Marvel's Moon Knight: A New Crusade for Disney-+

Per his Marvel foundation, Moon Knight is a character co-created by Doug Moench and Jon Paul DuChamp, who sprung from the popular Werewolf By Night. Moon Knight is otherwise known as Marc Spector, a rabbi's son, distinguished by his Marine/CIA background. Above all, he has chosen to become a costumed vigilante to (gasp!) right wrongs after overcoming death, even when haunted by the distracting (though sometimes beneficial) curse of schizophrenia, or is it now more a matter of Multiverse/past-life regression?  

For Disney+'s six-part adaptation, Spector, ersatz Steven Grant, is portrayed by imagi-movie veteran, Oscar Isaac. Considering the actor's legion of devotees, this should extra-clinch the series as a ratings champ. For the record, Isaac's characterization will, indeed, encompass his printed-page counterpart's cerebral complexities, even though in Grant from, he's reinterpreted as a fidgety, museum-store employee, thus further distancing the character as a forefront, military dynamo and/or Tony Stark-type entrepreneur. Even with the alteration, the actor will no doubt have much to play with and fans much to savor. 

Moon Knight's prime antagonist is Arthur Harrow, portrayed by the seasoned Ethan Hawke (a once-contender for Stephen Strange). Harrow is a religious fanatic/beguiling prophet reminiscent of David Koresch, who yearns to possess a magical scarab that could bestow him world power. Moon Knight, therefore, acts as an erratic but effective obstacle to Harrow's dictatorial pursuit. 

Other cast members/characters include the late Gaspard Ullial as artifacts thief, Midnight Man; Mary Calamawy as alluring archeologist, Layla El-Fauouly; Loic Mabanza as swordsman extraordinaire, Bushman; and F. Murray Abraham as the chiding/guiding voice of Egyptian god, Khonshu.  

As with the comics, Moon Knight's live-action outfit looks splendid, both spectral and imposing (a cross between the attire of Space Ghost and the Dark Knight). The suit also incorporates the comic book's chilling tone, though word has it, the series will offer Hawkeye-ish levity (and a dab of Tom Jones background music) to contrast its chaotic passages.

I subscribe to Disney+ for its Marvel material, which I've found quite engaging thus far. I anticipate Moon Knight will also please, and maybe if we're lucky, the character will swoop into a few big-screen chapters. Spector/Grant deserves that much, and so do Marvel fans. 

Moon Knight premieres Wed, March 30.  

I saw Star Wars Awaken...

"Star Wars I-III" disappointed, not because it was a lousy saga. Au contraire, it's actually quite a sprawling epic (and a damn big moneymaker, at that). It's just that, well...somewhere in the hustle of things, it lost track of its roots. 

"Star Wars", as the adventure was presented in 1977 by George Lucas, surfaced as a shameless homage to adventure tales gone by and the heroes who led them, namely John Carter, Buck Rogers and Flash Gordon. (As we well know, Lucas would have returned Flash to the big screen if only he had procured the rights.) With this, a "New Hope" presented a basic tale of good vs evil, unconcerned with murky Trade Wars or the unnerving shades of gray that characterized a villain we all knew would be uncompromisingly dark in his heart. As such, Disney's assigned director, J.J. Abrams, has assured us a new movie-serial style "Star Wars" with its seventh chapter, "The Force Awakens". 

Has Abrams fulfilled the promise? The answer is yes and no, but his slight deviations on the basic elements doesn’t mar the splendor. It simply makes this chapter (written by Abrams; the legendary Lawrence Kasdan; and Michael "Toy Story 3" Arndt) its own cool thing, which simultaneously looks to the past and the future. In this regard, we again have good and evil at odds, three decades after the epic Battle of Endor and the destruction of Death Star II, with new heroes leading the charge and supporting characters taking their sides accordingly.

Of course, as we've anticipated, it's old favorites who set the cozy pace: Princess/General Leia Organa (Carrie Fisher); Han Solo (Harrison Ford); Chewbacca (Peter Mayhew); and even Admiral Ackbar (Tim Rose). Luke Skywalker (Mark Hamill) is also in there, but essentially in concealed form, his presence felt throughout "Force Awakens", just as Spock's was felt throughout "Star Trek III": a warm-up, in essence, for the saga's predestined shape of things to come. 

The acknowledgment of our past heroes helps keep this installment in check; for if there exists any remnant of the basic formula that distinguished the middle chapters, it's through these stellar stars, and its the new folks who redirect the saga into its spirited, sequelized stretch. 

The newbies include desert-dwelling Rey (Daisy Ridley); ace X-wing fighter Poe Dameron (Oscar "Ex Machina" Isaac); wise Lor San Tekka (Max Von Sydow); helpful Maz Katana (Lupita Nyong'o); and in-search-of-redemption Finn (John Boyega). They each figure into the plot, to some extent or another, the way the characters did in "New Hope", with a transported message prompting their actions. 

Finn, in my estimation, is this chapter's most identifiable protagonist, though some would argue that Rey is more so, if only for her Skywalker similarities. Still, Finn is the one through whom we experience the adventure: the misguided guy who gets thrust upon this gallant ride after befriending the dynamic Dameron, who in his own right becomes a significant Solo stand-in. (On a speculative note, the following chapters will probably do a better job of fleshing out Finn and Rey, thus strengthening their significance within this yet expanding universe and for better or worse, tease at a potential romance.)

So, what exactly does our dynamic duo face (or rather, should I say, fall into)? Well, again it's a division of sides, with the freedom-fighting Resistance vs the multiplying "Neo-Nazi" First Order/Empire loyalists. We also learn that matters weren't definitively resolved at "Return of the Jedi'"s end, with (and this is solely implied and never succinctly stated) ineffective leadership having allowed pockets of sovereign seekers to cause disarray (much as any typical terrorist group would when not kept under thumb). 

Finn is wise, having shed his Stormtrooper shackles in the name of galactic freedom and stumbles upon Rey, who immediately takes to him, and from there their alliance fortifies for a shared cause and against a common foe. 

There are a number of baddies in "Episode VII", including memorable supporting characters, like Supreme Leader Snoke (Andy Serkis); the staunch General Hux (Domhnall Gleeson); and the gleaming Captain Phasma (Gwendoline Christie), who make a strong visual (and sometimes dramatic) mark, but never dominate the plot.

The villainous beacon, therefore, is the heavily publicized Kylo Ren (Adam Driver): an often masked zealot with a most distinct light saber, who desires supreme, cosmic control. He's this segment's Ming the Merciless or Killer Kane; a counterpart to reality's hated Hitler and for the here-and-now, our would-be Darth Vader. He's hellbent on rekindling the Sith Lord's influence, and his impetuous temperament confirms this. Oh, and in case you're unaware, he's the son of...well, never mind; most of you've already caught wind of the startling revelation and outcome. Anyway, Ren's wayward presence is why Finn and Rey fight the good fight, though they require guidance along the way.

For such, they (along with the bad guys) seek the elusive Luke Skywalker, and with Solo, Chewy and the Millennium Falcon's help, "Force Awakens" starts to take shape, becoming at least on the surface, what Abrams projected: a thrilling quest story. 

Unfortunately, the film doesn’t always make the best use of its cast, opting (as the weaker chapters have) to emphasize organic window dressing instead of extended characterization. Tekka's presence, for example, could have been expanded, and Dameron, though engaging when given the chance, should have received much wider focus.

Though it may totter in its character balance, "Force Awakens" indubitably delivers the goods in visual glitz and not of the cartoonish CGI sort, either. This chapter is laden with old-school, heavy hardware and fast action, which earned it a PG-13: a warning to parents that such sleek intensity may be unsuitable for their coddled kids (sad, but true). Nevertheless, for those who savor movie-serial zest, "Force Awakens" should more than please and have most fans clamoring for more. 

Also to its benefit, this chapter downplays the cutsey stuff. Sure, the adorable, snowman-shaped BB-8 is there to pick up the torch from R2-D2 (Kenny Baker, who in this instance "consulted" on the droid's movements) and fidgety but amiable C3PO (Anthony Daniels), but it's all within the proper context. When given their various moments, the three give the film that Disney-esque charm: apt since the franchise is now officially Disney stationed. However, they are more of a cheerful additive than a mawkish, Jar Jar Binks distraction. 

At the end of the day, whether one labels it a hit or miss, "Force Awakens" is but another part in a progressing mythology. How this chapter will figure into the grand scheme is yet to be seen. (Remember, "Empire Strikes Back" wasn't necessarily praised as the best of the best upon release.) For the time being, and for the sake of launching a new start, the film now stands as the franchise's "new hope": a chance to avoid the disfavor paved by the prequel trilogy. It may also become, in the long run, another magnificent moment in space-opera history. For now, with the box-office numbers blasting through the roof and fan praise mounting, things look most promising.

Collectible Time #41: JAKKS 18" Poe Dameron and 20" Yoda Action Figures

Purchased an 18" JAKKS Poe Dameron action figure at Kmart. I figured I'd finally get in on the ground floor with one of the upcoming "Force Awakens" good guys. 

The Chapter VII character  is portrayed by Oscar "Ex Machina" Isaac, and the representation certainly captures the actor's facial structure, even if the gear somewhat obscures this upon initial glance. 

I've always been partial to the X-wing pilot outfit, going back to when Mark Hamill wore such as Luke: a kind of bulky Buck Rogers or Flash Gordon look, perhaps, with a brush of Captain Midnight. Anyway, this variation looks good on Isaac, while connecting with a prior time in "Star Wars" lore. Heck, what can I say? I'm a sucker for nostalgia!


PS: The figure comes with an attachable blaster which can be poised in hand or holster. Nice touch...

Also, a few days later at Kmart, I purchased the JAKKS 20" Yoda!!!

In scale, this one would be more in tune with the 48" JAKKS figures, but is probably intended as its own "jumbo" stand-alone among the company's largest pieces.

Yoda comes with a cloth cloak, an attachable lightsaber  and loads of wrinkled detail on his wise, old head. I don't mean to brag, but the force was evidently with me, for I found this one on its first day of release!!!

I saw Ex Machina...

I'm quite the johnny-come-lately to reflect upon "Ex Machina", but then considering it's just been made available on disc (and was otherwise overshadowed by this summer's blockbusters), I suppose now is as fine a time as any to offer some words... 

For those who might not know, "Ex Machina" is about a man and an android and the peculiar relationship that develops between them, under the scrutiny of a brilliant but suspicious scientist. The early set-up reminds one of the '80s "Twilight Zone" episode, "Her Pilgram Soul", though in that story, it was a hologram with whom the male lead conversed. In another way, "Ex Machina" carries a touch of "Iceman": the film where Timonty Hutton (a modern man) interacts with John Lone (a primitive man). The more obvious, broader comparisons would link "Ex Machina" to "Do Androids Dream of Electric Sheep?"/"Blade Runner"; "Creation of the Humanoids"; "Metropolis"; Rod Serling's "The Lonely"; the short-lived series "Mann & Machine"; plus various "Star Trek" episodes that deal with artificial intelligence and/or Mr. Data, in particular. (Oh, and I guess there are traces of "Alphaville", "2001" "Stepford Wives" and "Westworld" in there, if one really wants to stretch the matter.)

Okay, so what I’m saying is that the film isn’t conceptually original, but that doesn’t mean it isn’t worth a serious peek, for it unfolds in a most curious way, implementing an element of John Fowles' "The Collector". However, theatrically, the dynamic is more complicated than what occurs between Terence Stamp and Samantha Eggar in the book's cinematic counterpart. Though "Ex Machina", like "The Collector", spins into a tale of imprisonment and emphasizes an intense earning for freedom, its vibe becomes increasingly akin to "Frankenstein", for Nathan Bateman (Oscar Isaac) is its Victor and Caleb Smith (Domhnall Gleeson) its Henry Clerval, but Caleb is more than Henry, for Nathan pulls the young man further into his experiment than Victor would have ever dared. 

Though the film's content grows increasingly complex, the story commences in a simple, oh-hum enough way. Computer programmer Caleb wins a contest (or so we’re led to believe), his award being the chance to indulge in Nathan's A.I. experimentation. Nathan has created a fabricated female, Ava (Alicia Vikander), who's partially “fleshed" about the head, hands and feet, but the rest of her consists of luminous circuitry within transparent casing. She's kept in a "glass" cell, and Caleb is meant to test her cognitive abilities through a series of talkative sessions, as Nathan watches via a monitor. Ava seems to fall for Caleb, and when she causes Nathan's expansive abode to lose power on occasion, it's only so she might remind Caleb that Nathan can't be trusted. 

Nathan has a modernized Frankenstein lab, where he keeps his artificial parts. He shows Caleb a prototype of Eva's gel brain: a fluid-filled organ designed to hold memories and possible emotions. However, Nathan tells Caleb that Ava is an intended one in a series, designed for an inevitable upgrade. Her personality will be scrapped, which unnerves Caleb, to the point where he decides to orchestrate Ava's escape. 

Writer/Director Alex Garland (“28 Days Later”/”Dredd”) builds the suspense slowly, concentrating initially on Nathan/Caleb relationship, distinguishing a contrast between them. Nathan is arrogant; Caleb humble. Caleb finds himself stumbling deeper into the strange circumstances, and not only during his sessions with Ava. He witnesses Nathan's subtle cruelty, the way he treats his gorgeous housekeeper/dance mate, Kyoko (Sonoya Mizuno), who he claims doesn't speak a lick of English, which he prefers since he needn't fear her sharing information with some potential A.I. competitor. However, Kyoko holds a secret. 

That secret links to other secrets, which Caleb begins to unravel. His revelation turns “Ex Machina” from a science-fiction tale into one of "Psycho"-piercing terror. It also squashes (SPOILER) any extended love story the film may have dangled. Good! “Ex Machina” could have been another cleverly disguised mush fest, but morphs into a mash-up of “Alien”; Lugosi/Karloff's “The Black Cat”; “The Skin I Live In”; and “Eyes Without a Face”. Its confinement of sleek, shadowy halls makes it alluring and yet claustrophobic. Like Ava, who wishes freedom, so does Caleb…and perhaps, on a subconscious way, so does Nathan (speculatively speaking, of course). 

Despite its various misleads, the focus always returns to the evolving Ava. As to her intent…well, you’ll have to experience “Ex Machina” for yourself to understand. This one must be viewed with its air of mystery intact, and when finally the truth is revealed, you’ll be stunned and pleased, just as I was. Yes, folks, this is a good one…a damn good one, in fact.