Admitably, there’s something innately satisfying about watching the hypothetical demise of the entire planet by means of natural disaster/earth crust displacement. There might even be something profound science fiction-wise lurking about in the concept of the Mayan apocalypse and the end of the world as we know it. For better or worse, 2012 is a little more interested in humanity’s gross interest in its own near-extinction aka stuff crumbles.
If you have ever wondered if something was too scary to show your kid and were not sure if you should rent it or not these next few articles are for those parents who question what they can let there kid watch. At the bottom of each review we will give an age range guide just so you know if your kid can handle this type of Horror/Monster film.
A good special-effects era mythology movie is bound to happen at some point, but we’re definitely still waiting. Clash of the Titans is merely a modern incarnation of the original that in the age of CGI monsters and impressive fight sequences plops lazily in the category of status quo, something its 1981 cult predecessor was anything but thanks to the groundbreaking stop-motion work of Ray Harryhausen.
In 1981 a great Ray Harryhausen Special Effects film film came out that was a film to behold even to the gods. Clash was a great movie for its time. It had gret actors George Hamlin, Lawrence Olivia, Burgess Meredith, and Bond Girl Ursula Andress. If you get real nit-picky with the movie, you won’t like how it compares to Greek mythology. The audience at the time was still not use to the breathtaking way Harryhausen brought the creatures to life in his films. They had never seen anything like it.
At times, I get extremely confused. I’ll sit in the chair in my dorm, stare at my television after a new episode of “The Office” has aired and ask myself, “What the hell happened to the show?” Harsh? Maybe a little, but as Season 6 has progressed, I’ve found it to be wildly uneven, and tonight’s episode sort of culminated in a few very funny moments and a slew of strange, out-of-character and painfully awkward moments that didn’t feel like the same show I have grown to love over the past five years.
People gave last week’s episode a lot of grief, but for me, that was a better episode than this week. Last week, we had a lot of the typical Office shenanigans, involving Dwight and Jim pranking each other, Todd Packer making his first return appearance since Season 3 and a lot of funny lines that wouldn’t feel out of place in an earlier season. However, tonight’s episode seemed to try to parody Glengarry Glen Ross TOO much, making Jim, Phyllis, Stanley and other salesmen and women in the office act so out of character that I felt they weren’t even the same people. Phyllis can be a funny character at times, but hearing her call Michael numb-nuts isn’t quite as funny coming from her. Maybe some people thought it would, but I just cringed at how odd it sounded coming from her. And Jim has stayed pretty much the same throughout the show (barring the occasional foray into co-manager territory), but tonight, it was hard to sympathize with somebody who was gloating about how much money they were making to the people making less money.
For the second episode in a row, 24 has cranked up the action and intrigue, weaving a portrait of cliffhangers, twists, moles, gunfights, Jack being badass, Chloe doing her best Jack impression and some pretty lame dialogue. The final result was fun, although it’s difficult to decipher how exactly the writers of the show are going to explain their latest twist, involving Dana Walsh as a terrorist attempting to destroy her own country. I was glad to see 24 back to its typical adrenaline-laced ways, although sometimes, 24 is notorious for sacrificing plausibility for thrills and twists. Then again, 24 is rarely a realistic show, so maybe I’m being a little harsh.. Either way, the last two weeks have been a breath of fresh air compared to the rest of the season.
A large portion of the episode was focused on Chloe attempting to get CTU up and running again, and to be honest, it’s about time we got some scenes with Chloe. I’ve mentioned it several times before, and I will mention it one more time right now: Chloe has been a key figure in 24 since Season 3, so it seems a shame to waste her talents on simply standing around and taking orders from a new and completely uninteresting character like Dana Walsh. As soon as I saw Chloe pull the gun on the NSA agent, I was cheering. Literally cheering, as in standing up on my chair and thanking God that they finally gave Chloe some scenes we all could sink our teeth into. As usual, CTU is quickly up and running, proving that the time constraints of an episode never holds CTU back from always winning.
Dave Lizewski (Aaron Johnson) is typical New York teenager who wants become a super-hero. As his alter-ego Kick-Ass he becomes an internet sensation but he soons lands himself into hot water when he encounters real-life superheroes Big Daddy (Nicolas Cage) and Hit-Girl (Chloe Moretz) who try to take down mob-boss Frank D’Amico (Mark Strong).
