disappointment.

And that's just scraping the surface of what the viewing public critically approved of. How can we forget about all the warranted cynicism surrounding Priest, the blatant distaste of On Stranger Tides, and the unimaginable stupidity of The Hangover: Part II. And I almost forgot to mention Green Lantern, but it managed to disgust even the most hardcore of fanboys. And (dis)honorable mentions are needed for Zookeeper, Cars 2, Bad Teacher, Horrible Bosses, and others I'm too tired to list. All this hatred makes me forget the few real successes of the year.

Remember Kung Fu Panda 2, and how it brought us the greatest supporting actor performance of the year out of the mouth of a peacock? If Tinker, Tailor, Soldier, Spy bottoms out, unlikely as it is, I'd suggest Gary Oldman just be nominated for that. How about Bridesmaids? Absolutely hilarious for almost two straight hours, and surprising depth from Kristen Wiig of all nutty characters. And I know this isn't a common opinion, but Transformers: Dark of the Moon was the most guiltily enjoyable romp of the summer. I feel no shame in admitting my enjoyment of Bay's loud stupidity.

So the season effectively ends this weekend with Rise of the Planet of the Apes, which is about as unassuming as film as Thor was at the start of the year. Fittingly enough, both films look to feature fantastically strong leading performances from unlikely actors. Having seen just seen it now, I can say that it keeps up this summer's streak of being adequate but not at all outstanding. I'll get to that later, but I didn't hate everything about the film. In particular, one thing is truly amazing.

Midpoint 2011: What's worth remembering?

To get yet another pet peeve out of the way, it is never appropriate to write in a review of any film, no matter how great it is, that it's the best film of the year thus far. After a time, it becomes far too redundant and honestly irritating. I don't like revealing my cards before they're played, and for that reason it seem ridiculous to remark on the best films of the year thus far. We're six months in and we haven't really gotten much to show for it. The first three months were a depressing slog through the gutters, and April was only refreshing in the most carnal of fashion.

How do I believe that? Well, you look at the standouts of the month, such as Hanna and Source Code, and while they are entertaining mainstream efforts, they offer little more than basic thrills and stylish conceits. Then May came along and the onslaught of fire, explosions, and death began, but not without a few small achievements. Thor proved to be a solid fantasy blockbuster adventure, Bridesmaids was a fascinating introspective comedy that succeeded where most failed, and Kung Fu Panda 2 is commendable for bringing us another fantastic performance from Gary Oldman.

June is where things got decidedly dicey, with anticipated films like X-Men: First Class, Super 8, and Cars 2 leaving this viewers infinitely disappointed. Even Transformers: Dark of the Moon, a film I was honestly ready to enjoy for what it was, managed to fail on a few levels that Revenge of the Fallen just didn't. I know! I really need to stop being so dead inside. I'll get my review for the film up by tomorrow, but the fact of the matter is that this year has thus far been largely a disappointment. I'd write it off as irrelevant when it comes to what I remember at the close of the year, but there are things worthy of mention.

Films to See in 2011: July

So June went by with a deafening whimper, and as for how a whimper can be deafening, it's because you can't really hear anything. As May provided an excess of revitalizing filmmaking, not so much stunning as it was refreshing, June was the inevitable hangover. July is a spring of steady euphoria as we get back to some sense of sanity and stable thought. Transformers: Dark of the Moon switched months just after I posted my most anticipated films of June, so I'm tempted to rule July as an utterly depressing wreck starting out. Still, it will have that transforming robot heat going forward a few days ahead of time.

There are films that I am somewhat looking forward to, but don't quite break the top three. Horrible Bosses and Crazy, Stupid, Love both seem to go for the same sort of comedic demographic, with the latter having some sort of edge going for it, but both being general degradable. Friends with Benefits has more certain comedic spark, but I remain quietly skeptical. Captain America: The First Avenger seems to be on the same level of entertainment as Thor, so that's perhaps promising, but possibly disastrous. The biggest surprise omission is Harry Potter and the Deathly Hallows: Part 2, because even though I really loved Part 1, I expect a disappointing conclusion to the saga. That being said, I'm still very excited. So here are my picks, and you can comment below to tell me yours.

3. Tabloid

Directed by Errol Morris

The biggest barrier that modern moviegoers need to overcome is documentaries, because they're not always as depressing as Waiting for "Superman". Sometimes they're incredibly revealing and intense (The Cove), or spryly entertaining with a unique touch (Exit Through the Gift Shop). Tabloid looks like it's setting itself up in the ranks of the latter, looking at the true story of a woman who is either a monster or a victim, and I tend to believe the former. Then again, so little is told by the trailer that it's impossible to tell the eventual outcome of this film. I'm impressed when a doc tackles a little told and narrow subject only to reveal how fascinating it is.

Box Office Update: Super Eight Figures

I didn't think I'd be saying this at the start of this weekend, but what an astounding weekend it was. It should probably be a bit more clear why once I make my next post much later this evening, but I had a genuinely wonderful experience at the movies this weekend. That's what I've been complaining so much about this year lacking concerning the films released. None of them have seemed like real events, or moments when the world stops its nonsense and gives you its focus. Out of context, this must be rather confusing and strange, so here's hoping it lures you back to find out why I'm so smitten.

On to the matter at hand, this weekend had a great deal going against it, and it was clear that it wasn't going to match up with last year when The Karate Kid and The A-Team brought in their own massive heap. Well what better way to combat vintage 80's cash grab than late 70's nostalgia? Super 8 was able to put up a truly admirable figure of $37 million, which is exceptional because the film has a cast of unknowns and cost only $50 million to make. My hat's off to Abrams, who barely made the film's budget evident. It looked much better than any of the blockbusters ripping people off right now.

X-Men: First Class held on moderately well, not dipping further than 54.6%, but that may be due to the lesser impact of Super 8 as opposed to more gargantuan blockbusters. The prequel should clear the $100 million mark by Tuesday at the latest. Hangover 2 and Pirates 4 both joined the ranks of Fast Five in passing the $200 million mark, yet undeservedly so. The reason for Pirates should be obvious, but Hangover 2 is en route to be considered an equal success as the first film. What made the first one so outstanding in box office terms was how it held on over the course of the summer, despite humble beginnings. It never completely left memory at the box office. I think we just want to forget Part II.

Judy Moody and the NOT Bummer Summer met an inglorious seventh place opening, which makes me glad that people didn't waste quite as much time with it as I worried they would. One of the real standouts this weekend was Midnight in Paris, which expanded to 944 theaters and added to its exceptional total given the indie nature of the film. In summation, the film was only a 4.1% decrease from last year, which is totally understandable and nothing to scoff at.

1. Super 8 (First Weekend; $37 million)

2. X-Men: First Class (Second Weekend; $25 million)

3. The Hangover: Part II (Third Weekend; $18.5 million)

4. Kung Fu Panda 2 (Third Weekend; $16.6 million)

5. Pirates of the Caribbean 4 (Fourth Weekend; $10.8 million)

6. Bridesmaids (Fifth Weekend; $10.2 million)

7. Judy Moody and the NOT Bummer Summer (First Weekend; $6.2 million)

8. Midnight in Paris (Fourth Weekend; $6.1 million)

9. Thor (Sixth Weekend; $2.4 million)

10. Fast Five (Seventh Weekend; $1.7 million)

Box Office Update: Second Class Treatment

My personal prejudice aside, it makes perfectly good sense why X-Men: First Class performed the way it did this weekend. I understand why people liked it as much as they did, even though I feel like they shouldn't have. It makes sense that the film would thrive off of the male audience, because they are the core demographic of people who would like it. The film didn't open as massively as some believed because of the negative energy after X-Men Origins: Wolverine failed so badly. It picked up from positive word of mouth, and is likely to survive over the coming weeks. All things considered, this is a solid opening for the reboot/prequel.

As for second week holdovers, Hangover: Part II fell to second with a massive drop of 62.2%, as one could have expected of an opening as massive as it had and a reception as mild as it received. Kung Fu Panda 2 fell just under 50%, proving to be the better holdover of the two. The fourth Pirates of the Caribbean film continued its descent with a 54.8% drop, and Bridesmaids continued to perform exceptionally well with another small drop of 26.7%. In summation, the weekend was a vast improvement from last year, when Get Him to the Greek and Killers were the top new releases. It's that comparison that almost makes me think we're doing pretty well this year.

1. X-Men: First Class (First Weekend; $56 million)

2. The Hangover: Part II (Second Weekend; $32.4 million)

3. Kung Fu Panda 2 (Second Weekend; $24.3 million)

4. Pirates of the Caribbean 4 (Third Weekendl $18 million)

5. Bridesmaids (Fourth Weekend; $12.1 million)

6. Thor (Fifth Weekend; $4.2 million)

7. Fast Five (Sixth Weekend; $3.2 million)

8. Midnight in Paris (Third Weekend; $2.9 million)

9. Jumping the Broom (Fifth Weekend; $0.8 million)

10. Something Borrowed (Fifth Weekend; $0.8 million)

Box Office Update: Bad Decisions Till Monday Night

I guess it was a bit much to expect people to behave rationally this weekend, which was a massive success, despite the pit in my gut. It set a record for the highest Top 10 box office results for Memorial Day weekend, pulled out the second highest grossing R-Rated release, and gained us a fair bit of traction towards catching up with where we were at the box office last year. It's not hard to beat out last year, which brought the disappointing openings of Sex and the City 2 and Prince of Persia. So why am I not as happy as I'd like to be.

Starting from the top, The Hangover: Part II ruled the box office this weekend, aiming at the unbelievably available demographic of college kids just out of school for the summer, not to mention the fans of the first film. I guess I shouldn't be surprised that people will shell out their money based solely on hype for a film as redundant as this. I guess I was hoping for some degree of intelligence. If there had been such, perhaps Kung Fu Panda 2 wouldn't have performed as it did. The first film opened just north of $60 million, and the sequel came in just south of $50 million. Hopefully it will pick up in the coming weeks, but I'm still slightly downtrodden by this outcome.

Other than that, I honestly don't see what's to be upset about. Pirates of the Caribbean: On Stranger Tides fell substantially enough, as we knew it would. Thor remains the only blockbuster film this summer that didn't take so massive a fall after the first weekend. Bridesmaids continued to hold on well, despite the competition of The Hangover: Part II, or perhaps because of it. It stands to reason that they would make a compatible double feature. The last piece of modestly relevant news is that Midnight in Paris made the top ten, expanding to a mere 58 theaters, so bravo Woody Allen. We'll do a followup tomorrow when the numbers for Monday come in.

1. The Hangover: Part II (First Weekend; $86.5 million)

2. Kung Fu Panda 2 (First Weekend; $48 million)

3. Pirates of the Caribbean 4 (Second Weekend; $39.3 million)

4. Bridesmaids (Third Weekend; $16.4 million)

5. Thor (Fourth Weekend; $9.4 million)

6. Fast Five (Fifth Weekend; $6.6 million)

7. Midnight in Paris (Second Weekend; $1.9 million)

8. Jumping the Broom (Fourth Weekend; $1.9 million)

9. Something Borrowed (Fourth Weekend; $1.8 million)

10. Rio (Seventh Weekend; $1.8 million)

Box Office Update: At World's End? Not So Much.

The weekend box office estimates would surely look a tad bit different if the world had ended at 6:00 on May 21. Thankfully, that silliness is now past us, and we can worry about real problems in the world. The summer box office marathon continued with great, yet somehow middling success, as Pirates of the Caribbean: On Stranger Tides took the top spot with about $90 million. It's not as high as the openings of the last two films, but there was bound to be some fourth flick backlash, not to mention negative word of mouth. Yet audiences still took to this film rather positively, as I kind of knew they would. Flash and pretension are two of the most powerful hooks for the gullible audience.

Ruling the holdovers with pink gloved fist was Bridesmaids, which fell only 20% from last weekend's more than modest debut. It has been proving to be something of what The Hangover was two years ago. I fear it will drop when The Hangover: Part II arrives next weekend, but probably not by much. Thor took a more substantial fall of 55%, which is understandable as the big blockbuster slot has now been filled by another. Fast Five fell another 48% as it moves ever so slightly closer to $200 million. All in all, this weekend was an 11% increase from the same weekend last year, when Shrek Forever After opened in first.

1. Pirates of the Caribbean: On Stranger Tides (First Weekend; $90.1 million)

2. Bridesmaids (Second Weekend; $21.1 million)

3. Thor (Third Weekend; $15.5 million)

4. Fast Five (Fourth Weekend; $10.6 million)

5. Rio (Sixth Weekend; $4.6 million)

6. Priest (Second Weekend; $4.6 million)

7. Jumping the Broom (Third Weekend; $3.7 million)

8. Something Borrowed (Third Weekend; $3.4 million)

9. Water for Elephants (Fifth Weekend; $2.2 million)

10. Soul Surfer (Seventh Weekend; $1 million)

Box Office Update: Always a "Bridesmaids"

This weekend looked to be another substantial drop-off from the success we've been having for the past two weeks, as there weren't any major blockbusters opening. In some ways, that played to the advantage of this particular weekend, with Thor holding on to the top spot impressively with only a 47.5% decrease from last weekend. That's less of a drop than Fast Five had after its massive opening. It also proves to be the smallest drop of any film in Marvel's Avengers lineup thus far. The film looks to be headed past the $200 million mark sometime within the next three weeks.

Meanwhile, in the land of the new releases, Bridesmaids proved to play a lot better than expectations believed it would. Coming in at just $10 less than Thor, the film could turn out to be a big player in the coming weeks, assuming it maintains its audience well enough. Priest didn't even break $15 million this weekend, but still earned more than it deserved. Fast Five landed in third, leveling out at a steady decrease of 39.8%. Rio rounded out the top five, dropping a minuscule 6% from last weekend. The film should do fine for the next two weeks until Kung Fu Panda 2 takes up its target audience. The weekend was still  4.6% lower than the same last year, but that's still impressive given last year's debut of Robin Hood and the holdover of Iron Man 2.

1. Thor (Second Weekend; $34.5 million)

2. Bridesmaids (First Weekend; $24.4 million)

3. Fast Five (Third Weekend; $19.5 million)

4. Priest (First Weekend; $14.5 million)

5. Rio (Fifth Weekend; $8 million)

6. Jumping the Broom (Second Weekend; $7.3 million)

7. Something Borrowed (Second Weekend; $7 million)

8. Water for Elephants (Fourth Weekend; $4.1 million)

9. Madea's Big Happy Family (Fourth Weekend; $2.2 million)

10. Soul Surfer (Sixth Weekend; $1.8 million)

Box Office Update: Mostly Refreshing

After last weekend gave us the lightning charge we needed after a long period of box office disappointment, this weekend continued the upward trend as best it could given the circumstances. This same weekend last year gave us the gigantic opening of Iron Man 2 which, despite being something of a disappointment, managed to be the highest opening of the year. Heading into this weekend, I was sure that the top ten this weekend wouldn't be able to surpass that. That being said, things were still pretty positive this weekend. Thor opened up to an impressive $66 million, confronting the public cynicism that has been surrounding it for months. Needless to say, it was the big winner this weekend.

It obviously didn't beat out Fast Five, which had franchise power going for it, along with the action crowd that's usually drawn in by Vin Diesel and Dwayne Johnson. However, I'd say Thor has a better chance at maintaining its crowds in the coming weeks, seeing as Fast Five dropped 62.3% from its opening. I'm not exactly surprised by this, but it was surprising after so many were clearly fans of the film. As for the other new releases, do I really have to comment on them? Jumping the Broom and Something Borrowed both landed around the same $13 million territory. Rounding out the top five was Rio, which fell a considerable 44.5% seeing as it had some 3D screens taken from it. That's not as major a factor as it was two years ago, as there are more 3D screens now than there were before. This weekend was only 10% down from the same weekend last year, which is still something of a victory.

1. Thor (First Weekend; $66 million)
2. Fast Five (Second Weekend; $32.5 million)
3. Jumping the Broom (First Weekend; $13.7 million)
4. Something Borrowed (First Weekend; $13.1 million)
5. Rio (Fourth Weekend; $8.2 million)
6. Water for Elephants (Third Weekend; $5.6 million)
7. Madea's Big Happy Family (Third Weekend; $3.9 million)
8. Prom (Second Weekend; $2.4 million)
9. Soul Surfer (Fifth Weekend; $2.1 million)
10. Hoodwinked Too! (Second Weekend; $1.9 million)

The Weekend Report: Rise from Repetition

As much as these weekly columns are meant as a refresher to the "For Your Anticipation" pieces I dole out during the week, as well as to comment on the state of the box office, I do try to impart some sort of reason across each week. More often than not, I fail. As a matter of fact, this entire year has fallen into general tedium, often only giving us clips, trailers, and reviews to talk about. There has to be a greater reason to this than just talking about what looks cool. I remember last July, just after Inception came out, and most sites devoted several posts to talking about the film, regardless of whether they liked it or not. I'm sure we'll enter into similar debates later on when the Cannes Film Festival titles start to unveil themselves, but there has to be more to talk about.

This week, regrettably, is not the week for that. I don't even refer to Jumping the Broom and Something Borrowed as separate films anymore, because they've pretty much fallen into the same disgusting heap of predictability. I don't imagine these films drawing much audience, especially with the blockbuster arrival of Thor. I clearly approve of it as a fantastic adventure flick with some great performances, but I can't help but feel apprehension in the market towards it. There is too much cynicism going around for people not to scoff at the idea of this film, but they still pull it off. I don't expect a debut as massive as Fast Five, but it should still remain solid around $65-75 million. Whatever you see this weekend, be it a new release or an under-appreciated one, chime in in the comments section below.

For Your Anticipation: Does He Need CPR? Because I Totally Know CPR!

By now I have already chimed in on my thoughts of the surprisingly successful Thor, even if people don't quite cling to it as they did Iron Man. The self-made-superhero was a lot easier to relate to, especially seeing as his story existed well within the confines of the real world. Iron Man 2 just threw it all away in favor of repetition. No matter how good the film is, it doesn't play that same risk. This is not a scientifically sound film, but we kind of forget that in the presence of such endearing charm and emotional conflict. All the explanation we need for it is in the line "Your ancestors called it magic, and you call it science. I come from a place where they're one in the same thing." This is far from a perfect bunch of superhero films, but it's still pretty damn entertaining.

Film Review: Thor (***)

I remember a few months ago when we were all in discussions about how awful this film was going to be. It's surprising how much negativity it has spawned so prematurely, and it's not even intelligently so. Originally people were worried that it might go for what's been called the Transformers style of humor, which can be more easily categorized as something called comedy. Admittedly, Thor is a particularly tough superhero to bring to the screen, and even more difficult to bring into the same world as Tony Stark, Bruce Banner, and Steve Rogers. Now the complaints about this film are focused around the phrase, "It could have been a lot worse." That's a very backhanded compliment, and it embellishes this film as just barely making it.

In actuality, I would say that Thor counts solidly as an equal superhero origin story as Iron Man was three years ago. The film starts out with a man plummeting to Earth from inter-dimensional vortex, right in front of dorky astrophysicist nut Jane Foster. We then flash back into the sky to find out who the man was, and where he came from. It turns out he's the mighty Thor, next in line for the thrown of Asgard, a Utopian type of realm that protects the other realms from certain annihilation. So when Thor decides seek foolish revenge upon one of the more stubborn realms, his father, Odin, banishes him to Earth.

I actually find it kind of bemusing that people are hoping that this film cuts back on the goofy humor, when that is actually one of the best parts of the film. The opening half hour of the film, action packed though it may be, is filled with a certain lifelessness. Maybe it's the bleak knowledge of what is coming, but for me it was more of the wanting it to happen sooner. So when we're blasted back to Earth, things become much more lively. Jane Foster and her groupies assistants brought such a likable sense of lighthearted criticism to the goofy ways of Thor and his ilk. Natalie Portman has been wandering about different roles that aren't as meaty as her role in Black Swan, and the same applies here. She's not meant to be taken seriously, because she's just a ditsy little nerd who believes in crazy tangents of science fiction. I feel like this role would have been better suited to someone else, but Portman does a good job making sure the audiences sides with her.

Digital 3D in Summer 2011

I feel like the film industry has learned some valuable lessons in terms of using Digital 3D in film. I am, personally, an affable fan of the technique just so long as it is done correctly. It's like really good chocolate, but you can still overdo it. This Summer has found a certain measure of moderation, with X-Men: First Class, Super 8, and Cowboys & Aliens all opting out of Digital 3D. I think it's a worthy rule that if your film isn't just standard popcorn fare that you shouldn't go for 3D. In the meantime, there are some films that you could easily see in 2D without complaint. I'll try to give you a decent idea of which films would be worth the extra three bucks.

May

Thor - Post-conversion, but deals with epic celestial realms. Probably still majestic and preferable in 2D.

Priest - Not in 3D. Not in 2D. Not on DVD. NOT EVER!

Pirates of the Caribbean: On Stranger Tides - Promising visuals from Rob Marshall in service of a less than spectacular screenplay. If you see it at all, go for 3D.

Kung Fu Panda 2 - Heartfelt animation from Dreamworks, so definitely worth 3D.

June

Green Lantern - It's practically an animated film, and the superhero was made for 3D. Should attract the same fans as Avatar, so you'll see it in 3D either way.

Cars 2 - If it's not in the sky, it's not worth your time. If you see Pixar's latest, see it in 2D.

July

Transformers: Dark of the Moon - Sparks, explosions, clanging metal, and more explosions. Shut your brain off and see it in frantic 3D glory!

Harry Potter and the Deathly Hallows: Part 2 - I'm completing the journey in 2D. You should too.

Captain America: The First Avenger - Seems to evoke the film I would have died to see in 3D, Star Trek, so go for the glasses.

The Smurfs - Seriously? Don't even bother.

Films to See in 2011: May

As the official start of the Summer movie season, I can't help but think that May is shaping up pretty well under the circumstances. Each weekend gives us a gargantuan sized blockbuster for mainstream audiences to spend their time and money on, even if you decide to count Fast Five as the start of the season. I don't, because I occasionally decide to be optimistic. I'll continue to refer to Thor as the kickoff event, much like I referred to Star Trek as 2009's kickoff event after X-Men Origins: Wolverine went up in a pile of smoke and oblivion. Reviews for Thor have come out surprisingly well, which was probably the biggest worry heading into this Summer. Joss Whedon has started production today on the epic scale blockbuster for next Summer, The Avengers. We don't want to head into it with a bad taste in our mouths.

I have reservations against The Beaver, and they surprisingly enough have nothing to do with Mel Gibson. The man may suck as a person, but his work is still formally brilliant. Bridesmaids looks like an amusing vehicle for underrated SNL comedian Kristen Wiig. Pirates of the Caribbean: On Stranger Tides doesn't have a hope in chance of being good or great. What we can expect is a fun ride. Finally, as much as I would like to hope for the best, The Hangover: Part II is just starting to look unnecessary. I'll see it, which is a guarantee either way. I was on a dodge-ball team in high school called "The Wolfpack". It's pretty much a mandatory requirement. I just may not find as much gleeful pleasure as I had hoped for. That leaves us with my top three most anticipated films of this upcoming month, and I should be pretty well assured of greatness this time around.

Theatrical Trailer: Thor

There are definitely quite a few films with questionable potential this summer, and Thor could reasonably be one of them. Think back about three years ago when Iron Man was rapidly approaching release, and we hadn't a clue whether to think of it as a comedy or an action film, and couldn't credibly peg it as good or bad. That usually brought us around to a negative mindset, so when the film came out it turned out to be surprisingly great. I'd like to believe that the same will happen for Thor, because this trailer offers a strangely beautiful glimpse of the latest addition to the Marvel universe, and yet I can't quite comprehend it. Take a look below, and offer your own thoughts on the material. What I do know for certain is that this will be a major player in next year's Oscar races for visual effects, makeup, and most definitely art direction.

What's Next?: Best Actress

It is so easy to talk about what the nominations for Best Actress, because most of them have plans for the oncoming year. The one who doesn't, Annette Bening, is currently in pre-production on Hemingway & Fuentes, a film I am absolutely uninformed about. Nicole Kidman of Rabbit Hole has an even more unfortunate lineup for the following year. She has a mysterious role in the Adam Sandler comedy Just Go With It, and later this year's shes going to be in Trespass. I don't know much about the film other than the fact that it's directed by Joel Schumacher. Why do they still allow him to make films?

Jennifer Lawrence has a lineup of pretty outstanding bounce-back performances. She's slated to play Mystique in the upcoming period superhero film X-Men: First Class, a romantic interest for Anton Yelchin's character in The Beaver, and a supporting role in the recent winner at Sundance, Like Crazy. I doubt she'll be securing another nod for next year's awards, but she'll definitely be around. Natalie Portman has probably the most packed schedule for this year, having already released No Strings Attached and The Other Woman. The rest of her year includes the fantasy-comedy Your Highness and the superhero film Thor. No awards potential in the near future, but enough entertaining offerings to keep you going until after her pregnancy period. The only one amongst these women who has a potent chance of returning here next year is Michelle Williams. She's not only got the release of the western Meek's Cutoff to look forward to, but also her rendition of Marilyn Monroe in My Week with Marilyn. She's definitely one to watch for the following year.

Image: Michelle Williams in My Week with Marilyn

2011 Super Bowl TV Spots

I honestly couldn't care less about the outcome of the Super Bowl. I don't care about football. I don't really care about any sports. Truth be told, I don't even care about the halftime show. When all is said and done, I only tune in for the commercials, and I'm not talking about the countless senseless Doritos and Budweiser ads. The money that is spent for 30-60 seconds of ad time during the show is ridiculous, and it's always a draw for high profile film previews. Tonight that included a long list of films like Cowboys & Aliens, Thor, Captain America: The First Avenger, and Transformers: Dark of the Moon. However, the one that everybody is going to be talking about until the first trailer premieres is Super 8. This is our first comprehensive look at the film, and it looks breathtaking in any classic sense of the word.

Thor was nothing new in the slightest, but our first look at Captain America: The First Avenger was slight confirmation of all of my fears. Quite honestly, Thor is looking like a sensible alternative.

I had a bit of a quarrel with a few new friends on how Cowboys & Aliens looks to them, and I was dispirited to hear them call it stupid. I doubt they'd have said that if it had a different title, and the new TV spot added onto the favorable buzz going out for the film.

Closing on a mildly hopeful note, the new TV spot for Transformers: Dark of the Moon brought the awesome flashy visuals we expected, and the hope of something better. On a slightly geekier note, THEY HAVE A ROBOT DRAGON!!!!!

Oh, and just to propel forward my support for advertisements that aren't done with mind-choking stupidity such as Doritos ads, here's the clever ad for House.

Teaser Trailer: Thor

This would be a whole lot more of a revelation for me if I hadn't already seen most of it. The new teaser trailer for the superhero action flick Thor is out, but it seems a little repetitive at this point, for me at least. That's probably because the comic-con footage that includes most of the teaser and even more than that leaked online shortly during the summer, and then was eradicated by the powers that be. So I've seen most of this already, and my first take on it was that it was a little cheesy, and it still is. Then again, I've also seen the trailer for Green Lantern, and Thor doesn't seem nearly as awful as that. Take a look, and let me know what you think.