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wonderfulworldofmichaelford · 4 years

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Psycho Analysis: Scoring System Rework & Mass Correction

Welcome to the second year of Psycho Analysis! The first year was one hell of a learning experience for me as I reviewed and rated all sorts of villains, and as I’ve been on hiatus I’ve come to realize my scoring system is inherently flawed and that I’m not totally satisfied with the rankings I gave everyone before.

Now, here is the original scoring system, as laid out in this post introducing the series:

1 - Absolute garbage; the worst of the worst

2 - Seriously bad

3 - Excessively mediocre

4 - Below average

5 - Average/Standard, nothing special

6 - Above average

7 - Pretty good

8 - Excellent

9 - Outstanding

10 - Amazing, one of the very best

Now, it’s decent, and I’ve mostly stuck to it... but I feel it needs a rework. It’s just too vague and doesn’t really give much meaning to the overall rating. So here is an updated ranking:

1 - A terrible villain, one that fails on nearly every level or at least is so utterly worthless and incompetent as to be unenjoyable, even ironically.

2 - Mediocre and forgettable. There may be a couple good things... but not enough to make you care all that much.

3 - Almost awful, but with some redeeming quality that holds them back from being worse. These villains can be “So bad it’s good” villains.

4 - Just below average. They have enough problems keeping them from being called good, but they’re not totally worthless, just underwhelming.

5 - Average villains. These tend to be super basic or generic villains saved by good vocal performances.

6 - Above average; nothing too special, but definitely leaning towards being a really good villain

7 - A really good villain. Nothing majorly outstanding, but enjoyable. Think a really good anime filler episode villain.

8 - The Big tier. These are low-tier greats, villains who are really good but have just a few too many flaws keeping them from going higher.

9 - Nearly perfect icons. These are villains who could very easily stand among the greatest of all time, but just lack the proven staying power or recognition.

10 - True icons. Reserved only for the villains with a notable impact on culture or who are extremely well-regarded amongst fans of the works they’re in.

11 - This is reserved for special occasions, villains who have had a massive and undeniable impact on popular culture, in some cases changing the course of fiction as we know it.

And now for the corrections... as you can see, the tier list up there is how the old villains were rated, based on their scores from the original Psycho Analysis posts. But I feel like I overrated and underrated some villains, so with the new scorings in mind, let’s go over who belongs where:

11: Orlock, Vader, Wicked Witch, and the Grinch should be the only 11s so far. The Witch should just barely be ahead of the Grinch, though honestly they’re pretty equal in terms of impact. Very little to change here.

10: I feel like I gave out 10s a bit too easily before; I didn’t really have much in mind besides “really great villain.” So, to rectify, here is the new order: Batty, Kira, Senator Armstrong, Joker, Tyler Durden, Gaston, Kefka, Mojo Jojo, Thanos, Skarsgard!Pennywise, Curry!Pennywise, Voldemort, Giovanni, Dahlia Hawthorne, Ghetsis Harmonia, Pyramid Head, Betelgeuse, Tamatoa, Patrick Bateman, Team Rocket (Jessie/James/Meowth).

9: A lot of really great villains are bumped down to 9, but I think they could easily get back up to 10 someday, if they’re staying power increases. The new ranking for the 9s is: Mysterio, Ego, Aro, Candyman, Toomes, Mewtwo, Lucy, Ernesto de la Cruz, Sabretooth, The Sanderson sisters, Imhotep, The Kingpin, Hopper, Cyrus, The Grand High Witch, The Grandmaster, Vanilla Ice, Wammu

8: More rearranging. Nicholson!Joker, Obadiah Stane, Jafar, Cartman, Hexxus, Oogie Boogie, Joe, Buffalo Bill, Eisidisi, Ultron, Van Pelt, Archie, Nancy Claus, Jimmy Brando, Jack O’Lantern, Pet Shop, Woodland Critters.

7: Most of the enemy Stand users moved down here because in hindisght very few of them rise above just being enjoyable challenges for Jotaro. Princess Ahmanet, N’Doul, Screenslaver, Mariah, Forever, D’Arby Bros (both are about on equal footing, though obviously the Elder gets the edge), Ghost Writer, J. Geil, Anubis, Maxie, Caius, Tod Spengo, Steely Dan, that Halloween Toy Story guy, Robot Santa.

6: Not too much change here. Carrey!Grinch, Kars, Remake!Freddy, The Noid, John Doe, Bun-Bun, Rubber Soul, Douche.

5: Again, much of it is the same. Farquaad, Marcus, Ratcliffe, Faculty Four, Gray Fly, Endgame!Thanos.

4: Benedict Cumbergrinch, Hans, Scrappy, OG!Maxie & Archie. Quite a few cuts here.

3: I came to terms with my enjoyment of a lot of crappy villains, so I decided to switch around 2 and 3 and spruce things up a bit. Terl, Slipknot, Justin Hammer, Snoke, Storm King.

2: Remake!Jafar, Bellwether, Whiplash, Enchantress, Leto!Joker, Fright Knight, Fake Captain Tenille, Killian, Evelyn Deavor, Russell Van Pelt, Edna Jucation, Pumpkinator, Arabia Fats, Kenny G, Incubus. A lot of the 1s I realized were just my personal biases; did they really deserve to be named the absolute worst villains ever when they tended to have problems like “no real screentime or personality” or “bad and stupid plans but otherwise ok performances?” 1s are only for the bottom of the barrel, and so now that is...

1: Rowan North, Dudepeel, and Killian. These are the three worst villains so far. I have nothing nice to say about any of them, and examples like these need to to stand for what is worst in villains.

Going forward, this is how I’m going to be keeping score, and these are the official rankings I will stand by.

#Psycho Analysis

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lescritiquesheroiques · 6 years

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Critique#7: The Incredibles 2

Après pratiquement 15 ans d'absence, ils reviennent afin sur le grand écran. Une famille aux talents incroyables : Les Indestructibles (The Incredibles en VO).

Est-ce-que les aventures de la famille Parr touche autant le grand public après une si longue absence ? La réponse est oui ! Tellement que j'y suis allé deux fois.

Le mérite en revient en grande partie à Brad Bird, scénariste et réalisateur des films "Indestructibles".

Réalisation, Bande-Son et Casting :

Mr.Brad Bird est incontestablement un des grands noms de l'animation du 21ème siècle. Son premier long métrage a était Le Géant de Fer produit par Warner Bros. Malgré tout son charme, issue des vieux Pulps et des BD de Science-Fiction, ce premier long métrage est un échec commerciale. Mister Bird s'envolera alors pour les studios Pixar et signera son premier contrat avec eux au mois de Mai de l'an 2000 avec un tout nouveau projet The Incredibles.

Le film d'animation sortira en automne 2004. Ce fût un vrai carton et un gros succès commercial pour les studios Pixar. The Incredibles a rapporter 6 fois plus que son budget de création (Budget : 90 Millions $, Recettes Mondiales : 631,4 Millions $).

En 2005, Brad Bird réalise un court-métrage sur l'un des personnages phares des Indestructibles 2 : Le Baby-Sitting de Jack-Jack (Jack-Jack Attack en VO). Durant c'est quelques minutes, nous assistons au Pire Baby-Sitting du Monde ! (fou rire garantie). Jack-Jack Attack fait office de "scène caché" qui se déroule durant le premier Incredibles.

https://www.youtube.com/watch?v=-Z9QLtU1tlI

On sent à quel point le réalisateur considère les Indestructibles comme étant "son petit bébé" et que tout les projets cinématographiques sur lequels il a travaillé entre 2005-2015 (Ratatouille, Tomorrowland, MI : Ghost Protocole) lui ont permis de testé de nouvelles idées de mis en scènes et les améliorations technologiques qui participent à la beauté de Indesctructibles 2.

Il n'y a pas seulement la réalisation qui est soigné, l'orchestration est signé Michael Giacchino qui été déjà en charge de la Bande-Son du premier volet de la super famille. Vous ne connaissez peut-être pas son nom, ni son visage, mais si vous aimez les films d'animation vous connaissez son travail. Ratatouille; Speed Racer; Là-Haut (Up !); Cars 2; Zootopia et Coco.

C'est sa 5ème collaboration avec Brad Bird, et c'est toujours aussi bon !

Et enfin le casting. Car oui, c'est bien beau de créer tout un univers en image de synthèse HD Super-réaliste, si vous n'avez pas des bons acteurs pour donner vie à vos personnages la magie ne prendra pas. Que ce soit en VO ou en VF, on a droit a de très bon doublage.

Mis à part pour le rôle de Flèche, le doublage des personnages principaux ont été fait par les mêmes acteurs/actrices du premier volet. Craig Nelson pour Mr.Indestructible, Holly Hunters pour ElastiGirl, Samuel L. Jackson pour Frozone, Sarah Vowell pour Violette Parr et Brad Bird pour Edna.

Pour la version française, Déborrah Perret (ElastiGirl/Hélène), Thierry Desroses (Frozone/Lucius) et Amanda Lear (Edna) sont les seuls a reprendre du service. Gérard Lanvin incarne Robert Parr/Mr. Indestructible, remplaçant Marc Alfo grand acteur de doublage disparut en Août 2012. Pour des raisons évidentes (relevant de la physiologie), les actrices et acteurs qui interprêtés les adolescents de la Famille Parr ont dût être changés. C'est désormais la chanteuse Louane qui incarne Violette (doublé par Lorie dans le premier film) et Timothé Vom Dorp remplace Simon Koukissa pour le rôle de Flèche.

Humour, Clin d'oeil et Mis en scène :

Brad Bird possède une véritable maîtrise des codes et gimmick du genre "Super-Héroique" qu'il utilise sans tomber dans le cliché.

Les noms des personnages ont un sens. En version originale, le nom de Flèche est Dashiell. Sa famille le surnomme "Dash" ce qui peut se traduire par "Glissade" ou "Filer à toutes vitesse". Les Villains utilisent des machines géantes, un gimmick typique des méchants des comics des années 40/50. Le premier adversaire de la famille Indestructible, le Démolisseur, est clairement une référence à l'Homme-Taupe et aux Fantastic Four.

Outre les références et codes issue de l'univers de super-héros, Brad Bird pioche dans les autres genres. Il y a les scènes de voiture font penser à du James Bond et il y a un peu du Jurassic Park dans un scène de cuisine. Peut-être est-ce seulement moi mais "le gros bibendum en colère" m'a évoqué le bébé capricieux du Voyage de Chihiro. Quand à "l'effaceur de mémoire", c'est du pur Men In Black.

Ceci n'est qu'une liste non exhaustive des innombrables clins d'oeil que vous pouvez trouver dans ce long métrage.

Les images sont juste... magnifique. La fluidité des mouvements des héros est impressionnante, et leurs expressions faciales les humanisent tellement qu'ils en deviennent presque réel. Le lien entre les personnages et les spectateurs s'intensifient grâce au jeux de caméra qui procure une plus grande immersion dans les aventures d'ElastiGirl. À plusieurs reprises durant les scènes d'actions, l'angle de la caméra délaisse un point de vue extérieur pour adopter la vue à la première personne (First Person Sight). Une technique fréquemment utilisé dans les jeux vidéos. Pendant un court instant ce n'est plus ElastiGirl qui fait une chute libre ou qui pénètre dans le repaire d'un dangereux criminel mais le spectateur. Et je vous assure que vous allez avoir quelques sueurs froides.

Ce qui va définitivement humaniser la Famille Parr, ce sont les scènes de vie quotidienne qui prennent une ampleur délirante à cause de leurs super-pouvoirs. Entre Flèche le bolide qui ne tient pas en place, Violette qui en pleine crise d'adolescence et Robert, le père de famille, qui s'efforce de faire preuve d'autant de tact et de finesse que lui permette sa carrure et sa force herculéenne... Chaque membres de la Super-famille va vous procurer son petit lot de fou rire.

Mais le pivot humoristique le plus puissant des Indestructibles 2 est incontestablement le bébé Jack-Jack. Cet enfant est à la fois hilarant et terrifiant. J'en ai pleuré de rire. Si vous hésitez a aller voir ce film d'animation, n'hésitez plus car Jack-Jack vaut son pesant de cacahuète (ou de cookie). Je dois avouer que si je suis retourné voir ce film, c'est en partie pour Jack-Jack.

Synopsis et Scénario :

Quelques mois après la défaite de Syndrome (The Incredibles), la famille Parr continue d'opérer sous leurs identités de super-héros. Les Super-héros sont toujours considérés comme hors-la-loi par le gouvernement et le programme de protection dont bénéficie la famille Parr est annulé. Le millionnaire philanthrope Winston Deavor, dirigeant de DevTech, va proposer à Elastigirl de devenir la représentante de la communauté des Super-héros et d'aider à faire voter une loi permettant leurs réinsertions. Rapidement un mystérieux ennemi, l'Hypnotisseur, va pointer le bout de son masque et va tenter de faire capoter ce projet.

Les films va se diviser en deux arcs narratifs. Le premier est à l'image du costume que porte Elastigirl : sombre. Hélène va menait son investigation sur l'Hypnotiseur, virevoltant entre les toit de ville. Elle sera soutenu par Evelyne, la soeur de Winston, une génie de l'informatique. Cette partie du film est la plus "adultes" et possède les scènes les plus angoissantes qui ne laisseront pas indifférent les spectatrices et spectateurs de la salle.

Le deuxième arc est beaucoup plus coloré. Nous suivons Robert Parr et comment il gère l'éducation de ses enfants en l'absence d'Hélène (autant qu'il peut). Cela donne les scènes les plus drôles et touchantes du film.

Les Indestructibles seront réunis pour l'acte final et affronter ensemble la menace de l'Hypnotisseur et les surhumains qu'il a envouté.

Je n'en dit pas plus car le scénario est assez classique. Je ne voudrais pas trop vous en dire de peur de révéler les surprises qu'il vous réserve.

Conclusion :

Indestructibles 2 est un très bon film d'animation, et contrairement à Deadpool 2, il possède un humour "universel" qui fera rire petits et grands. Vous allez embraquer pour deux heures de montagne russe d'émotions et d'émerveillement qui passe à une vitesse folle. N'hésitez plus et allez partager une moment avec une famille vraiment "Super".

Je vous souhaite de bonne vacances d'été. Rendez-vous à la rentrée pour les prochaines Critique Héroïques. La Bise.

Peter Baker

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writingguide003-blog · 5 years

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Critics assemble: our writers pick their favorite superhero films

New Post has been published on https://writingguideto.com/must-see/critics-assemble-our-writers-pick-their-favorite-superhero-films/

Critics assemble: our writers pick their favorite superhero films

Batman v Superman v Captain America v all of the X-Men. Which cape-wearing, civilian-saving adventures are worth cheering?

Given the repetitive influx of superhero films in recent years, youd be forgiven for wanting very little to do with anything involving a cape, a mask and a post-credits teaser for a long time. But wait, the R-rated Wolverine sequel Logan hits cinemas this week and critics agree that its worth getting over yourself for.

Many are saying it will join the ranks of the all-time greats but what else should be on this list? Here are seven of the best from Guardian writers.

The Incredibles

Photograph: HO/Reuters

Was 2004 the superheroes annus mirabilis? That was when Marvel Studios initiated its ambitious plan to self-finance its movies, buy back the rights to characters such as Iron Man and the Incredible Hulk, and begin the 21st-century wave of superhero films, hugely popular with the public, but often patronised and dismissed the way westerns used to be.

But something else happened in 2004: the release of Pixars glorious animated superhero homage The Incredibles. Thats a film which doesnt fit easily into the superhero fanbase-constituency, and is part of neither the Marvel nor DC tribe (unless you count the fact that Pixar, like Marvel, is part of Disney). And Im conscious that in calling it a homage I may even now be denying it full superhero-film status. But a brilliant superhero film is what it is riffing on the X-Men and Fantastic Four with superb characters, a great supervillain, a terrific story and a sharp satiric theme on the subject of excellence, and the nature of risk, jeopardy and the state.

Mr Incredible (voiced by Craig T Nelson) is a lantern-jawed, barrel-chested superhero who plies his trade in the 1940s, the superheroes postwar first-generation comic book heyday. He is fighting alongside his fiancee, Elastigirl (Holly Hunter). When a member of the public sues him for preventing his suicide, it triggers a legal nightmare forcing the government to outlaw superheroism and to relocate supers to other cities with new identities and bland normality. Twenty years later, he and Elastigirl have suburban lives and he works in insurance a nightmarish perversion of his former calling. They have two kids whose superpowers they have to conceal at school. But then a new villain emerges with a secret connection to the Incredibles past, forcing them to reclaim their vocation and their destiny.

It is rightly celebrated for the superhero costumire, Edna Mode, voiced by the director and writer, Brad Bird, who thinks that capes are a bad idea and is passionately committed to her contemporary vision: I never look back, darling; it distracts from the now. There is a wonderful passage on the phenomenon of supervillains monologuing huge third-act set-piece speeches in which the villains talk about themselves and their awful vision.

Actually, in 2017, the non-talky streamlined all-action superhero film is pretty much against both capes and monologuing and also against Edna Modes injunction against looking back. Superhero films love origin myths, elaborate retro sequences from the past and all-around ancestor worship.

But as it happens, and incredible as it may sound, The Incredibles has a brilliant action sequence, as exciting as anything in any live-action superhero film or action film. Elastigirl and the two kids are flying in their plane to an island from which the errant Mr Incredible has sent a distress signal. Then she is attacked by rockets. The subsequent chase scene and midair explosion are absolutely nail-biting.

It is witty, smart, visually ravishing, and its generic insights are celebratory, not derisive. What a great superhero film. PB

Batman

Photograph: Allstar/Warner Bros/Sportsphoto Ltd/Allstar

I have to be honest: I am not the worlds biggest superhero movie fan. Put another way, when they took off in the late 80s, I thought they were a fad that would blow over in a few years; more fool me. In fact, the elevation to ever-prolonging ubiquity is one of the great mysteries of contemporary cinema: how this genre, that for years was considered only good for doltish teens, and treated with equivalent lack of respect, has steadily evolved into the mainstay of the global film industry. Be that as it may, I prefer the funny, candy-coloured type of superhero movie (Spider-Man, Thor, Deadpool) rather than the furrowed-brow earnestathons (Batman Begins, Captain America, Man of Steel) Ive never seen a superhero movie weighty or nuanced enough to justify the heavy-duty treatment.

But as films as opposed to moving comic-books superhero movies tend to fall down pretty hard. There are great sequences, brilliant set pieces, very nice shots but they rarely hold together, still less allowing actual narrative subtlety to intrude on the scene-shifting. The first and still, by my reckoning, only time that a superhero movie seemed way ahead of everything else was the first Tim Burton Batman, from 1989. A tour de force of design, cinematography, and cinematic texture, it was light years ahead of (the nevertheless highly enjoyable) Superman films that had blazed the superhero trail in the 1970s and 80s. Burtons brilliance was to make everything else look redundant and in many ways, nothing has changed since. AP

Captain America: The Winter Soldier

Photograph: Moviestore/Rex

Heres a conspiracy theory: someone at the Academy purposefully shuffled those envelopes to detract from the much bigger scandal earlier in the evening: the snubbing of Garry Shandling in this years Oscars In Memoriam montage. I hope my choice of the Marvel movie in which he cameos as a sinister Hydra disciple will go some way to righting this wrong.

Shandlings 15-second appearance in this sequel to the first film featuring the weed who becomes the most fantastic hunk is one of my chief reasons for picking it; the other is its literally the only superhero movie I can ever really remember enjoying.

This is obviously a personal deficit, but perhaps it is, actually, a better superhero movie than most? There are terrific action sequences, for a start: that initial heist, fuelled with sexual tension between the Cap and the Black Widow, plus the most wonderful punch-up in a lift. Plus, vegetables to accompany all that meat and beef: a properly thought-provoking investigation of the morals of surveillance and the ethics of vigilantism in a democratically accountable society.

But perhaps what really clinched it for me as an Avengers movie I could get along with was the relative dearth of Robert Downey Jr. The more you can minimise this man, the more I shall like any movie. CS

Thor: The Dark World

Photograph: Allstar/Marvel Studios/Sportsphoto Ltd/Allstar

Many are hailing Logan for stretching the boundaries of what a superhero movie can be. Its dramatic, fervid, and realistic in its violence. But lets not do away with whats core to comics culture: deep, dank nerdery that ought not be allowed to see daylight.

I love comic books rich in lore and steeped in mythos, swirling in and out of realms with names impossible to spell. Thor: The Dark World stuffs two handfuls of delicious dorkiness into its maw, one rich in fantasy, the other in science fiction. Is the Asgardian bio-bed a quantum field generator or a Soul Forge? The answer, of course, is that it is both.

Thor: The Dark World has portals and Kronan Rock Men and invisible spaceships and a ray that can curl you up into a singularity and zap you into another dimension. A liquid totem called the Aether is almost in Malekith the Dark Elfs nefarious grasp, just in time for the quinquennial cosmic event known as the Convergence. Oh, God, I need to stop typing and grab my asthma inhaler, this sort of talk gets me all worked up.

In the middle of all this, theres the bickering romance between the sharp and sweet doctor played by Natalie Portman and her hunky blonde blue-eyed spaceman, Thor. When they reunite during a battle, the first thing she does is yell at him for never calling. When they visit Thors realm, Dr Foster quickly bonds with Thors mother. They may as well be eating intergalactic coffee cake. And there are still some who say mixed marriages cant work?!?

Thor: The Dark World is a rush of Absolute Comics mainlined direct to my amygdala, with a profound purity that few other modern superhero movies allow themselves. It is Worthy. JH

The Dark Knight

Photograph: Allstar/Warner Bros

While Batman Begins was a refreshingly coherent, mature and dark-hued film about the Caped Crusader (a relief after the eye-punishing gaudy excess of Batman & Robin), it was far from a masterpiece.

There was a major villain problem (a somewhat gimmicky last act switcheroo that didnt quite have the required impact) and a major Katie Holmes problem (needs no explanation) and as a result, it was a promising franchise-restarter but not the home run we might have hoped for. Three years later, Christopher Nolan returned, lessons learned and homework done, with a sequel that rose far above its generic peers and, despite the creation of the hero-packed DC and Marvel universes since, it easily remains unsurpassed.

The Dark Knight moves like a fiendish thriller, one that confidently pushes the boundaries of the superhero genre in a way that comic book fans may be familiar with but which for cinema-goers such as myself was a revelation. Its a breathtakingly brutal film, packed with staggering PG-13 violence and a bleak worldview thats unrelenting, grounding fantastical characters and situations in a world that, for once, is depressingly easy to relate to.

That villain problem? Easily fixed. The casting of Heath Ledger in the role of the Joker might have been initially unpopular with fans, who couldnt envision his leading man looks buried under cartoonish makeup, but his performance was dynamite, an Oscar-winning fireball of anger and anarchy. That Katie Holmes problem? Replaced. Maggie Gyllenhaal added depth and a genuine emotional connection which led to the shocking finale carrying even greater weight. Its one of the rare examples of a superhero film where each devastating act of violence or aggression has a lasting impact. In Nolans Gotham City, life and death both mean something.

It might be to blame for the dreary drudgery thats bogged down many ensuing superhero adventures but it remains a ruthlessly entertaining example of just how daring and necessary the genre can be. BL

Watchmen

Photograph: Clay Enos/Photo by Clay Enos

It may be difficult to credit given Batman v Superman: Dawn of Justice recently picked up a gaggle of Razzies, but Zack Snyder was once seen as the coming man of comic book movies. His 2009 adaptation of Alan Moores sprawling graphic novel about an alternative 1980s in which Nixon remains in power and superheroes are real remains a high point of the film-makers career and proof that given a decent script, he is capable of producing eye-popping cinema beyond that of most his contemporaries.

The bravura opening montage, set to the strains of Bob Dylans The Times They Are A Changin, is unequalled in comic book movies. The casting is impeccable: Jackie Earl Haley has never been better than as the hardboiled, morally immovable vigilante Rorschach, a gurning, spitting man out of time whose psychological torment is written on his face whether wearing that famous mask or not. Patrick Wilson is wonderfully understated as the taciturn Nite Owl, a superhero who looks like an accountant with middle-aged spread, while Jeffrey Dean Morgan is perfect as the leering, sneering, cigar-smoking alpha male scumbag the Comedian, a role which surely won him the part of the villain Negan in The Walking Dead.

Naysayers argue that Watchmen is too close to its source material, bar a sensibly altered denouement. But Moores story is so epic in scale and splendid in its unexpectedly detailed rendering of the inner psyches of costumed crimefighters that Snyder was really only required to add visual flare. If there is a Citizen Kane of superhero movies, this is indisputably it. BC

X-Men: Days of Future Past

Photograph: Allstar/20th Century Fox

The best thing about this time traveling entry into the vast annals of X-Men history is the absolute disregard Bryan Singer had for newcomers. If you hadnt been paying attention to his line of mutant entertainment over the last decade or so, youd feel a bit like Kyle Reese being spat out into 1984 with no clothes and no idea what was happening. That slightly manic pace, which feels like its borrowed from a daytime soap opera, plus the period costume and references to Vietnam, Nixon and the height of 70s cold war paranoia made this a strangely daring superhero film.

Instead of something that tried to set out the basic idea of what the X-Men were and what they were all about a concept most grandmothers could probably grasp by now this just got straight into the internal machinations of a group that makes the EU look harmonious. Of course, the old themes of good and evil doing battle, and overcoming personal demons (in this case addiction for Professor X) are there, but it was delivered in a knowingly strange way. You could even argue the hectic feel and funny but slightly smug lines set the stage for the least superhero-y superhero of them all, Deadpool. Singer knew fans were au fait with the concept of time travel, and would love to see Magneto and Professor X as their younger selves, so he threw it all into a blender and Days of Future Past came out like a perfectly mixed bit of superhero bechamel. LB

Read more: http://www.theguardian.com/us

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nextnnet · 6 years

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La familia de superhéroes favorita por todos ha hecho su regreso triunfal este verano, poniendo fin a una espera de catorce años que para muchos ha supuesto toda una vida. No para los Parr, que arrancan su nueva aventura segundos después de que el Socavador declarara la guerra a la paz y a la felicidad, obligando a los súpers a volver a ponerse el antifaz para luchar contra el crimen, aunque sea a espaldas de la ley. Intentar recuperar su legalidad es uno de los temas principales de Los Increíbles 2, que jugaremos en seis niveles que recrean toda la trama de la película. Hay spoilers, claro, así que os advertimos que no lo juguéis hasta que no hayáis visto la película.

Gazerbeam lives!

Si hemos tardado tanto en traeros este análisis (¡aunque os dimos una entrevista a cambio!), es precisamente para evitar. Aunque el juego está a la venta desde finales de junio, Disney no tuvo bien estrenar la cinta en España hasta agosto. Los lectores siempre sois los primeros, pero no íbamos a hacer el sacrificio de jugar antes al juego que ver la película, ¡faltaría más! Dicho esto, los que ya estéis familiarizados con los juegos LEGO tampoco encontraréis grandes novedades en LEGO Los Increíbles. Aunque sí hay lo suficiente como para compensar por el tamaño del juego, bastante más modesto que el gigantesco LEGO Marvel Super Heroes 2.

Los 12 niveles principales (6 de cada película) son tal y como cabría esperar: combates y puzles sencillitos, alguna sección de plataformas y mucha exploración, que como siempre obliga a jugarlos al menos una segunda vez en juego libre para poder acceder a todos los secretos. Lo que sí sorprenden son las numerosas licencias que se toma respecto a la película, sobre todo para hacer hueco a ese segundo personaje necesario para el multijugador cooperativo (que permite jugar cada uno con un solo Joy Con). Por ejemplo, en la primera película, a Mr. Increíble le acompañará Frozono en su primer combate contra el Omnidroide, y más adelante, el mismísimo Ultravisión le ayudará a infiltrarse en la base de Syndrome. ¡Herejía!

Lo cierto es que estos cambios en las escenas mantienen fresco un desarrollo bastante repetitivo. ¡Incluso hay diálogos completamente nuevos! Queda patente el gran cariño del equipo de TT Games por las películas, que incluye respetar con gran detalle su estética tan particular, un cruce entre los Estados Unidos de los 60 y la ciencia ficción retro-futurista de esos años. Pero, por otro lado, también se notan los deseos de hacer algo más con este universo, no limitarse a copiarlo en ladrillos LEGO sino a reinterpretarlo a su manera. La desbordante imaginación (y atrevimiento) a la hora de reimaginar casi de cero las secuencias animadas por Pixar es buena prueba de ello, aunque donde realmente brilla es en una aventura paralela que se desarrolla en el mundo abierto.

Las nuevas caras del crimen

Las urbes de Municiberg y New Urbem componen la ya tradicional zona abierta para explorar. Aunque es muy colorido, quizás sea el mundo abierto menos característico de los LEGO recientes, sin mucho que recuerde a las películas salvo algunas localizaciones puntuales. También es considerablemente más pequeños que los mapas de otras entregas, aunque como siempre, está repleto de coleccionables, misiones secundarias, súper construcciones y cosas del estilo, que alargan enormemente la vida del juego.

La principal novedad son las “Oleadas del Crimen”, una especie de evento que alterará el estado de uno de los distritos en los que se divide el mapa con misiones especiales que se pueden jugar paralelamente al modo historia, y que en muchos sentidos son más originales que los niveles principales. En muchos casos, cuentan con personajes completamente nuevos, creados por TT Games pero que no desentonan con la visión del director Brad Bird. ¡Incluso hay jefes finales! Superar cada una de estas oleadas está muy bien recompensada: uno de los preciados ladrillos rojos, con los extras ya característicos como el imán de piezas o el multiplicador, así como un personaje especial basado en otras películas de Pixar: Dory, Woody, Flik, Mérida…

En cuanto al plantel de personajes, supera la centena, una cifra menor que en otras ocasiones pero nada desdeñable, sobre todo si comparamos los repartos de solo dos películas con universos como el de Marvel, DC o Star Wars. El editor de personajes también vuelve, y como no podía ser de otra forma, está ubicado en la casa/mansión de Edna Moda, la modista que confecciona todos los trajes de los superhéroes.

LEGO Los Increíbles – Un LEGO “menor”, pero igual de divertido

La cantidad de contenido de LEGO Los Increíbles desluce comparado con entregas anteriores, basadas en propiedades mucho más contundentes, al menos, por cantidad de mundos y personajes. Algo que, por otra parte, es casi mejor: divierte y sorprende sin llegar a empachar, y si quieres conseguir el 100%, sus 15 horas de juego no te las quita nadie. La reconstrucción de las películas se toma muchas licencias, aunque los fans de éstas agradecerán la expansión que hace de este universo tan particular, con nuevos diálogos, personajes e historias paralelas. Jugablemente se mantiene en su línea: muy sencillo y enfocado sobre todo a la exploración. Un complemento ideal para una película que nos hace sentirnos como niños.

Las cenas familiares siguen siendo un desastre

Hemos realizado el análisis de LEGO Los Increíbles gracias a un código de descarga para Nintendo Switch proporcionado por Warner Bros. Interactive Entertainment

Análisis – LEGO Los Increíbles (Nintendo Switch) Súpers de la vieja escuela La familia de superhéroes favorita por todos ha hecho su regreso triunfal este verano, poniendo fin a una espera de catorce años que para muchos ha supuesto toda una vida…

#Análisis #Multiplataforma #Nintendo Switch

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jackiedluke · 6 years

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Wine Reviews: Weekly Mini Round-Up For July 9, 2018

I taste a bunch-o-wine (technical term for more than most people). So each week, I share some of my wine reviews (mostly from samples) and tasting notes in a “mini-review” format.

They are meant to be quirky, fun, and (mostly) easily-digestible reviews of (mostly) currently available wines (click here for the skinny on how to read them), and are presented links to help you find them, so that you can try them out for yourself. Cheers!

2015 Zocker Paragon Vineyard Gruner Veltliner (Edna Valley): It’s perennially a fascinatingly good time to watch what this one is up to. $19 B+

2011 Oso Libre “Quixotic” (Paso Robles): There’s nothing unrealistic about how enjoyable – and abundant – the tangy red fruit flavors still are. $62 A-

2016 Dutton Estate La Familia Pinot Noir (Russian River Valley): Sure, it might be young, but with all of that brooding darkness, it’s also deadly freakin’ serious. $70 A-

2015 Grgich Hills Estate Paris Tasting Commemorative Chardonnay (Napa Valley): For those times when refinement, texture, and contemplation are meant to trump bombast, weight, and raw concentration. $95 A

2015 Georges Duboeuf Pouilly-Fuisse (Maconnais): The white figs have come to party, and they will not be denied, my friends! $32 B+

2017 Chateau Ferry Lacombe “Haedus” Rose (Cotes de Provence): Red flowers, red berries, and very likely a red face and nose from drinking so much of it. $18 B+

2013 Cartuxa Evora Colheita Tinto (Alentejo): Dark, floral, and like a dreamscape, it’s at once exotic but also eerily familiar. $21 B+

2013 Gaja Dagromis (Barolo): Yet an energetic pup at this stage, with all signs pointing to it growing into a fine example worthy of its prestigious pedigree. $90 A-

2017 Saint Clair Sauvignon Blanc (Marlborough): So, you think that you know pungent? Well, this is here to tell you that you don’t really know pungent yet, bro. $28 B+

2015 Hickinbotham The Revivalist Merlot (McLaren Vale): What this will revive is a) your faith in high-end Aussie wares, and b) your love of Merlot done right. $75 A-

Grab The 1WineDude.com Tasting Guide and start getting more out of every glass of wine today!

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Copyright © 2016. Originally at Wine Reviews: Weekly Mini Round-Up For July 9, 2018 from 1WineDude.com – for personal, non-commercial use only. Cheers! Source: http://www.1winedude.com/wine-reviews-weekly-mini-round-up-for-july-9-2018/

source https://meself84.wordpress.com/2018/07/09/wine-reviews-weekly-mini-round-up-for-july-9-2018/ from Sommelier Courses https://sommeliercourses.blogspot.com/2018/07/wine-reviews-weekly-mini-round-up-for_9.html

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katejmannie · 6 years