What was once considered just a passing joke by Spider-Man fans has managed to gather some cult acclaim over the years, and has even been embraced by Marvel (yes, it’s canon, now) and Stan Lee himself. “Supaidāman” is the Japanese incarnation of Spider Man that bears almost no resemblance to the character we know from the US. That doesn’t mean it’s terrible though, as the 1978 action science fiction series is quite entertaining and has a lot of innovative ideas we’d see in future Super Sentai series. Sure it’s cheesy and goofy in some way, (including the opening theme song) but there’s a lot to like if you can divorce yourself from the Marvel Spider-Man and think of this character as something from another universe.
Dean Israelite’s reboot of “Power Rangers” is meant to be a reboot for a new generation. It has diversity, and vision, and works well in making sense of a lot of the concepts presented in the original series. Fans didn’t need all of the ideas to make sense, hence the rabid popularity in the nineties, but “Power Rangers” offers a sincerity that undercuts the obvious need for the studio to refurbish the Power Rangers for a new generation of fans and potential toy customers. I, for one, really enjoy what Israelite does with his vision of the “Power Rangers” providing minute cosmetic alterations and some big changes in mythos that are hit or miss most times.
For parents looking to introduce their tween children to lighter superhero fare before giving them heavier doses of superhero drama, “DC Superhero Girls” is a nice animated introduction. Based on the hit toy line, “DC Superhero Girls” is set in the superhero high school, where DC Universe’s most powerful superheroes attend to learn how to fight crime. The movie is mostly centered on the female superheroes from the DC Universe including young Wonder Woman, young Batgirl, Supergirl, Bumblebee, Katana, Poison Ivy, and class clown Harley Quinn.
I think there was even some doubt by Joel Hodgson and company on whether or not fans wanted a reboot of MST3K. Sure, the merchandise sells well, but most reboots of nineties properties have either stunk or just failed to deliver, period. Plus it’s not like the show was around for a short time like “Firefly” or “Freaks and Geeks.” It was on ten years and even earned a movie of its own. Surprisingly enough fans proved that the show is just as special to them as it is to Joel Hodgson and his crew of brilliant creators that gave us the original series. Like all the other fans, “MST3K” has a very special place in my heart and I have such a deep bond with its characters and love for its formula. So naturally I was frightened the reboot would be stale.
As we all saw with Tarantino a few years ago, the idea of Will Smith in a Western isn’t a bad one. Smith has a modern look that’s not accessible for every film, but with the right director Smith could shine. It’s just too bad he straddled himself to Barry Sonnenfeld who casts Will in one of the most poorly conceived TV to movie adaptations of all time. “Wild Wild West” is worse than “Beverly Hillbillies” and “Charlie’s Angels” combined. What’s worse is that director Sonnenfeld has absolutely no idea how to utilize Smith in a Western setting. So by the time the movie has started, rather than rely on the pulpy martial arts theme from the original series, the movie just becomes a showcase for Will Smith to be Will Smith. Even in the old West, Smith is the wise cracking, shade wearing, cowboy who is a hit with the ladies.
I like the premise behind “Superargo,” and while he’s not the most competent superhero, I think in the serial world he could have thrived. The Spanish Italian superhero is a wrestler who once accidentally killed one of his opponents. Seeking redemption he spends his time as a superhero known as Superargo. Superargo is a man who has a ton of superpowers, none of which are ever too effective against his enemies in “The Faceless Giants.” He knows martial arts, and has the power to persuade people to do his bidding. He can also hover in mid-air as a means of meditation, can bend matter to his will, and is apparently bullet proof when it’s convenient to the narrative.
Before the public at large were aware of Nick Fury, ABC’s long struggling “Agents of S.H.I.E.L.D” and the overall organization from the Marvel Cinematic movies, there were 1998’s “Nick Fury: Agent of S.H.I.E.L.D.” Long ago when comic book movies were still concepts and properties that studios were hesitant to touch, FOX Studios in America aired the TV movie/pilot movie to little fanfare. Said movie starred David Hasselhoff (cast by virtue of the fact that he looks like classic Nick Fury and nothing more) fresh off of “Baywatch,” and starring as the classic Nick Fury before his re-imagining in the aughts in the Samuel L. Jackson mold. The classic Col. Nick Fury was a tough and grizzled war veteran with dark hair and signature white on the sides. He also donned the trademark eye patch and cigar, leading one of the most covert and top secret organizations in the Marvel Universe.
I’m not going to argue that “Power Rangers” isn’t a movie made by a committee. The action loving, kid in me, however, really enjoyed what “Power Rangers” had to offer. It really is a re-imagining of the “Mighty Morphin” era of “Power Rangers” but tackles every plot element and universe building idea with so much more finesse and logic. The reason why these Rangers control robotic dinosaurs makes sense. The reason why Alpha Five is so important makes sense. Zordon being so crucial to helping the Rangers makes so much sense. The diversity is so much more natural and fluid than the original TV series, where everything just felt tacked on for broader appeal. Best of all, the blue ranger finally gets his due in a movie where he is the heart and soul of the entire group.