I saw Ultron come of age...

Joss Whedon's new Avengers adventure, "Age of Ultron", has arrived, and our favorites are back: Captain America/Steve Rogers (Chris Evans); Iron Man/Tony Stark (Robert Downey, Jr); Hulk/Bruce Banner (Mark Ruffalo); Thor (Chris Hemsworth); War Machine/James Rhodes (Don Cheadle); Hawkeye/Clint Barton (Jeremy Renner); Black Widow/Natasha Romanoff (Scarlett Johansson); the Falcon/Sam Wilson (Anthony Mackie)...and a special appearance by SHIELD's fatherly force, Nick Fury (Samuel Jackson). 

New to the mix is Quicksilver/Pietro Maximoff (Aaron "Kick-Ass" Taylor-Johnson), though not to be confused with Evan Peter's hero in "Days of Future Past"; the Scarlet Witch/Wanda Maximoff (Elizabeth Olsen) and the majestic android, the Vision (Paul Bettany, who also voices Stark's digital butler, JARVIS). 

The computer angle is big in this sequel, with a robot army on the loose, led by the power-hungry Ultron (voiced by James Spader). However, the concept of fickle technology isn't new in science-fiction/fantasy fables. We've seen it depicted in "Terminator", "2001: a Space Odyssey, and "Colossus: the Forbin Project". As far as acrobatic robots dominating the landscape goes, we've seen that, too, thanks to the RoboCop and Transformers sagas, but "Age of Ultron" somehow manages to keep things fresh, despite the recycled trimmings. 

On the flip side, as significant as the mechanical infiltraton is, it never dominates our heroes' presence or their sense of family. Sure, the members possess enough variance to be dysfunctional, but they also subscribe to a common cause: keep Earth safe.

As seized from Hydra's Baron Wolfgang von Strucker (Thomas Kretschmann), the technology involved is culled from Loki's scepter: its harbored "artificial intelligence" deemed worthy of implantation in Stark's defense project, designed (ironically) to protect us from villainous penetration.

Ultron, a creation fashioned as a learner/watcher of sorts within the expansive program, develops an egomaniacal consciousness, which then constructs a body and breaks free to take over the world with a league of his own. He's also quite a sight to behold: a towering cross between Superman's Brainiac and a pumped-up Terminator prototype. 

Stark is, perhaps, the most adversely affected by the robot rebellion, for having activated the computerized Frankensteins, which leads Rogers to push further toward the Avengers forefront. Considering that Ultron and his army are equivalents to Nazis, Commies, and any other variety of on-and-off-again evil-doers, Cap's prominent presence feels right. After all, this is a war-time mission, and through his cordial relationship with Agent Maria Hill (Cobie Smulders), he increases the Avengers' chance for victory with his stalwart perspective. 

With this established, the movie advocates that we, as cognitive, freedom-loving creatures, have full right to combat and destroy such cold, calculating monsters. To fight is essential and all-out war (particularly under the film's harrowing circumstances) a non-debatable necessity. 

All the same, this staunch angle will likely unsettle negotiation advocates, but as the turmoil mounts under Whedon's emotional script and tense direction, "Age of Ultron" can't help but inspire one's righteous angst: the need to shout out a hardy "action not appeasement". Its message, though seemingly simple, should prove profound for anyone with any sort of practical, moral conviction. 

Philosophy aside,the movie is jammed with vivacious action sequences. The prelude is one of the best rendered (and that's saying a lot considering how sleek the Bond intros have been), and the battle between a confused Hulk and Stark's Hulk Buster is a grand feast in it own right, guaranteed to rattle one's senses with rumbles and roars, heightening the adventure to near Wagnerian proportions. 

I can't yet say that "Age of Ultron" surpasses the original "Avengers", which had the charming novelty of bringing the gang together, and it's certainly nowhere near as politically intricate as "Winter Soldier". It does, however, soar consistently high, never losing its momentum even when it dares to spotlight the relationships between Hawkeye and his wife, or the burgeoning one between Widow and Banner/Hulk. (The latter scenarios surely could have derailed the film, as had the superfluous romance in "Amazing Spider-man 2".)

Regardless of what the future holds for the Avengers, this current chapter does an admirable job of nurturing the traditional comic-book format. That should certainly please purists. The movie is also a terrific way to start the spring/summer blockbuster season, delivering thrills, chills and above all, a sense of wonderment. So, don't delay; jump on board and join the fun!!!

I saw Aquaman Attain the Atlantean Throne...

There's emerged a confounding consensus over recent years about Aquaman's significance in the superhero dynasty. Why? You got me. Aquaman rules a world far more expansive than any land-based one, administering powers most of us can only begin to fathom. However, as with Marvel's Sub-mariner, DC's underwater champion has been consistently relegated to the back seat, robbed of the respect he so justly deserves. 

A live-action incarnation would surely re-establish his status as a top-level superhero, but for now, an animated adventure, "Justice League Throne of Atlantis", must stand in lieu. The adventure isn't solely Aquaman's, of course, and is shared by other gallant greats: Batman (the indisputable league leader and a tad on the bossy side in this instance); Cyborg (who still shines as the reliable new kid on the block); Superman (always reliable, but perhaps not effectively utilized in this adventure), the Flash; Green Lantern; Wonder Woman; and Shazam (formerly Captain Marvel, and perpetually Billy Batson both in heart and mind). 

In truth, director Ethan Spauling's movie (adapted by Heath Corson from Geoff John's six-part comic sag) re-introduces our aquatic hero into a new age, but doesn't twist the legend to the point of unfamiliarity, though several new elements do surface. 

Arthur Curry, the man destined to be Atlantis' king, is immersed in woe. His father has just died, and he has yet to come to terms with his heritage. He's a confused hybrid: a "surfacer" drawn to the sea, who his estranged mother hopes will someday rule: a quest abetted by Curry's ultimate wife-to-be, Mera: a dynamic, aquatic force in her own right. 

Villains Black Manta (Atlantis' conniving Darth Vader equivalent) and Prince Orm (Curry's malicious half brother: aka, the Ocean Master) convince the Atlanteans to wage war on the surfacers, after staging a submarine attack on the kingdom.

When animosity strikes between the misguided Atlanteans and the Justice League, it's harsh and relentless, with Orm appearing nearly impregnable, but thanks to Batman and Cyborg, our Atlantean lord seizes his much needed leverage. 

"Throne" has lots of thrust, though may seem slim compared to its predecessor, "Justice League War". Still, it offers a hint of the developing DC movie universe. More importantly, it gives one of its once hailed staples a respectable comeback. By the adventure's end, no one will doubt Aquaman's rightful place in DC's superhero hierarchy. 

Let's hope this is the first in an ongoing line of such aquatic fare. Pop-culture can only benefit from Aquaman's stalwart presence: a modern King Arthur who unwittingly stumbles into command, but once there, administers what he's designed and destined to personify--justice!!!

I saw the Assault on Arkham...

"Batman: Assault on Arkham" is one helluva fine animated feature, and unique, not because it teams villains (that's certainly nothing new), but because its criminal sect is forced on a questionable jaunt that may actually lead to a positive outcome. 

Directed by Jay Oliva and Ethan Spaulding, and written by Heath Corson, "Assault" is based on the popular "Arkham" video-game series. Putting that tidbit aside, the standing story is taut and edgy, its style smacking of Frank Miller, Guy Ritchie and any number of recent heist/mission-fueled tales.

The ensemble is recruited by Amanda Waller, a governmental Ma Barker/Parker type with a history of gathering talented, unsavory foes for furtive sprees. In the case of her current rogues, she has implanted tracking/explosive devices in them, geared to explode if they dare stray: a measure similar to that used to keep Snake Plissken in line. 

The group is fancifully labeled the Suicide Squad and consists of Black Spider, Captain Boomerang, Deadshot, Harley Quinn, KGBeast, Killer Frost and Shark King. Per Waller, they are to enter Arkham, where the Riddler is stationed (after having been nabbed once again by Batman) and retrieve his stored cane, which is allegedly equipped with a thumb drive containing all of Waller's recruits. (The Riddler apparently planned to plant the info on the Internet before being apprehended.)

A number of mishaps occur in the process, allowing Quinn to enter the asylum first, which means she has a greater chance of encountering the Joker, with whom she now holds a rift, but really, how long is such likely to last?

In the process, we learn that the Joker has, in fact, installed a bomb, which would annihilate a large portion of Gotham's citizenry. Can the fiend be stopped? Does the Riddler possess the skill to detonate the device? Such profound questions permeate "Assault" and effectively perpetuate its escalating tension. 

Adding to the story's gleeful dementia are supporting appearances by Bane, Commissioner Gordon, the Penguin, Poison Ivy, Two Face and a cool utilization of Mr. Freeze's ice-ray gun.

In that the villains never truly go good, they are graphically ruthless in their attacks, particularly on the Arkham staff, which squashes any sympathy they might otherwise gain. The film is also further adult-oriented for its surprising but satisfying nude scenes of Frost and Quinn. 

Though the Dark Knight significantly figures into the plot, the Squad remains the essential focus: a unique and successfully rendered twist, which is likely to be extrapolated once "Assault" catches on (case in point: the proposed, live-action Spider-man villain-heist film). 

Running under 90 minutes, "Assault" is fast-paced yet remarkably character-driven: overall, probably the best direct-to-disc, animated feature to surface in years, which is saying a lot, since there have been several other exemplary examples from both DC and Marvel. If it had been extended to live-action, it surely would have been a theatrical blockbuster. 

Nonetheless, though its variables may be unorthodox, "Assault" never forgets to distinguish good from bad. At its heart, it still promotes an ethical stance, and for that, admirably fits the superhero genre to a tee: a most satisfyingly complex hybrid, if ever there was.

I saw the Guardians of the Galaxy...

"Guardians of the Galaxy" is the latest Marvel movie adaptation to emerge this summer. It's based a Dan Abnett/Andy Lanning creation, about a group of gallant misfits, who against seemingly insurmountable odds, surprisingly rise to the occasion.

In James "Dawn of the Dead '04" Gunn's film version, the group starts off less than stellar, with its hero stealing an alluring orb, only to learn the item possesses planet-destroying properties. To prevent the orb from getting into the hands of an intergalactic madman, they must try to put personal concerns aside (a difficult task, considering how passionate they are about them) and go on the run.

Gunn and Nicole Pearlman's script ushers in plenty of action, yet brews constant interaction among its leads, making the story both compelling and humorous.

Among the Guardians are Peter Quill (Chris Pratt), ersatz Star-Lord, a sentimental gent of alien descent; Drax (Dave Bautista), a warrior seeking revenge for his family's murder; Gamora (Zoe Saldana), an attractive, green assassin; Groot (Vin Diesel), a lanky "Lord of the Rings" Ent-ish entity; and Rocket Raccoon (Bradley Cooper), a mutant critter with human attributes. 

Along for the ride are Yondu (Michael Rooker), a blue rogue who acts as Quill's questionable father figure; Taneleer Tivan, the Collector (Benicio del Toro), an curator of unusual commodities, some even living; Rhomann Dey (John C. Reilly), a gracious soldier; Korath (Djimon Hounsou), a tenacious tracker; Nebula (Karen Gillan), a surrogate sister to Gamora, with a pretentious allegiance to Marvel legend, Thanos (Josh Brolin); and of course, the main villain, Ronan, the Accuser (Lee Pace), a frightening Sakaaran leader who agrees to seize the orb in exchange for Thanos' pledge to destroy those he perceives as enemies. 

This collective spree doesn't pretend to be perfect, nor does its members wish to be. However, for all their flaws, they are shrewd enough to draw the line and pick sides. Distinguishing the Guardians from the others is their willingness to go the extra mile to do good, which firmly defines who they are and who we, the audience, can applaud. Their different backgrounds also give the film a "Star Wars"/"Star Trek" feel, demonstrating how those of varied origins can conscientiously coexist. 

Quill is, of course, the yarn's stand-out hero, and a bumbling one at that, but admirable for his ability to lead. In some respects, he comes across as a carefree Han Solo: initially a tad self-centered, but soon seeing the necessity of putting others before himself.

Salanda, previously computerized for "Avatar", presents a similar demeanor. Sporting enticing, old-school make-up, she resembles, for all intents and purposes, a "Star Trek" Orion slave girl, though more inclined to fulfill her mission than indulge in lusty trysts. 

She doesn't immediately warm up to Quill, but eventually recognizes his sincerity: a most important plot turn, for often in these sorts of makeshift groupings, friction can prevail between/among characters to the point of irritation. In Gamora and Quill's case, any burgeoning disrespect is quickly squashed, granting the audience a chance not only to get to know them, but actually to like them.

Cooper's Rocket Raccoon, on the other hand, is the film's crassest and cleverest novelty: an equivalent to the sidekicks of past imagi-movies, like the "Star Wars" droids or "Clash of the Titan'"s Bubo the Owl. However, despite his CGI'd confinement, he emerges far more humanized than cartoonish, and if not for his scrawny form, might be seen as recklessly cavalier and heroic and Quill. Similarly, his interaction with Diesel's protective Groot (who expresses impressive variance through a mere looping salutation) contrasts well with the mutant's cantankerous attitude, thus creating a realistic, affably empathetic banter found in most long-time friendships.

Arguably, Bautista's Drax is as equally endearing: at one moment maddeningly incensed and the next warmly naive, particularly in his misinterpretation of metaphors.

Of those on the "dark side", Pace's Ronan is appropriately intimidating: in many respects, the film equivalent to Darth Maul/Vader, but with greater, misguided zeal. Additionally, Del Toro's Collector enhances the film's sinister angle with weird, serpentine gestures and scrutinizing stares. (Too bad his part wasn't made bigger.) 

By the time "Guardians" concludes, one will have easily embraced its breezy ambiance and quirky characters as one might that of L. Frank Baum. Heck, the movie even shamelessly amps up the fun with  '70s/'80s tunes (courtesy of Quill's deceased mother), but then its overall feel is unquestionably a throwback to productions from that time frame:.Glen Larson's "Battlestar Galactica" and "Buck Rogers in the 25th Century" immediately come to mind, plus "Heavy Metal--the Movie". 

Whether "Guardians" spawns its own franchise or connects with its colorful, cinematic counterparts is yet to be seen, but as it stands, the film has great potential to make a lasting impression on the pop-cultural scene. It's now merely up to the filmmakers and of course, the ticket-buying public to ensure its longevity.