- Man of Steel (2013) vs. Superman: The Movies (1978/1980)
- After Earth (2013) vs. Oblivion (2013)
- Now You See Me (2013) vs. The Prestige (2006)
- 42 (2013) vs. Remember the Titans (2000)
- Admission (2013) vs. About a Boy (2002)
- Oz the Great and Powerful (2012) vs. The NeverEnding Story (1984)
- Dark Skies (2013) vs. Dark Skies (1996)
- Oscar Wrap-Up 2013
- A Good Day to Die Hard (2013) vs. Indiana Jones and the Last Crusade (1989)
- Oscar Smack-a-thon!
- The Tiersky Top Ten, 2012
- Smackdown Smacks Down the 2013 Oscar Nominees
- Rodney on Man of Steel (2013) vs. Superman: The Movies (1978/1980)
- Dan Heims on Man of Steel (2013) vs. Superman: The Movies (1978/1980)
- Mariely on Hope Springs (2012) -vs- It’s Complicated (2009)
- Chris Gagen on Deep Impact (1998) -vs- Armageddon (1998)
- phillip_k_skick on The Walking Dead (AMC) -vs- Falling Skies (TNT)
- Michael on Warrior (2011) -vs- The Fighter (2010)
- Arthur on Now You See Me (2013) vs. The Prestige (2006)
- Superman in the age of Disclosure | cika on Lois & Clark: The (Old) New Adventures of Superman
- Kevin Wohler on 42 (2013) vs. Remember the Titans (2000)
- Kevin Wohler on Now You See Me (2013) vs. The Prestige (2006)
Category Archives: Action
The latest trend in sci-fi seems to be returning to a post-apocalyptic Earth, trashed after a run-in with extraterrestrials, and still coming out on top. Both Tom Cruise with Oblivion and Will Smith with After Earth have taken a crack at it. As opposed to other apocalyptic visions from recent years, like The Road and Book of Eli, which basically say once things go south on us, we land in a shithole we’re not likely to recover from, these two new contenders in the realm of post-Earth survival manage to leap past tragic events to a time of return where the technology still works, people persevere somewhere else, and the home planet needs some serious saving.
Let’s exit Earth for a while and travel to colorful lands distant from our own. Our contestants in this Smack are a pair of big-budget fantasy epics adapted from popular books. Hailing from storm-wracked Kansas is our challenger, Oz the Great and Powerful, a reimagining of one of the most beloved family films of all time. In this new version, our focus has shifted to the title character, a two-bit carnival magician with a grand stage name. He’s transported to the vibrant land bearing his name and gets thrown into a civil war among several bickering witches.
Flying in from Germany on a giant talking dog is The NeverEnding Story, in which a lonely young boy borrows and reads a book described by its seller as “unsafe.” And we all know what happens when a little boy reads an unsafe book, right? Of course — he gets dragged into the proceedings himself, which in this case means a fight between a fantasy kingdom and a scary black void that threatens to engulf that happy society. Continue reading
What’s better than an adventure movie featuring a rugged, two-fisted hero? An adventure movie featuring a father and son team of rugged, two-fisted heroes, of course. Today’s competitors are a pair of sequels, each of which brings either a progenitor or an offspring into the proceedings. In Indiana Jones and the Last Crusade – the third Indy movie and last one before that set of films’ loooong hiatus and better-forgotten, 2008 finale – everybody’s favorite archeologist is joined by his grumpy dad Dr. Henry Jones Sr., played by Sean Connery (you did know that Indy’s real name is Henry, right?).
It’s a Russian family reunion in A Good Day to Die Hard, with the apparently immortal John McClane (Bruce Willis, if you’ve been living in a cave until now) journeying to Moscow to connect with son Jack (Jai Courtney), a visit which immediately triggers nearly two hours of Die Hardish firefights, chases and explosions. Continue reading
Yes, I know, we could have put this operatic soon-to-be blockbuster, Les Miserables, up against any number of period musicals translated to movies, from The King and I to Sound of Music to Moulin Rouge. Or we could have matched it against any of the multitudinous other film adaptations of the Victor Hugo novel or even against the stage musical itself. Someone else with more academic credentials or film school training than we have can dissect those comparisons at another time. (If you can’t wait, there’s always Wikipedia.)
The thing is, as I watched and listened to the sincere musical emoting of the modern Les Miserables at a pre-release screening at the Pacific Design Center theater here in Hollywood, my mind kept trying to focus on the actual story. Namely, the convict Jean Valjean’s flight from the relentless Inspector Javert, who just won’t cut him a break, no matter how many good deeds he’s done or may still do if allowed his freedom. Continue reading
Once upon a time, long before you were born, way back in 1994, a writer-director named Quentin Tarantino made a movie called Pulp Fiction. It was a low-budget, stylish and irreverent thriller so wildly entertaining, energetic and fresh that it became an instant cult classic, was a huge critical and box office success, won Quentin an Oscar for his script (story co-written with Roger Avary), and turned him practically overnight into the biggest celebrity director since Alfred Hitchcock.
The movie was so unconventional in so many ways — unusual length (two hours and forty minutes), non-chronological/episodic/multi-plot structure, long stretches of idle chit-chat, hairpin plot turns, extreme violence sprinkled with laughs, eccentric soundtrack selections — and Tarantino was so amply lauded and rewarded for it that he began to believe he could do no wrong, that he could be either as daring or as lazy as he felt on any given day, and we would continue to bow at his feet. The films that followed over the next two decades were… well, it depends who you ask. There are those who still worshipped at his altar, but many others didn’t quite take to much of it, grew tired of waiting for the old Tarantino to return, and viewed each new release with ever-decreasing expectations. Continue reading
Thankfully, Tom Cruise has never gone the Evil Twin route, facing off against himself in a movie. But that doesn’t mean he can’t do it in a Smackdown.
Here we pit two of the actor’s star turns against each other: He’s the would-be savior in the just-released Jack Reacher, while he plays a nasty contract killer in Collateral. Both are hard-edged, violent dramas featuring brooding anti-heroes. And if Collateral faced a challenge by casting America’s favorite boyish grin as a cold-blooded assassin, Jack Reacher ups the stakes by coming out a week after Sandy Hook and featuring the aftermath of a broad-daylight massacre whose victims include a nanny accompanying a small child. This one’s a reacher all right. Continue reading
Not quite satisfied with making history as the first female Oscar winner for Best Director with The Hurt Locker (2008), Kathryn Bigelow, working again with screenwriter Mark Boal, is back with Zero Dark Thirty, another topical and suspenseful Middle East adventure that’s already a serious contender for this year’s top Oscars. The new film expands far beyond the modest scope of its predecessor, taking on one of the biggest stories of recent years, the decade-long, multi-country search for 9/11 mastermind Osama bin Laden and how it eventually found closure, a mere 19 months ago (maybe you heard about that part). Continue reading
The body count in Django Unchained — given that it’s a Quentin Tarantino film — is way, way high. The film hits theaters on Christmas Day so we can consider “Peace on Earth” while amping up on slave-era violence. It will likely pack the theaters, Rotten Tomatoes has it with 100% fresh reviews as we write this. We wish we were smart enough to figure out what all of this means about violence in America and what should be done. We are devastated, like everyone else, by what happened in Connecticut, but doubt that a red carpet arrival for Tarantino’s spaghetti-western ultra-violence-fest has much bearing on it. Continue reading
Two determined superspies, two venerable movie franchises. The more venerable one, James Bond – by some standards, the longest-running film series in history – fattens its library this weekend with the release of Skyfall, starring Daniel Craig, who plays the suave secret agent for only the third time. Fighting in the defending champ’s corner is The Bourne Legacy, featuring a lead character so new, he’s not even named Bourne. Jeremy Renner plays the genetically enhanced secret warrior Aaron Cross, outrunning various government creeps who are trying to assassinate their own man to protect their black-ops program. Continue reading