Author Topic: John Carter (of Mars) - March 9 2012 - (with Canadian Taylor Kitsch on Barsoom!)  (Read 11891 times)

Offline Aloysius J. Gleek

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Woah. I forgot  how
Eee-vil the Evil Queen
was!!
[youtube=425,350]http://www.youtube.com/watch?v=RkaOpI1S4Tk[/youtube]



"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"

Offline Aloysius J. Gleek

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http://www.hollywoodreporter.com/review/john-carter-film-review-297041





John Carter
Film Review

Director Andrew Stanton's Disney extravaganza
is a rather charming pastiche, if perhaps not one
with sufficient excitement and razzle-dazzle to justify
the reported $250 million production budget.


by Todd McCarthy
2:45 AM PST 3/6/2012





Opens
Friday, March 9 (Disney)

Director
Andrew Stanton

Cast
Taylor Kitsch, Lynn Collins, Samantha Morton, Willem Dafoe, Thomas Haden Church, Mark Strong, Ciaran Hinds, Dominic West, James Purefoy, Bryan Cranston, Polly Walker, Daryl Sabara





Given that it's based on a pioneering work of science fiction, there can be little surprise that John Carter  feels like a hodgepodge of any number of familiar elements, some of which were no doubt borrowed by others from Edgar Rice Burroughs and brought full circle here. This Disney extravaganza is a rather charming pastiche, if perhaps not one with sufficient excitement and razzle-dazzle to justify the reported $250 million production budget. Neither classic nor fiasco, the film will likely delight sci-fi geeks most of all, but there's enough here for general Disney audiences as well to generate solid box office worldwide.

If Avatar  had never existed, it's possible that John Carter  would have seemed like more of a genre breakthrough, given the premise of a distant planet penetrated by an Earthling who begins an interplanetary romance and is ultimately accepted into the alien culture (Mars here even has a huge arboreal structure at the heart of things). But echoes resonate from many other sources as well: What came first, the Jedi of Star Wars  or the Jeddak leaders here? Was Taylor Kitsch's buff loincloth look inspired by how good Charlton Heston looked similarly attired in Planet of the Apes ? Doesn't John Carter 's background consist of one part Outlaw Josey Wales and one part Indiana Jones? And doesn't the specter of the ancient Greeks noticeably hover over the everlasting battles being fought among the various neighbors?
 
The Princess of Mars,  the first work by Burroughs ever published, began being serialized in 1912 and was issued as a novel six years later. Neatly, the author has been brought onstage here in an 1881 framing device, as the young nephew of the just-deceased adventurer John Carter who has been called to New York City to be shown a journal the dead man has intended for Edgar's eyes only.

As in Burroughs' story, Carter is a Confederate soldier drawn west after the Civil War by the lure of gold. But no sooner does he find it than he happens upon a cave massively feared by the Indians, one which serves as a portal to a place that looks very much like the American West but is, in fact, the desert-like Barsoom, that fourth planet in the solar system that has often been fantasized about as a possible home to some form of life.
 
The first species Carter encounters when he awakens are just-hatching critters that grow up to become Tharks: thin, tusked, six-limbed, greenish-skinned creatures that are quite jumpy about being in year one thousand of their struggle with the nasties from Zodanga, whose arrogant prince, Sab Than (Dominic West), has just acquired a new, lethal amulet. The Zodangans hover about aboard giant airborne craft that look like Star Wars  by way of Baron von Munchausen and are accompanied by three holy men, most notably the all-knowing and shape-shifting Matai Shang (Mark Strong).
 
Even though they're allied with the aristocrats of Helium — whose elite, including the Jeddak (Ciaran Hinds) and his daughter Princess Dejah Thoris (Lynn Collins), are kitted out with British accents, chintzy costumes and the occasional bad wig reminiscent of a 1950s Ray Harryhausen adventure — the poor Tharks desperately need more help if they hope to survive. When they see how Carter can leap tall rocks in a single bound, by virtue of the thin atmospheric conditions, they decide he's their man.
 
It would take repeated viewings to determine how many times Carter is captured and then escapes in the story line devised by screenwriters Andrew Stanton, Mark Andrews and Michael Chabon. More a series of incidents than a gracefully composed drama of rhythmic arcs and elegantly defined acts, the film finally settles its principal attention on the dilemma of Princess Dejah, whose high-minded scientific orientation (reminiscent of that of Rachel Weisz's Hypatia in Agora ) contributes to her disinclination to play obedient daughter and marry the venal Sab Than for political reasons, as her father requests. With Kitsch and Collins having shared a previous life together in X-Men Origins: Wolverine,  their characters here bask in the sight of two moons as they compare notes on the structure of the solar system and, in an appealingly unconventional, unsentimental way, get together.
 
Stanton, who directed Finding Nemo  and WALL-E, co-directed A Bug's Life  and had a hand in writing all three Toy Story  features, here follows Brad Bird by three months in moving from Pixar animated eminence to live-action fare. Although the result is quite a mishmash, dramatic coherence prevails over visual flair; the colors, skin tones, image sharpness and cohesion of diverse pictorial elements are less than stellar, though the 3D is effective, with comparatively little brightness sacrificed by donning glasses. (The film was reviewed in Imax 3D.) For a Pixar graduate piece, humor is notably lacking.
 
Long-haired, bearded and skimpily clad through most of it, Kitsch fills the action-hero bill, neither more nor less. With raven-black hair framing lagoon-blue eyes, Collins, who was an arrestingly unconventional Portia in The Merchant of Venice  with Al Pacino eight years ago, also was a far from predictable Hollywood-style choice here, so sharply does she attack a standard-issue part. In support, Strong and James Purefoy, the latter as a lightly impudent factotum from Helium, supply the most color.
 


Opens: Friday, March 9 (Disney)

 Production: Walt Disney Pictures
 Cast: Taylor Kitsch, Lynn Collins, Samantha Morton, Willem Dafoe, Thomas Haden Church, Mark Strong, Ciaran Hinds, Dominic West, James Purefoy, Bryan Cranston, Polly Walker, Daryl Sabara
 Director: Andrew Stanton
 Screenwriters: Andrew Stanton, Mark Andrews, Michael Chabon, based on the story A Princess of Mars by Edgar Rice Burroughs
 Producers: Jim Morris, Lindsey Collins, Colin Wilson
 Director of photography: Dan Mindel
 Production designer: Nathan Crowley
 Costume designer: Mayes C. Rubeo
 Editor: Eric Zumbrunnen
 Music: Michael Giacchino
 PG-13, 130 minutes
"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"

Offline Aloysius J. Gleek

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The Canadian with his...
hockey stick!

 :laugh: :laugh: 8) 8)
[youtube=425,350]http://www.youtube.com/watch?v=3tumg1si1CM&feature=relmfu[/youtube]
Uploaded by DisneyMovieTrailers on Mar 1, 2012



[youtube=425,350]http://www.youtube.com/watch?v=m1pXMuK1KuQ&feature=relmfu[/youtube]
Uploaded by DisneyMovieTrailers on Mar 1, 2012


"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"

Offline Jeff Wrangler

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So I gather these stories are considered "science fiction," but from what I'm reading in this thread, they sound more like fantasy to me. I never heard of them before this thread and earlier mentions of the movie. Everybody I knew when I was growing up was into Aztecs and Mayans and hobbits (oh, my!).
"It is required of every man that the spirit within him should walk abroad among his fellow-men, and travel far and wide."--Charles Dickens.

Offline Aloysius J. Gleek

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http://movies.nytimes.com/2012/03/09/movies/john-carter-with-taylor-kitsch-and-lynn-collins.html



Movie Review
The Wild, Wild West
of a Certain Red Planet

‘John Carter,’ With Taylor Kitsch and Lynn Collins
By A. O. SCOTT
Published: March 8, 2012



Willem Dafoe voices a noble Martian, left, befriended by Taylor Kitsch as the title character
in “John Carter.”



The cast of “John Carter” includes a bunch of actors best known for the parts they play on television — Detective McNulty from “The Wire,” Walter White from “Breaking Bad” and, most prominently, Tim Riggins from “Friday Night Lights” (Texas forever!) — but the movie itself evokes a much older vintage of popular culture. Directed by the Pixar fixture Andrew Stanton (“Finding Nemo,” “Wall-E”) and based on a 1912 magazine serial by Edgar Rice Burroughs, it is a potpourri of arcane and familiar genres. “Mash-up” doesn’t begin to capture this hectic hybrid; it’s more like a paintball fight.

Messy and chaotic, in other words, but also colorful and kind of fun. The movie begins in an atmosphere of Victorian spookiness: an old manse with dark paneling, a sealed tomb out back and many a quaint and curious volume of forgotten lore piled up in the study. In the blink of an eye we’re in Arizona Territory just after the Civil War, which is to say classic western territory, with monumental rock formations, beleaguered cavalrymen, bellicose Apaches and a dark saloon into which a taciturn stranger comes a-moseying.

That would be John Carter himself (Taylor Kitsch), a Confederate veteran with a knack for mortal combat and a gloomy aversion to same. But the fight finds him, first in a box canyon on loan from a John Ford picture and then — nonspoiler alert! — on Mars. The red planet resembles the Old West both geologically (a lot of dusty red rocks) and thematically.

A Civil War rages between two factions of Red Men, though it is actually the green, four-armed humanoids known as Tharks who serve the traditional western function of Indians, Noble Savages trying to fight back against a technologically superior foe. The war between the city-states of Helium and Zodanga is more like something out of “Star Trek,” but with elements of the sword-and-sandals epics of the 1950s, what with the togas and the armor, the pillars and the pageantry and the ripely histrionic dialogue.

Which I would be happy to quote at length, if my spellchecker didn’t keep decorating Martian words with squiggly red lines. The bodies and faces of the non-Thark Martians, by the way, are adorned with many such lines, though their blood is literally blue. I would also be glad to elaborate further on the intricacies of Martian culture and biology, except that a) I can’t read the notes I took while wearing 3-D glasses; and b) none of it makes much sense anyway.

And that is just fine. Edgar Rice Burroughs was not J. R. R. Tolkien, or even J. K. Rowling. He was less concerned with constructing a coherent fantasy world than with stringing together as many sensational adventures as he could, and Mr. Stanton (who wrote the screenplay with Mark Andrews and Michael Chabon) follows his example.

Carter, stripped of his shirt and endowed with extraordinary leaping ability (something to do with gravity), befriends some noble Tharks (voiced by Willem Dafoe and Samantha Morton), acquires a loyal Martian “monster dog” and falls in love with a Heliumese (Heliumian?) princess named Dejah Thoris (Lynn Collins), who is both a fierce sword fighter and a big shot at the Helium Academy of Science.

There is more. There is nothing but more: a huge cast, soaring digital architecture, creatures both adorable and fearsome, lines of dialogue (“Thurns are a myth!”) made even more ridiculous by being uttered in earnest. The silliness — much of which is clearly intentional — is blended with some genuine grandeur.

The Pixar touch is evident in the precision of the visual detail and in the wit and energy of Michael Giacchino’s score, but the quality control that has been exercised over this project also has a curiously undermining effect. The movie eagerly sells itself as semitrashy, almost-campy fun, but it is so lavish and fussy that you can’t help thinking that it wants to be taken seriously, and therefore you laugh at, rather than with, its mock sublimity.

This may be a sign of the times, and a problem of scale. “John Carter” tries to evoke, to reanimate, a fondly recalled universe of B-movies, pulp novels and boys’ adventure magazines. But it pursues this modest goal according to blockbuster logic, which buries the easy, scrappy pleasures of the old stuff in expensive excess. A bad movie should not look this good.

“John Carter” is rated PG-13 (Parents strongly cautioned). Much Martian blood (blue and otherwise) is spilled.



John Carter

Opens on Friday nationwide.

Directed by Andrew Stanton; written by Mr. Stanton, Mark Andrews and Michael Chabon, based on the story “The Princess of Mars” by Edgar Rice Burroughs; director of photography, Dan Mindel; edited by Eric Zumbrunnen; production design by Nathan Crowley; costumes by Mayes C. Rubeo; music by Michael Giacchino; special effects supervisor, Chris Corbould; produced by Jim Morris, Colin Wilson and Lindsey Collins; released by Walt Disney Pictures. Running time: 2 hours 17 minutes.

WITH: Taylor Kitsch (John Carter), Lynn Collins (Dejah Thoris), Samantha Morton (Sola), Willem Dafoe (Tars Tarkas), Dominic West (Sab Than), Mark Strong (Matai Shang), Thomas Haden Church (Tal Hajus), Ciaran Hinds (Tardos Mors), James Purefoy (Kantos Kahn), Daryl Sabara (Edgar Rice Burroughs), Polly Walker (Sarkoja) and Bryan Cranston (Powell).


"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"

Offline Aloysius J. Gleek

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http://www.slate.com/articles/arts/movies/2012/03/john_carter_starring_taylor_kitsch_reviewed.html


Riggins and Aliens
Taylor Kitsch stars in the space Western John Carter
By Dana Stevens
Posted Thursday, March 8, 2012, at 7:57 PM ET





Andrew Stanton’s John Carter  (Disney) comes into theaters trailing a cartload of production-history baggage. This would-be tentpole action picture—a retro-sci-fi fantasy based on a 1917 novel by Tarzan  author Edgar Rice Burroughs—has bounced between studios and from one big-name director to another, until finally Disney bought the rights and gave it to Stanton (best known for his animation work at Pixar, including Wall-E and Finding Nemo). The result is a strange, at times misshapen, but somehow lovable thing: a movie that keeps trying to be smaller and simpler than its $250 million special-effects budget will permit. Buried within this bloated, CGI-crammed, unnecessarily 3D-ified monster is a bare-bones space western, the movie that last year’s Cowboys and Aliens  should have been. And though that smaller movie within the movie isn’t allowed to surface often enough, what we do see of it is sufficiently winning that we keep waiting around, looking forward to its next appearance.

John Carter  starts off unpromisingly with not one but two overlong frame-story setups. The first involves a singularly unthrilling Martian air battle between two bird-like supercrafts manned by soldiers in armor reminiscent of ancient Rome, or at least movies about it. The second and more interesting framing device takes us to New York City in 1881, where the young, wide-eyed Edgar Rice Burroughs (played by Daryl Sabara) unexpectedly inherits the vast estate of his late uncle, the eccentric amateur archeologist John Carter. Going through Carter’s papers, Burroughs discovers a journal that begins by warning the reader (in slightly more formal Victorian language) to prepare to have his mind blown.

It’s not till then, in a flashback, that we finally meet John Carter, and the movie snaps to attention. Or maybe that was just all the straight women and gay men in the theater snapping to attention, since Carter is played by Taylor Kitsch, the blunt-featured, compactly buff, curiously irresistible actor who played the high-school football star Tim Riggins in Friday Night Lights.  Carter is a Confederate Civil War veteran who’s now making a living prospecting gold in the American West. He’s tough (as we learn in a redundant series of fight scenes) and stubborn (as proven by his refusal to enlist in the Apache-fighting cavalry at the behest of an insistent colonel played by Bryan Cranston).

This review would quickly get as overstuffed as the movie if I took the time to explain how Carter gets from a prison cell in the Arizona Territory to the surface of Mars (he finds a magic medallion that transports him there through a space wormhole, OK?). But once he arrives on that planet’s mysteriously oxygen-rich surface, the movie achieves its maximum buoyancy— as does Carter, who learns to harness the gravity of Mars to become an expert leaper.
 
This middle section, in which both Carter and the audience get a crash course in the politics, history, and theology of the Red Planet, is the movie at its most imaginative and most fun. Carter is first taken in by the Tharks, a race of six-limbed reptilian beings who are dissuaded from killing him by their wise leader Tars Tarkas (voiced by Willem Dafoe). Carter soon learns that Mars (known to its inhabitants as Barsoom) also hosts two humanoid populations who are at war with each other for control of the planet. The two city-states are named, wonderfully, Helium and Zodanga; the princess of Helium, Dejah Thoris (Lynn Collins) is engaged to the prince of Zodanga, Sab Than (Dominic West), but, desperate to avoid this forced marriage, she’s run away to seek help in defeating the evil Zodangans.

All this Burroughsian lingo washes pleasantly over the viewers’ ears; you don’t need to get exactly what the Holy Therns are (some sort of order of shape-shifting immortal priests) to know that it’s cool when a baldheaded Mark Strong appears out of nowhere in flowing gray robes to expound on Martian cosmology. At its best, John Carter  resembles the kind of movie Raiders of the Lost Ark  was made to pay homage to, a rollicking, pleasantly predictable Saturday-afternoon serial. And the fantastical creatures of Mars—the green-skinned, 15-foot-tall Tharks, the massive albino apes who take Carter on in gladiatorial combat, and a sort of chubby half-dog, half-dinosaur that Carter adopts as a pet—are appealingly old-fashioned, like a digitally enhanced version of the stop-motion monsters Ray Harryhausen fashioned for movies like Jason and the Argonauts.

The film’s last third overestimates the viewer’s patience for extended battle scenes, grand CGI-augmented processions, and pseudoscientific mumbo-jumbo. But it’s to the credit of the screenwriters (Stanton, Mark Andrews and the fantasy-friendly novelist Michael Chabon) that underneath the layers of cheese is a strangely believable romance between the taciturn earthling John Carter and the fiery Martian princess Dejah. Collins, a Cate Blanchett lookalike who made a memorable Portia in 2004’s The Merchant of Venice,  has a serene, poised presence even in the goofy midriff-baring costumes she’s forced to wear; like Carrie Fisher’s Princess Leia, her Dejah is a worthy warrior and ally, not just interstellar arm candy. And Taylor Kitsch may not have the broadest range as an actor, but there’s something endearingly sincere about his performance. He takes his job as an action hero seriously and never hints that he’s ironically slumming, even when emerging from the innards of a giant ape drenched in royal-blue blood.
 
I only wish John Carter  had had the courage of its convictions, and not tried to be all things to all demographics. At heart, this is a niche movie for lovers of literary science fiction; it’s clear that Stanton’s intention was to create a rich, internally coherent fantasy universe, the way Peter Jackson did in the Lord of The Rings  films or George Lucas did in the first Star Wars  trilogy. The film should also have kept the working title that it shyly reveals only before the final credits: John Carter of Mars.  It’s that unexpected juxtaposition—the ordinary guy who finds his inner hero when he wakes up on the wrong planet—that lends this overlong but sweet-spirited movie its charm.

"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"

Offline Aloysius J. Gleek

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Ok, which one--
--is the prettier?
Hard to tell!

 :laugh: :laugh: :laugh:


"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"

Offline Aloysius J. Gleek

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http://www.theatlantic.com/entertainment/archive/2012/03/the-hokey-fun-of-john-carter/254214/


The Hokey Fun of 'John Carter'
Disney's updating of the Edgar Rice Burroughs sci-fi classic
embraces its own ridiculousness


By Christopher Orr
Mar 9 2012, 8:01 AM ET





You can take the boy out of Pixar, but can you take Pixar out of the boy? That question was raised last year by Mission: Impossible-Ghost Protocol  and now by John Carter, the first two big live-action films to be directed by members of Pixar's enviable stable of writer/producer/directors. The provisional answer, I'm happy to report, is no—or at least, not entirely.

The Pixarian in question this time is Andrew Stanton, who, in addition to directing Finding Nemo  and Wall-E, essentially served as the studio's in-house screenwriter on its first five films, and has played some role (executive producer, voice actor) in every Pixar film save Cars 2.  As a movie, John Carter  is not near the level of Stanton's Pixar work—but then, how could it be? The studio's magic is in large part the result of its collaborative ethos and the animators' freedom from the demands of a live-action shooting schedule. Still, the modest charms of John Carter  are another reminder that Pixar's success is due not merely to a triumph of process, but to a collection of exceptional individual filmmakers.

The first installment of the John Carter  saga, upon which the movie is loosely based, was penned by Edgar Rice Burroughs (of Tarzan  fame) 100 years ago. Entitled Under the Moons of Mars  when it was first published serially, and retitled A Princess of Mars  when it was later released as a novel, it is an ur-text of modern genre fiction—pulp, science, fantasy, and superhero—an important forebear not only of Superman  but of Brave New World  as well. It is, however, by any objective measure, an awful book: inert in style, haphazard in plot, and woefully, annihilatingly devoid of humor. Given such source material, Stanton's John Carter  might easily have been the kind of glum, tooth-clenchingly self-serious "entertainment" of which we have seen so much in recent years.

But it's not. Rather, Stanton embraces the inescapable ridiculousness of his premise and adds several additional doses of likable whimsy.

Said premise is that, in 1868, a former Confederate cavalryman named John Carter (Taylor Kitsch) is prospecting for gold in Arizona when he is unexpectedly transported to Mars—or Barsoom, as it is known to the natives. (The name sounds rather like an exotic scent for men—sandalwood, perhaps?—though the resonance is presumably unintentional.) A war is taking place between two cities with heavily tattooed human-like inhabitants: Helium (the good guys, devoted to peace and science) and Zodanga (the bad guys, devoted to conquest and pillage). You can probably guess which side is winning. What neither side knows is that both are being manipulated by a race of immortal, unimaginably advanced beings called the Therns, who thrive on conflict.

John Carter, meanwhile, finds himself in different company altogether, as a captive of the decidedly inhuman Tharks—primitive, martial creatures with green skin, four arms, and tusks. Luckily for him, he quickly discovers that, thanks to the weaker gravity of Mars, he is imbued with superhuman strength and the ability to jump great distances (the latter trait destined to be rather over-utilized by the filmmakers). Will John Carter impress the Tharks with his cunning and prowess? Will he aid Helium in its fight for survival? Will he and the lovely princess of Helium (Lynn Collins) wind up smooching? The answers are unlikely to surprise you.

High-tech/low-tech, sci-fi/western hybrids of this kind inevitably find themselves in dangerous territory—Cowboys & Aliens territory, Wild Wild West  territory. Moreover, the plot of John Carter,  if you have not already surmised as much, is not a selling point for the film. (Though it bears noting that, goofy as it is, it makes a great deal more sense in Stanton's telling than it did in Burroughs's.) The action sequences are for the most part unremarkable and in many cases resemble scenes from the Star Wars  movies to a degree that teeters between homage and plagiarism. And while there are some nice, painterly backgrounds on display throughout the film, the special effects are hardly cutting edge.

Yet despite such shortcomings, there is a hokey charm to John Carter,  a clear understanding that, at the end of the day, we are there to have fun. Stanton has scattered throughout the script a surprising number of genuinely witty moments. (I laughed more during the film than I did during Adam Sandler's last three comedies combined—which is a long way of saying, I laughed.) And his cast delivers performances ranging from the entirely solid to the rather good.

In the first category are the two leads, Kitsch (from Friday Night Lights ) and Collins (the doomed love-interest/character-motivation in X-Men Origins: Wolverine ). Neither wows, but neither disappoints, and Kitsch offers an unexpected hint of Timothy Olyphant's lupine appeal. Moreover, the film's performances improve as we move out from the center. Dominic West and Mark Strong are deep in their comfort zones as, respectively, the sneering, treacherous warlord of Zodanga and the quietly malevolent leader of the Thenns. Willem Dafoe has a number of the movie's better jokes as the voice of Tars Tarkas, the Thark chieftain; and James Purefoy, as a warrior of Helium, has perhaps the best.

But the most indelible performance in the film is not, strictly speaking, a performance at all. Rather it is—perhaps appropriately—a feat of animation. This would be Woola, a six-legged, razor-toothed Martian hound who serves as John Carter's captor and later companion, and who rather resembles a cross between a bulldog and a fetal gila monster. As you might imagine, he's not much in the looks department, but it's been some time since cinema has seen a more adorable sidekick. Late in the film, Strong's cold-blooded Thenn warns Carter against taking sides in the war between Helium and Zodanga, explaining, "You don't have a dog in this fight." He's wrong, of course, in every way.
"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"

Offline Aloysius J. Gleek

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Who Knew?? Dep't

 :o :o ??? ???  ::) ::)



http://en.wikipedia.org/wiki/Princess_of_Mars

Princess of Mars
From Wikipedia, the free encyclopedia

Princess of Mars  is a 2009 direct-to-DVD science fiction film made by American independent studio The Asylum, based on the 1917 novel A Princess of Mars  by author Edgar Rice Burroughs [and starring American actor (and Calvin Klein model) Antonio Sabato, Jr. as well as actress Traci Lords]. The story has inspired some elements of James Cameron's Avatar, as mentioned on the film's promotional art. It is not to be confused with the higher-budget 2012 film John Carter, which is also an adaptation of the novel.



[youtube=425,350]http://www.youtube.com/watch?v=6-x5zZ6rIVc&feature=related[/youtube]



[youtube=425,350]http://www.youtube.com/watch?v=YO5RC-qeGqY[/youtube]
::) ::) ::)
 :laugh: :laugh: :laugh:


"Tu doives entendre je t'aime."
(and you know who I am...)


Cowboy Curtis (Laurence Fishburne)
and Pee-wee in the 1990 episode
"Camping Out"

Offline oilgun

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OMG! Antonio Sabato Junior back when he was hot!  Too bad he couldn't act though, lol!

I so wanted to see John Carter, Taylor Kitsch is such a hockey hottie, but then I read this review by The Globe & Mail's Rick Groen.  I think I'll pass:


[...]
But the irony is obvious: At this point in the history of pulp, it’s the original that seems derivative. Neither the writers nor Stanton have done anything to address that problem, with the inevitable result that our eyes glaze over when the action heats up. A century ago, Burroughs’s imaginative brand of silliness was unique; now, when silliness abounds, it’s just trite.

Our slumbering interest does get ramped up at the finale, although no thanks to Kitsch, whose inflections remain as flat as ever. Then again, perhaps we shouldn’t slight him, because here at last the symmetry is perfect. His John Carter does what John Carter is – it’s an epic delivered in a monotone.


http://www.theglobeandmail.com/news/arts/movies/john-carter-two-epic-hours-of-cgi-enhanced-yawning/article2361962/