From The Possession, which I attempted to watch this weekend. I have not seen all the film, so I might recant what I am about to write, however, sitting in the dark theater for 45 minutes with nothing else to do, coming up with a pre-review was beyond temptation for me. What's the most important feature of the Dybbuk box? It's Jewish, originating from Poland in the 1930s. What has happening to Jews in Poland in the 1930's? Jews in Poland were being prepared to be obliterated in the Holocaust by Nazi Germany. Why would this be relevant today? The Nazis were socialists (yes, you've heard me say this before) and while some (who themselves are socialists) argue with me about whether or not the Nazis were socialists, they identified themselves with socialism, they are identified with socialism, they enacted socialist policies and anything that can be argued against this is a textbook technicality. Clyde, as a symbol for the "founding father," tries to save his little girl Em (symbolic of the future) from the evil spirit of socialism which threatens the future. This is the reason the film emphasizes the "Jewish origin" of the box and the Jewish ritual of the exorcism involved, because no one knows like the Jews what it is to suffer at the hands of socialism. Again, I haven't seen the ending, but will asap!
If I told you what happened last week, you wouldn't believe me, but here's just a snippet: I went to see The Possession Friday afternoon, and 10-15 minutes before the end of the film, the electricity went off! So the ushers come and tell us it will be about 30 minutes and we can wait or get refunds; I choose to wait (I'm there, I have to see it, I might as well get it over with). Forty-five minutes later, they come back (I'm the only one still sitting in the theater with nothing but the emergency back-up lights on) and they tell me it will be at least three hours,... so, to make a long story even longer, the usher asked me which film I was watching and he said, "Oh, it has a nice twist at the end, you'll want to be sure to watch it!" so, I now have to go back and sit through the rest of it! The film is loaded with wonderful symbols--historical and political--and this will be a fun one to decode, so look forward to that review. In the meantime, again, that's just one of the things that happened last week, so my sincerest apologies--as usual--for not getting up a new review for you!
Snow White and the Huntsman is due out on DVD/Blu-Ray this week! Due out in theaters is The Master about the founder of Scientology (Rotten Tomatoes gives it an 86% approval rating) and Resident Evil: Retribution.
Here is the newest Sean Penn and Frances McDormand film, This Must Be the Place. Penn plays a retired rock singer living off his royalties in Dublin; realizing his estranged father is dying, he rushes to New York to reconcile only to arrive too late. Discovering that his Jewish father was humiliated during World War II at one of the concentration camps, he sets out to discover what happened and avenge him: If that doesn't look good to you, try Billy Crystal's new film, Parental Guidance due out Christmas Day. I am working desperately to get posts up; I have changed my mind dramatically on The Odd Life Of Timothy Green: I had originally said it was a capitalist film, but it was so intentionally sneaky, and the vocabulary intentionally robs capitalism of its traditional views, that I had to change my mind. So why do this? Because if we can keep up on how language is being used in the political debate, we can have better debates and better articulate our own positions and understand the other side's position better (this is a really politically correct way of putting it, but I think you know what I mean!).
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The highly-anticipated trailer for the latest release from Steven Spielberg due out (early) in November is Lincoln which takes place as the Civil War draws to an end and President Lincoln argues with his cabinet about abolishing slavery: The release was originally set for December but has been moved to November, perhaps to off-set the Chris Hemsworth film Red Dawn about communist North Koreans invading the United States and Daniel Craig's Skyfall about MI6 coming under fire and Bond has to defend it at all costs (at least the structure sounds pro-capitalist). Before I let loose the gate on Lincoln, let's take a look at Richard Gere's and Susan Sarandon's newest film, opening today, Arbitrage, about a zillionaire who tries to sell his troubled company as he wrecks with his mistress in the car, creating a nasty situation for himself and his family:Long-time readers haven't heard me say this in awhile, but they'll remember it: history films are never ever never ever never EVER about history; they are always and always only about the here and the now. The attraction to a historical period in time only happens because of current events which we liken to things which have happened in our past and can serve as a vehicle for discussion our own situations and problems today. Looking at Lincoln, this isn't about President Lincoln, this is about President Obama; what is the "war on slavery" being discussed? The slavery to capitalism which Arbitrage is painting for us. Films such as Abraham Lincoln Vampire Hunter and Dark Shadows, Ice Age 4 and The Hunger Games, are desperate to convince us that capitalism is slavery and only Obama can free us from it. If this were a more patriotic and pro-America film, Daniel Day Lewis wouldn't be reciting the Gettysburg Address like he was reading a grocery list, rather, there would be fire and brimstone in his voice instead of this pathetic defeatism I am hearing.On the other hand,... Paul Thomas Anderson's The Master, while reputedly about the founder of Scientology, might be a reference to Obama and his brainwashing of the American worker to tell us that we are enslaved and should be freed to live off the government (it opens next week):First and foremost, this is a story about World War II and what happened to soldiers. Haven't I been harking on the importance of World War II for months now? We come to a large issue in art with the similarites to Scientology because, firstly, Anderson has denied it's about L. Ron Hubbard--the founder--but, secondly and more importantly, how would audience members know about either Scientology or that Anderson denied those rumors? This is the basic problem regarding "authorial intent," that if there is anything outside the artwork (in whatever medium) which the artist wanted the audience to know in order to understand the work of art, then the artist has failed if that information is not included within the art and accessible to the audience (e.g., you don't go to the theater and after you hand the usher your ticket, they give you a brochure with everything you need to know about the director, producer and actors and what you should "get" out of the film experience; it just doesn't happen that way because it's not supposed to happen that way, we are supposed to engage with what is in the film, on the film's terms, which is often a difficult enough job to manage). Going off this, it makes sense that Anderson would deny those rumors and possibly--just from the looks of the trailer--create a sense of Americans (Democrats) who have followed Obama like he's a messiah (this, of course, reminds me of Martha Marcy May Marlene). While The Master doesn't open until next week, and I am really looking forward to it regardless of Anderson's politics (he's a master at all things cinematic), we can count on a powerful narrative for whichever side he decides to take in the current landscape of political unrest. I am seeing Resident Evil today, as well as finishing The Possession (I went last Friday and the electricity in the theater went out ten minutes before the end so I have to re-do the whole film,...) and I am really interested to see The Cold Light Of Day. Really, I am nearly done with my post on Lawless that has taken simply forever for me to get done, and I can only say that it is so anti-capitalist, my heart just hasn't been in it, but it's nearly done. Then I will post on films I am seeing today and then get done with The Expendables 2 (fabulous film), Paranorman, The Possession, and the other films that I have seen. Really. I will. Promise.
This is the first of the Resident Evil series I have seen; fans who have seen them all might be privy to implied viewer moments which I missed, however, Alice (Milla Jovovich) does give a brief historical explanation in the start of the film to bring viewers, like myself, up to speed on pertinent events leading up to this installment. Having seen this one, I am now curious to see the others because, I am guessing, heretofore, the "battle" had been against the Umbrella Corporation and its bad policies, which is fine, however, I would like to see how much, if at all, the franchise intentionally altered its focus to battle socialism post-2008 or if these are narrative lines long embedded within its discourse.
HAPPY BIRTHDAY TOM HARDY! Resident Evil: Retribution was awesome! Perhaps the most pro-capitalist and anti-socialist film yet released! The opening, reversed battle sequence was carefully executed and each and every fight scene was loaded with symbolic meaning and mirrors the "ultimate battle" taking place between socialists and capitalists today. Yes, it does critique capitalism, but capitalism always needs that, but it also clearly demonstrates how the ills of socialism far outweigh the temporary woes of capitalism. The battle/fight sequences were perfectly choreographed, and I could have gone through, punch by punch, decoding each breaking bone! There are parts where the acting does leave a bit to be desired, mostly because of the character of Leon doing such a bad job of delivering his lines, but it's so anti-socialist, it's worth it! On the other hand,...
I won't even begin to pretend to know anything about the nomination process for the Oscars, however, Richard Gere was in top form in each scene and, depending on the mood of the Academy, I honestly would not be surprised to see him nominated for Best Actor. Gere had various highs and lows and he perfectly realized his character's deepest pains, fears, anxieties, desires and despair. Brit Marling, playing Gere's daughter Brooke, also did a well-rounded job in revealing how her character was hiding grief and disappointment over her father's failures and fraud. Nate Parker, Timothy Roth--the incomparable, excellent Mr. Roth--and Stuart Margolin all gave fabulous performances in a well-paced and tense story that works overtime to make sure you don't feel an ounce of sympathy for the main character.
Nicholas Jarecki's Arbitrage was carefully crafted and brilliantly acted and vehemently anti-capitalist. While it appears this is the story of just one family and one billionaire, it's not, art is never a specific statement about isolated incidents--and there's plenty of art in the film--rather, it's a general statement about the corruption within capitalism and America and it does a good job at specifically aiming at what capitalists--such as myself--hold up as the virtues of capitalism and tries to undermine why capitalists cling to the system that for the film makers doesn't work; the film does deconstruct itself--holding up a value that actually undermines what it wants to say--but we'll get into that in my review of it. Mabrouk El Mechri's The Cold Light Of Day was surprisingly good! Leading actor Henry Cavill (Will Shaw) did not impress me at all with his performance in Immortals, but he certainly did with this one (and Immortals had several technical flaws most likely due to poor directing) but Mechri is such a creative explorer of character and context, that if I were teaching a class on film, I would probably use this as an example of contemporary (philosophical) erasure and noise to advance character and plot ( of course I will be going into this more in the review). Culturally, what's the film about? That the relationship the US has with Israel is more important than our current economic woes, and the defense of Israel--being jeopardized from within the US--is a bedrock of American and global democracy; pretty impressive stuff. Yet that's certainly not all it's doing and I will be referencing this film in the future! Disney's Wreck-It Ralph, due out November 2, is just too complex for me to say anything right now,... except for what I am about to say. First, this takes place in the world of games, so what does that invoke for us? Game theory, one of my favorite approaches! It can't be ignored that Mr. Fix It is blue (Democrats) and Ralph is dressed in red (Republicans) and it certainly shouldn't be ignored that the big wrestler in the Bad Guys meeting has a thick Russian accent (like the Tiger in Madagascar 3 who condemned the Bolsheviks). It's animated and it's from Disney and it's about video games and it's appealing to children, but I promise you, this will be a sophisticated statement on politics and life in America today: I am seriously looking forward to Rian Johnson's Looper coming out September 28. This is the newest trailer and we have only one question to ask to know how important the statement of this film is: who is it in today's political world that would be interested in getting rid of their opposition? Time travel isn't the only way to go back in time, making a historical film is, too. American writer Jack Kerouac's 1957 On the Road became a thesis for the restless spirit and troubles of youth in that generation and has been remade by Walter Salles (being released in France next May). Here's the second trailer which could either attempt to serve as a re-animating of the wild, liberal ways of utopia and socialism, or serve as a warning for the dangers of shrugging off responsibility and living by your emotions:I hope you have a wonderful weekend, and I am working at getting these posts up asap!Eat Your Art Out,The Fine Art Diner
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"Neither as clever nor as interesting as it appears to think it is, The Words maroons its talented stars in an overly complex, dramatically inert literary thriller that's ultimately a poor substitute for a good book," so runs the RottenTomatoes.com review, granting it a mere 18% approval rating among film critics. This is one of those films which prompts me to make several statements in advance: I don't have a typical value system for "entertainment value," nor do I try to decide whether or not this would be a film you would enjoy, rather, I look at the films as social documents, each entering into a cultural dialogue of issues and events within us right now and what those issues are doing to us; on that level, Brian Klugman's and Lee Sternthal's The Words has quite a bit to say, but perhaps the critics don't want to hear it.
The film opens with Hammond (Dennis Quaid) reading his book to an audience about Rory (Bradley Cooper) who found the manuscript written by The Old Man (Jeremy Irons) which he had lost after World War II when he was an ex-patriot living in Paris with his new French wife. The film moves in and out of the stories of these three men, artfully destabilizing that fine line between fact and fiction. In a very basic sense, this poster design is highly existential because of the way in which words and how and why we use them make up our identity and contribute to the framework of our existence, artfully illustrated within the film by the thumb print of The Old Man when he was young and typing "the story" and over which Rory places his own thumb.
All art makes decisions, it makes choices and promotes values that it believes an audience will "buy into" so they will engage the art on some level (for example, the artist has to decide, "Am I going to uphold 'love' as a value my audience will understand, believe in and engage, or does love no longer exist as a viable virtue?"); the premise The Words builds upon, the most basic foundation is, The Old Man has a story, and it's his story, it doesn't belong to anyone else: the story of his life, and the way he choose to tell the story, belong to him and are a part of his personal property. Why is this important? In a political culture where "redistribution of wealth" has become a part of rhetoric and protests, and socialism and capitalism are actively competing in films to edge out the other over which economic model best facilitates art and artists, The Words says a lot!
Whether it's The Raven exaiming the life of Edgar Allan Poe, Midnight In Paris glorifying the American ex-patriots, the transition from silent films to talkies in The Artist, or Andy Warhol's fight against communism in Men In Black III, art and artists have a consistent hold on themes of the last year and whether it's better to "pay your dues" to create art or artists should be funded so they don't have to suffer, The Words examines the issues in the lives of all three writers, Hammond in his "elegant" New York apartment, Rory struggling and having to ask his dad for money and The Old Man when he was young working as a reporter so he could pay his bills and learn more about writing. There is a part when it almost appears that The Words is going to sway towards socialism, making the case that, had Rory been funded properly, and the market be based on merit, not capitalist whimsy and trends, Rory wouldn't have had to steal from The Old Man and his first novel could have been published and all would have been well, but it doesn't, the decision to steal the manuscript, word for word, misspelled word for misspelled word and comma for comma, was Rory's and he knew exactly what he was doing (it was an artistic decision, not a monetary one prompting his "theft"), which leads us to why we read books at all: if the words and the images and the emotions belong to Ernest Hemingway, what do I or do I not get out of reading it? Am I stealing when I read The Sun Also Rises, or does something else take place? Given that Silver Linings Playbook, Midnight In Paris and The Words all reference Hemingway (not to mention The Great Gatsby by F. Scott Fitzgerald coming out in December) it would be a wise theme to ponder as to Hemingway "bridging" the pond between the US and France and what his works mean to Americans specifically today as they are re-appearing in films for our consideration.
When The Old Man confronts Rory (and this happens within the text Hammond has written), we begin to realize there isn't any such thing as "the words," because all wordsbelong to someone because words must be spoken, written, stylized and fit into grammatical frameworks to become a part of our being and history, (for example, no one can choose for me what words I write or don't write, no one can choose if I want to mis-spell words, or use big words, quote someone else, or throw in something random; of course there is the argument that one, words are like drops of water within the ocean, and we take the word we need, as we need it, never paying for it, words are just there for us to express ourselves and become a part of ours elf and our story, our history, like the earth's raw materials (and, two, someone could even argue that words all belong to Webster in the dictionary and we merely borrow; this is a wonderful philosophical debate and I know the exact thinkers I would love to see commenting upon it!)
Rory (foreground) walks through Central Park with The Old Man following him in the distance, where he will sit down on a bench beside him, make him a bit uncomfortable with lots of small talk, then snag him and accuse him. Because the film gives us "a story within a story within a story" it exists--and promotes--a chaotic universe, i.e., a universe balanced on an equilibrium, not a evolutionary or Darwinistic universe. This is important in the trend of films as of late because more and more films are siding with this interpretation (The Avengers, Men In Black III, The Bourne Legacy, The Cabin In the Woods, just to name a few), creating a universe wherein God is possible (not necessary, but possible, against the evolutionary universe that states nature created man and man has no soul nor destiny). We can't say that films utilizing a chaotic universe instead of the evolutionary universe are calling for a return to God, however, they inherently debunk the basic tenants of Darwin and the secular manifesto of self-identity within culture.
"Do you think you can just steal a man's life and there be no price to pay?" The Old Man asks Rory in the greenhouse when Rory has come to "make things right" and confess to the lie as well as give all the gains from the book to The Old Man (who refuses it). We have to remember, the story written by The Old Man was about life after World War II, the Holocaust, the deaths of the soldiers (a point is made of The Old Man relating how he saw only one dead body during the whole war, but limiting the dead to just one really makes it an intimate, singular encounter).
When The Old Man encounters Rory in Central Park, before The Old Man lets Rory know what he knows about the real origin of the book, The Old Man asks Rory to sign his copy of the now-famous book but Rory doesn't have a pen; "A writer without a pen," The Old Man quips, but it's more than just a inside joke, it's literally The Old Man who has the pen, not only of the book to be signed, but of the situation, The Old Man is the one in control. In the scene above, when Rory has traced down The Old Man to the greenhouse where he works (symbolic of both The Old Man's soul has a garden of virtues the flowers symbolize and one spiritually advanced because he's not burdened by the worldly pursuits to which Rory has given himself) The Old Man roughly suggests that Rory buy some Swedish Ivy which is another writerly sub-text commentary on Rory's not being a writer, because Swedish Ivy isn't really ivy at all.
There's a great deal more which could easily be written about The Words, and that's in part why I am stopping now, because I could endlessly go on and on, but I believe the "heart of the film" to be this obvious issue over ownership and identity, a mysterious boundary of words who have no owner, and yet we consume them voraciously in our never-ending work of art that is our most intimate being. To have framed today's political debate within this context is a stroke of genius which I applaud loudly and gratefully for drawing my attention to what I do so effortlessly every second of my being: steal the words to make them my own.
It is perhaps the most controversial work of art in America. My mother has gotten upset, as it's been in the news again, and asked me to write about it and its significance, if it has any. Of course it does, and I think it's a very important work of art. I say this as a Christian, someone continuously trying to live up to the teachings and commands of Jesus Christ, because, I have to be honest with you, when I look at Andres Serrano's Piss Christ, I see what I do to the Cross every time I sin.
Photograph 60 x 40 inch Cibachrome print on display now at Edward Tyler Nahem Gallery, Manhattan. Because the art was funded by the National Endowment for the Arts, it is often cited as a reason why government funding should not be used to support "degenerate" artists. This is up to each person's individual will, however, I hope to demonstrate how we can have a meaningful engagement with the art and not be offended by it, at least, not the way Christians have been heretofore.
Serrano takes photographs, so what you see above is what is on display (should you decide to go see it). It is described as being a plastic Crucifix in a jar/bottle of the artist's urine and, by some, as being "the most deplorable, despicable display of vulgarity " produced by an American artist. Why? The initial reaction of people such as my dear mother, is that disrespect is being shown to the Cross and the image of Jesus Christ. It is absolutely possible that Mr. Serrano intended only to create a sensational piece to infuriate Christians, but as Christians, does the piece contain a message which we should be in tune with, and, instead of being controversial, Piss Christ becomes instructional?
Please click on the image to expand to full size. The rich color scheme is well created for such a piece. Whereas gold/yellow usually symbolizes royalty and dignity--which should be applied to Jesus Christ, the King of Kings--instead, it's the reflection of yellow urine stripping Him of dignity instead of investing Him with dignity (our recognition of Him as our King and Savior by making sacrifices and denying temptations and sins). There is quite a bit of red in the image, especially along the bottom portion of the Cross, because red can symbolize love--we willingly shed our blood when we love someone--or wrath, and we get so angry at someone, we could shed their blood over it. Christ made His Sacrifice for us out of Love, but Serrano seems to be mildly suggesting that, when we sin, we are actually in a state of wrath; why would that be? Because we have to sacrifice instead of taking, we have to become one with Christ on the Cross instead of staying in our comfort zones (and please know, I am fully aware of how I myself fail in this every hour of every day). We are, in other words, full of wrath when we sin, to the point of "taking life" from Christ by our sin (we can't take God's life, but we take the Life of God given to us--Grace--when we sin). Lastly, please note the brown tones in the top and bottom portions. "Learn from Me for I am meek and humble of heart," Christ told us; brown is the color of humility, for one makes their self low as the dirt in the eyes of the world; there is another side to the symbol of brown, however, and that is, literally, filth: instead of righteously being lowly and humble, we debase ourselves in our appetites and roll in the filth of sin. So Piss Christ is the exact opposite of a Christ Enthroned painting, this is, rather, a very personal depiction of Calvary that we have created on the private stage of our sins.
The purpose of the Cross, and Christ's Suffering, was to redeem us from our sins, to pay the price that we could not. What is it that transforms the Wood of the Cross (invoking the wood of Noah's Ark which saved the righteous from the flood waters of the world) into the cheap plastic cross of today's culture? When we ourselves cheapen the price Christ paid for our sins, because we, as Christians, know what that price was and, instead of worshipping the Cross, we steep Our Savior in the filth of our sins, again and again. Whereas we have been cleansed of sin through Baptism, "urine"--as an anti-thesis to the symbol of spiritual cleansing--is the willingness we have to wallow in the ways of the world instead of following the narrow path which we profess to believe and hold as True. Piss Christ isn't a work about Jesus, rather, it's a work about Jesus' followers, me and you, and Serrano calls to our mind an important lesson we tend to (easily) forget. If I chose sin over Christ, then I have "pissed on Christ," and I have transformed the wood of the Cross into the throw-away, cheap plastic of a world condemned by its own appetites and I have knowingly rejected the Path of Salvation and chosen the path of damnation, hell over heaven. Piss Christ is my doing, no one else's, and I have to take responsibility before God every second of my life and at the Hour of Judgement, however, therein is the irony of the piece and the inherent victory it contains!
Sometimes Christians see Jesus on a Cross and think, He died for everyone, but not necessarily for myself. What Serrano has done is shown us how Christ died and continues to suffer for my sins, the "piss" I drown his image in when I have sinned and not just a nameless mass of people, but for the individual children He lovingly created, knowing we would sin; so why create us if we were just going to sin, or at least, why not create us perfect so we wouldn't sin at all? Because to forgive is divine. Nothing shows someone you love them more than when you forgive them, and when we go to Our Father, confess our sins, and ask Him to Forgive us, we gain more in that act of humility and trust than what we lost when we sinned (this is never a license to sin, it's an encouragement to overcome our weakness prompting us to sin).
In spite of what I have done in sinning--I and I alone in the abuse of my free will to chose sin over God's Love for me--Jesus is there, patient and waiting for me to come and ask His Forgiveness, even while "drowning" in the filth of whatever it was I did, and I know He will Forgive Me and restore me to Grace; Serrano provides for us a graphic image, a singular image for each follower of Christ, of how the King of Kings takes the filth of my individual sins and wears them Himself so I might become clean and enter His Kingdom of Heaven. This image, so despised by the media and most Christians, is a triumph of Love and God's devotion to us His Children, and testifies to how He willingly endures His Sorrowful Passion for each of us every moment of our lives.
Piss Christ provides an excellent example of how art means to engage us with a mirror of ourselves; rarely will it show us what we want to see, but it will always show us something if we meet it on its terms and try listening to what it has to say, the message, the secret door into our own soul that will open if we give it the chance.
Ultimately, Piss Christ is a triumph of Love for Christians, because it reminds us so graphically (as Mel Gibson's The Passion Of the Christ did) the Love that Jesus has which caused Him to Suffer and continues to Suffer for our sins so we can be cleansed, so, in this sense, we can call it a graphic message of Divine Mercy that Jesus really love us, really wants us to be forgiven for our sins and lovingly wants us to overcome our sins. Likewise, it shows us--which we all need to know--what sin is, the no-nonsense, graphic reality of what we do to ourselves and our Lord every time we commit the smallest sin. We should not be upset with Christians getting upset with Piss Christ, Christianity is so attacked in our culture and no one defends it, that the desecrating image of Our Lord troubles their heart, however, Jesus is willing to suffer this--as He suffered on the Cross--if it means saving us from our sins. This is LOVE. Eat Your Art Out, The Fine Art Diner
To contact us Click HERE After the apparent death of the Fantastic Four's Human Torch Johnny Storm, Reed Richards decided to gather a group of highly intelligent individuals whose goal it was to build a better future for all of humanity called the Future Foundation. This Marvel Universe three pack is a variant set of the regular Fantastic Four release, here repainted to resemble their current costumes. The major attractor to either version of the set is it is currently the only offering of the Marvel Universe scale Invisible Woman, a new head sculpt on the current most used female body mold.
Mr. Fantastic also gets a brand new head sculpt, but instead of his previous original short body he's got a repaint of the Black Suit Spider-Man body, which I think is perfect for him, I even found a great pose to put him in. The Ever-Lovin' Blue-Eyed Thing is merely a repaint of his single carded release albeit with a closed left fist from his Secret Wars 2-pack version, not completely comic book accurate as he should have a tank-top on, something I would of loved to see Hasbro to do as a soft plastic piece. Then there is the H.E.R.B.I.E. accessory, to me a addition I could of lived without, don't get me wrong he's greatly sculpted and very nicely painted but I just don't care for him, he's too big in my opinion to fit in the Marvel Universe figures so I put him in with my Marvel Legends Fantastic Four display.
Another cool thing to come out of the three-pack set is the awesome Kirby Krackle cardboard background you can see I used for these photos, I am always looking for great backgrounds to take my figure photos in front of and cardboard trays form boxsets are always great go-to's. I can't wait to get Future Foundation Spider-Man, who should be out soon to complete the main team of four. If your a fan of the Future Foundation good luck finding this set, since it is the variant set it is a bit harder to find then the regular version, that's why I bought it without hesitation when I say it.
To contact us Click HERE My second comic based War Machine 6in. action figure, and the third made so far, the first original Marvel Legend was his classics 90's Variable Threat Response Battle Suit, and the second being a repaint variant of Modular Armor Iron Man from a Marvel Legends 2-pack that's a homage to his Marvel Vs. Capcom game appearances. This armor here Rhodey wore after the Super Hero Civil War during his time as an instructor of young heroes for The Initiative. Other then his legs and his upper arms reused from Inferno Armor Iron Man he is made of mostly completely new molded parts such as his entire torso, forearms, shoulder pads, and head.
Thanks to two swivel arms built in to his torso his shoulder mounted weapons can aim forward or be tilted back for non-combat situations or in-flight deployment, which are each connected to his forearm attached weapons via removable soft plastic cables. Every Iron Man figure comes with some kind of launcher that shoots a plastic missile, War Machine was given the decency to have his incorporated in to his design as his left shoulder cannon instead as useless separate pack in. I freaking love the paint on his non-white armor pieces, it's this awesome gunmetal black with very light silver metallic sprinkling on it which with his leg fins, torso armor desing, and unique shaped shoulder pads come together to give a sleek stealth aircraft design to him which is perfect for a guy called War Machine.
Another cool paint app is the green lights on the weapons, with the over-spray looking like the light is illuminating the metal around it. Not 100% comic book accurate but Hasbro really went out of their way to give us a outstanding action figure while doing their best to recreate the specific armor, an accomplishment I applaud. I really hope other Iron Man fans and Marvel Legends collector found this guy to add to their collection, and he doesn't become as rare as the ML 2-pack variant Modular Armor War Machine that's still on my checklist to find one day.
To contact us Click HERE Over the last four months since my last reviews I have tracked down and read even more of DC's New 52 titles. As of right I have collected and currently keeping up monthly with 25 of them. This is the first in a new series of reviews of what I read up to now, starting alphabetically from Action Comics to Worlds' Finest.
Action Comics #8-12Issue 8 was a great conclusion to the Brainiac story arc, overall an excellent Superman story, with also gives us new origins for Steel, Metallo and Brainiac himself. After saving Metropolis and explaining that he is an alien but was raised on Earth the city now accepts him as their guardian. #9 was a filler story with the African-American Superman of Earth-23, last seen during the Final Crisis, a pretty good Supes Vs. Lex Luthor almost Silver Age-ish tale. Numbers 10 through 12 is the story of Superman giving up his identity of Clark Kent, now when not Superman he's Johnny Clark of the Metropolis Fire Department, where he can use his powers to save people without anyone noticing, not a bad story but I don't like how easily he just drops the name he's gone by most of his life and the career he worked to get. If your any kind of Superman fan then you know it was his upbringing in Smallville by simple farmers Jonathan and Martha Kent that installed in him his kindness, compassion, and values, and everything Superman is beyond his powers is because of that upbringing as Clark Kent. New version of Superman or not I just don't think Clark would of or could of given up his name and journalist life just to have it pointed out to him by Batman that Clark did as much good for the world as Superman. Still Action Comics is the better Superman comic compared to his self-titled run, I love the new take on Captain Comet, and thought Superman's Super-medical education & Super-surgery was one of the coolest fricking things I ever seen him do, can't wait to see where this 5th Dimension stuff goes too.
To contact us Click HERE Aquaman #4-11 Geoff Johns is great writer, he doesn't destroy, erase, or ignore, he adds to a characters past, just like he did and is still doing on he's Green Lantern run. Along with getting to know a previous team of powerful individuals Arthur was with when he was younger we're also getting new bits on the origin of Black Mantra's hatred for Aquaman, and where he got his trident from. It also looks like we may not be done with the creatures from The Trench, which may be connected to the original sinking of Atlantis, can't wait for issue 12.
Batgirl #1-10Barbra Gordan returning as Batgirl was controversial to say the least, yes we would let a little more explanation then "a clinic in South Africa" for her miraculous recovery, perhaps in the Zero issue coming next month, but I am really enjoying Gail Simone's excellent writing and Ardian Syaf wonderful art. If it was any other writer the return of Barbra to the cowl could of been a highly boycotted catastrophe, but DC knew what they were doing and gave it to a writer who knows Barbra Gordan extremely well, which I think helped softened the blow for a lot of nay-sayers. I mean we're just about a year in to the original Batgirl's return, and look's like Simone is just getting started, no only do we have the mystery of Barbra's mother's return to Gotham and Barbra's life but we're also seeing James Gordan Jr., her psychotic brother last seen in the final issues of Detective Comics before the reboot, is on the loose again as well, I'm hooked.
To contact us Click HERE Batman #3-12I don't know what more I can say about writer Scott Snyder's and artist Greg Capullo's run on Batman that I didn't already say in my review for the first two issues, other then to state that this book right here is the best series coming out of DC right now, and is my #1 absolute favorite New 52 title. This creative team along with the Court of Owls/Night of The Owls story is without a doubt gonna go down in history as one of Batman's must-read greats. The story has everything from a super secret organization that not even Batman himself knew about very nearly almost killing him to seeing Batman letting loose with some lethal ferocity against unkillable enemies, and not to mention some freaking awesome revelations and edge of your seat action in issues #10 and 11, if you missed the individual single issues then definitely pick up the hardcovers, you will not regret it.
Batman and Robin #1-8 In the ranking of all four Batman title released in the first wave of New 52's, Batman and Robin is a solid #2 under the self-titled book, brought to us by the writing and drawing team of Peter J. Tomasi and Patrick Gleason of previous Green Lantern Corps fame. I've got to say Gleason is one the top three guys currently drawing Batman right now, up there with Greg Capullo and Jim Lee, kind of reminds you of the ol' Legends of The Dark Knight style back in the early 90's. I'm really loving DC's new decision about writers "not writing for the trade", basically telling them their stories don't need to perfectly fit in 6 issues which sometimes stretches or rushes a story's pace but are now allowed to be told in less or more issues, which with 8 issues for the opening story arc is paced perfectly, and didn't feel stretched or rushed at all. Tomasi gives us a personal and emotional tale of fathers, sons, murder and revenge for the dynamic duo with the sudden arrival of an old rival from Bruce's past comes to turn Damian away from his father's teachings, a great read that had me read all 8 issues back to back.
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Holy Poo-Doo! The long rumored animated TV show from Seth Green is at last revealed, bringing along he's fellow comedy creators of Robot Chicken fame and sounds like most of the same voice actors used in Star Wars skits, that's a plus. This looks fricking hilarious, set between the prequels and the original trilogy, prime ground for interesting comedic scenarios with characters from from both eras. My favorite bits are definitely gonna be anything with The Emperor and Darth Vader, and I must have the MP3 of that Star Wars Main Theme Dance song at the end, can't wait to hear when this is going to air.
To contact us Click HERE Batman Beyond Unlimited #2-6This series is still going strong, the series is an excellent example of multiple stories in one book that I'm proud to pay $3.99 for. Starting in issue #3 begins a Superman Beyond story, which is a more then welcomed addition and is the perfect place to expand on the adventures of The Man of Steel in the Beyond future, as well as Lex Luthor's twisted legacy. If one issue stands out more then the others it is #5 with a stand alone short story that adds a whole new layer to Terry McGinnis origin in becoming the Dark Knight of Neo-Gotham, I was blown away, well done Adam Beechen, well done.
Batman Incorporated #1-2 With DC's Second Wave of New 52 Titles we got another Batman title, this one continuing Grant Morrison's grand opus he started back in 2006 with "Batman and Son" which lead to Batman's apparent death, his return, and then creation of Batman Incorporated. So basically if you haven't read the last 9 hardcovers worth of Batman stories written by Morrison you'll have no idea what is going on in these issues or who some of the characters are, but if you have then you have been waiting for this for 8 months. Batman is still trying to figure out exactly how powerful of an organization Leviathan is and how far their influence reaches and what their plans are for himself, Gotham, and the world when an assassination order is put out for the current Boy Wonder. Chris Burnham did a few issues of the previous Incorporated series, his style is very similar to Frank Quitely's but not as overly surface detailed, making him the perfect artist to be paired with Morrison's continuing mega story, which I can't wait see run it's course.
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Revealed to have the release date of Dec. 28th this year, and that Freddie Prinze Jr. is indeed reprising he's role as James Vega, joining a great cast of veteran voice actors. Set during the time after Commander Shepard was thought lost and The Collectors starting to attack human colonies, we get to see what Vega did before joining Shepard's team on The Normandy in Mass Effect 3. This looks great, finally seeing the Mass Effect universe in a different medium, and hopefully the first in a beginning of more expansion in to other media, I'd love more anime movies or perhaps a sweet all CGI movie, here's hoping.
To contact us Click HERE Batman: The Dark Knight #1-10Drawn by and co-written by David Finch, an artist who's work I've enjoyed in Marvel Comics and was genuinely excited to hear was going to do work for DC and especially on Batman titles. Now Dark Knight is good, but is nowhere near as incredible as Synder's Batman or Batman & Robin, so out of the four first wave Batman titles Dark Knight ranks 3rd. Unlike the top 2 ranked Bat-titles Dark Knight is the most connected with the rest of the DC Universe with appearances for other heroes like The Flash and Superman, and mentions of teams such as The Justice League and Birds of Prey, so definitely the more Superheroey of the Bat-books. I enjoyed the mystery of the new Toxin/Venom, and Bruce's new love interest, but I do have to say I feel Bane's appearance was poorly handled, from the dialog to the quick fight, let alone his redesigned look to match his design in the Arkham Asylum/Arkham City games with I'm not a fan of, his look in the games not the games themselves, love the games. Guest writers Joe Harris and Judd Winick wrote issues 8 and 9 while #10 began Gregg Hurwitz's run as ongoing writer replacing co-writer Paul Jenkins with Finch now solely on art, starting a new story arc featuring The Scarecrow. Batwoman #0-12This comic book right here boys and girls is one of the greatest comic book series I have ever read with sensational personal drama and action written by J. H. Williams III and W. Haden Blackman. J. H. Williams III is also the astonishingly talented artist giving us the most beautiful interior artwork and panel layouts I have ever laid my eyes on, every page or spread can be hung as individual masterpieces, I want this guy drawing more comics, I would love to see his unique paneling style done with other characters. I am loving Batwoman, I read issue #1-11 in one sitting, I had to see what happened next issue after issue, it is that compelling, never have I become so quickly personally intrigued in a characters life. Now the problem with this New 52 book, like Green Lantern and Batman Incorporated, is it continues right where the character's previous series left off not being effected by the reboot at all, so issue #1 here picks up right after the events of Batwoman's appearance in Detective Comics #854-863. So if you haven't read that 12 issue story arc then your missing a huge piece of the story that effects what's going on in the continuing narrative. The real stand out issues are #4, and #12, if you've read issue #4 then you know why, I'm not going to spoil it for anyone, and #12 begins a team-up story with Wonder Woman, finally giving us another DC character done in Williams' breath-taking and mind-blowing art style, the next few issues are gonna be epic to see and read.
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The next Resident Evil CGI animated movie comes out on DVD & Blu-Ray September 25th. I love the previous movie Degeneration, and I'm totally stoked that Capcom and Sony are made another one, and hope more in the future. The greatest thing I love about these movies is that are officially canon, taking place in the same universe as the video games, with Damnation looking to take place before RE6, and maybe even setting up a couple things for 6.
Platform: PS3 Released by Sony Computer Entertainment
Never before has the phrase It's a Dog Eat Dog World been so spot on.
In this latest game, Tokyo has been devoid of humankind and the animals have gone feral, feeding on whatever they can to survive. No-one's got a clue what's happened to the men and women of the region, but as the story mode of the game plays out, clues are dropped in and out to start to build up an idea.
Tokyo is now a decaying region with various pockets of different animals roaming and picking whatever they can to eat and survive.
This is where you come in - initially, you start off as either a meat-eating Pomeranian dog or a herbivore Silka deer (bear with me) and scroll left and right through the terrain, finding what food you can, marking territory and eating and fighting your fellow predators/ creatures in a fight for survival.
Gradually, as you build up your rank, mark enough territory and complete enough missions, you get the chance to mate and breed another generation. That means your life span is extended by passing on your skills to your progeny and you get to roam around, build up packs and explore a very wide world.
Tokyo Jungle is an odd sort of a game to be honest. Survival is the aim of the game and you really have to learn whether to eat, run, fight or hide when necessary. It's a tactical survivalist game which, while not looking graphically stunning or originally presented, actually is fiendishly playable. (It's also not for the animal lover as well, so if you're a bit squeamish about the circle of life, it may be one to pass on).
With unlockable playable animals like chickens, deer, cats and a whole range of critters, it may seem a bit a bizarre to be playing as these creatures but as you start to understand the tactics of it all, the different selections make sense; herbivores are easier to build packs up for meaning that some of your group can be picked off while you survive. Likewise, with carnivores, packs can help you survive by getting them to act as decoys while you run for cover. It's a peculiar concept and idea but it's actually so engrossing a game that you can lose hours playing; that said, it's not without a couple of flaws. A lack of being able to continue the game when it ends and having to start again is a little frustrating particularly when you have to repeat a lot of the same challenges you've already completed in a previous game during survival mode. Though there is an argument that perhaps by doing that, you rethink some of your original decisions and survive a bit longer.
Tokyo Jungle represents an intriguing level of stealth and fiendish simplicity but it is a game that may not appeal to all. If you're after an original idea, simply presented and with a depth that can suck hours of your life, then it's time to join the animals and see if you've got what it takes to survive.
Cast: Anna Kendrick, Rebel Wilson, Aubrey Camp, Brittany Snow, Skylar Astin Director: Jason Moore
It's off to the world of a capella singing we go for this latest female ensemble piece.
Anna Kendrick stars as Beca, a newbie to college and a wannabe DJ who'd rather be spinning the tunes than singing them with a slew of other ladies. Cajoled into joining the all girl group The Bellas, whose past was rocked by one of their number vomiting everywhere at the finals, she finds herself in battle with the Treble Makers, the reigning boy band champs.
But Beca's attitude towards the a cappella world and the desire to mix it up using more upto date music puts her on a collision course with those running the Bellas...
Let's get this out of the way - Pitch Perfect is no big screen version of Glee. And for that, we should all be grateful.
In fact, early on during auditions, Christopher Mintz-Plasse makes an awesome cameo telling the auditionees that this is no place to work out social issues, that's high school, clearly cocking a snook at the sing-along antics of Glee.
It's a fairly throw away film though, but one which is packed with heaps of energy and singing obviously and is guaranteed to be a great night out at the cinema. Plus it has one major thing going for it - Rebel Wilson. She steals every single scene she is in, with great delivery of great one-liners and put downs. If anything, Pitch Perfect is the breakthrough role she's been looking for for her unique brand of sarcastic awkwardness and the writers have catered excellently to her.
Anna Kendrick remains her perky and likeable self throughout as well; but it's more of a film which caters for the women rather than the other way round - the males of the piece are strapped for screen time and slightly underwritten.
But when you have an ensemble of women, I'm not sure what the push is to have them going for a bit of gross out behaviour - call it the Bridesmaids effect if you will - but once again vomiting plays a big part in this musical mash up piece. Throw in Elizabeth Banks as an aca-judge with some truly funny zingers though and this is clearly the oestrogen generation which is being targeted.
The energy levels dip somewhat towards the end as we near the frantic finale as it concentrates on Beca's love story but overall, even if it is slightly overlong, Pitch Perfect is a fine piece of celluloid fun; it'll have you leaving the cinema giggling and with a song running through your head.
But, above all, Pitch Perfect will have you believing a comedy star in the form of Rebel Wilson is well and truly on the ascent.
Cast: Adam Sandler, Andy Samberg, Selena Gomez, Steve Buscemi, Kevin James, Fran Drescher Director: Genndy Tartakovsky
In the latest animated offering for school holidays, it's off to Transylvania we go with the director of the truly awesome Samurai Jack TV series and the star of Jack and Jill, Adam Sandler. Sandler plays Count Drac, who runs the Hotel Transylvania, a refuge for all the monsters of the world to holiday away from the hunt-them-down-and-kill-them attitudes of the humans out there.
But it's not just the monsters which Drac's protecting - it's also his daughter Mavis (Selena Gomez) who's turning 118 and desperately wants to fly the nest.
On the eve of Mavis' 118th birthday, Drac's gathered a whole heap of his best friends - Frankenstein, Frankie's bride, the Mummy, the Invisible Man, the werewolf family - to help throw a lavish party for Mavis.
However, when a carefree backpacker, Jonathan (voiced by Andy Samberg) finds his way into the hotel, Drac finds his over-protective grip on life slipping and soon realises he could lose everything.
Hotel Transylvania is a case of great premise, weak story.
Sandler gives a hit and miss performance with an Romanian accent which is all over the place in this flick which has a frenetic pace to no doubt cover the fact there's a distinct lack of a really engaging story. In fact, if anything, the story is similar in places to Monsters, Inc, where a human accidentally ends up in the monsters' world and they try to return them.
While Tartakovsky has added a manic touch to the animation, it's done so at the expense of the other characters - Steve Buscemi is woefully wasted as Wolfman, as are the rest of the supporting cast, who are forced to the sidelines by Sandler and Samberg's double act.
That said, there are some great throwaway sight gags splattered throughout (and a spot on Twilight parody) but despite a touchingly Gothic flashback to how Drac met his wife, this tale of an overprotective dad who has to let his daughter find her way in the world, sadly offers nothing new to the animated genre. Even the 3D is relatively pointless throughout as well.
All in all, Hotel Transylvania is okay for a brief stopover during the school hols, but to be honest, thanks to hardly any meat on the story's bones, you'd hardly consider coming back for another visit.
On the other hand,... Paul Thomas Anderson's The Master, while reputedly about the founder of Scientology, might be a reference to Obama and his brainwashing of the American worker to tell us that we are enslaved and should be freed to live off the government (it opens next week):First and foremost, this is a story about World War II and what happened to soldiers. Haven't I been harking on the importance of World War II for months now? We come to a large issue in art with the similarites to Scientology because, firstly, Anderson has denied it's about L. Ron Hubbard--the founder--but, secondly and more importantly, how would audience members know about either Scientology or that Anderson denied those rumors? This is the basic problem regarding "authorial intent," that if there is anything outside the artwork (in whatever medium) which the artist wanted the audience to know in order to understand the work of art, then the artist has failed if that information is not included within the art and accessible to the audience (e.g., you don't go to the theater and after you hand the usher your ticket, they give you a brochure with everything you need to know about the director, producer and actors and what you should "get" out of the film experience; it just doesn't happen that way because it's not supposed to happen that way, we are supposed to engage with what is in the film, on the film's terms, which is often a difficult enough job to manage). Going off this, it makes sense that Anderson would deny those rumors and possibly--just from the looks of the trailer--create a sense of Americans (Democrats) who have followed Obama like he's a messiah (this, of course, reminds me of Martha Marcy May Marlene). 
While The Master doesn't open until next week, and I am really looking forward to it regardless of Anderson's politics (he's a master at all things cinematic), we can count on a powerful narrative for whichever side he decides to take in the current landscape of political unrest. I am seeing Resident Evil today, as well as finishing The Possession (I went last Friday and the electricity in the theater went out ten minutes before the end so I have to re-do the whole film,...) and I am really interested to see The Cold Light Of Day. Really, I am nearly done with my post on Lawless that has taken simply forever for me to get done, and I can only say that it is so anti-capitalist, my heart just hasn't been in it, but it's nearly done. Then I will post on films I am seeing today and then get done with The Expendables 2 (fabulous film), Paranorman, The Possession, and the other films that I have seen. Really. I will. Promise.
Mabrouk El Mechri's The Cold Light Of Day was surprisingly good! 
Disney's Wreck-It Ralph, due out November 2, is just too complex for me to say anything right now,... except for what I am about to say. First, this takes place in the world of games, so what does that invoke for us? Game theory, one of my favorite approaches! It can't be ignored that Mr. Fix It is blue (Democrats) and Ralph is dressed in red (Republicans) and it certainly shouldn't be ignored that the big wrestler in the Bad Guys meeting has a thick Russian accent (like the Tiger in Madagascar 3 who condemned the Bolsheviks). It's animated and it's from Disney and it's about video games and it's appealing to children, but I promise you, this will be a sophisticated statement on politics and life in America today:
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After the apparent death of the Fantastic Four's Human Torch Johnny Storm, Reed Richards decided to gather a group of highly intelligent individuals whose goal it was to build a better future for all of humanity called the Future Foundation. This Marvel Universe three pack is a variant set of the regular Fantastic Four release, here repainted to resemble their current costumes. The major attractor to either version of the set is it is currently the only offering of the Marvel Universe scale Invisible Woman, a new head sculpt on the current most used female body mold.
My second comic based War Machine 6in. action figure, and the third made so far, the first original Marvel Legend was his classics 90's Variable Threat Response Battle Suit, and the second being a repaint variant of Modular Armor Iron Man from a Marvel Legends 2-pack that's a homage to his Marvel Vs. Capcom game appearances. This armor here Rhodey wore after the Super Hero Civil War during his time as an instructor of young heroes for The Initiative. Other then his legs and his upper arms reused from Inferno Armor Iron Man he is made of mostly completely new molded parts such as his entire torso, forearms, shoulder pads, and head.
Aquaman #4-11 Geoff Johns is great writer, he doesn't destroy, erase, or ignore, he adds to a characters past, just like he did and is still doing on he's Green Lantern run. Along with getting to know a previous team of powerful individuals Arthur was with when he was younger we're also getting new bits on the origin of Black Mantra's hatred for Aquaman, and where he got his trident from. It also looks like we may not be done with the creatures from The Trench, which may be connected to the original sinking of Atlantis, can't wait for issue 12.
Batgirl #1-10Barbra Gordan returning as Batgirl was controversial to say the least, yes we would let a little more explanation then "a clinic in South Africa" for her miraculous recovery, perhaps in the Zero issue coming next month, but I am really enjoying Gail Simone's excellent writing and Ardian Syaf wonderful art. If it was any other writer the return of Barbra to the cowl could of been a highly boycotted catastrophe, but DC knew what they were doing and gave it to a writer who knows Barbra Gordan extremely well, which I think helped softened the blow for a lot of nay-sayers. I mean we're just about a year in to the original Batgirl's return, and look's like Simone is just getting started, no only do we have the mystery of Barbra's mother's return to Gotham and Barbra's life but we're also seeing James Gordan Jr., her psychotic brother last seen in the final issues of Detective Comics before the reboot, is on the loose again as well, I'm hooked.
Batman #3-12I don't know what more I can say about writer Scott Snyder's and artist Greg Capullo's run on Batman that I didn't already say in my review for the first two issues, other then to state that this book right here is the best series coming out of DC right now, and is my #1 absolute favorite New 52 title. This creative team along with the Court of Owls/Night of The Owls story is without a doubt gonna go down in history as one of Batman's must-read greats. The story has everything from a super secret organization that not even Batman himself knew about very nearly almost killing him to seeing Batman letting loose with some lethal ferocity against unkillable enemies, and not to mention some freaking awesome revelations and edge of your seat action in issues #10 and 11, if you missed the individual single issues then definitely pick up the hardcovers, you will not regret it.
Batman and Robin #1-8
Batman Beyond Unlimited #2-6This series is still going strong, the series is an excellent example of multiple stories in one book that I'm proud to pay $3.99 for. Starting in issue #3 begins a Superman Beyond story, which is a more then welcomed addition and is the perfect place to expand on the adventures of The Man of Steel in the Beyond future, as well as Lex Luthor's twisted legacy. If one issue stands out more then the others it is #5 with a stand alone short story that adds a whole new layer to Terry McGinnis origin in becoming the Dark Knight of Neo-Gotham, I was blown away, well done Adam Beechen, well done. 
Batman Incorporated #1-2
Batman: The Dark Knight #1-10Drawn by and co-written by David Finch, an artist who's work I've enjoyed in Marvel Comics and was genuinely excited to hear was going to do work for DC and especially on Batman titles. Now Dark Knight is good, but is nowhere near as incredible as Synder's Batman or Batman & Robin, so out of the four first wave Batman titles Dark Knight ranks 3rd. Unlike the top 2 ranked Bat-titles Dark Knight is the most connected with the rest of the DC Universe with appearances for other heroes like The Flash and Superman, and mentions of teams such as The Justice League and Birds of Prey, so definitely the more Superheroey of the Bat-books.
Batwoman #0-12This comic book right here boys and girls is one of the greatest comic book series I have ever read with sensational personal drama and action written by 
Tokyo is now a decaying region with various pockets of different animals roaming and picking whatever they can to eat and survive.
Sandler gives a hit and miss performance with an Romanian accent which is all over the place in this flick which has a frenetic pace to no doubt cover the fact there's a distinct lack of a really engaging story. In fact, if anything, the story is similar in places to Monsters, Inc, where a human accidentally ends up in the monsters' world and they try to return them.