News! There’s a new Buffy the Vampire Slayer reimagining on the go (which, as Slashfilm points out, is completely unrelated to the one that was rumoured in 2009), which caused Joss Whedon to give an amusing response that was reminiscent of his Terminator franchise proposal a while ago.
This provides a great excuse for me to air my pet prediction regarding his next movie!
I can see one of two things happening with The Avengers:
A) The film makes an obscene amount of money eclipsing Titanic, Avatar, and all the Harry Potter and Bond movies put together. Studios fall over themselves to let Whedon make whatever he wants, which happens to be a Buffy the Vampire Slayer movie. Then — while finding time to do some part-time script-doctoring on a couple of Pixar films, because they’ve really missed his help since the original Toy Story — he goes to HBO and makes more episodes of Firefly, which runs for ten seasons, three feature films and a spin-off animated series, is universally adored, and ushers in a new utopia of world peace and prosperity, Wyld Stallions-style.
B) Coming fourteen years after Blade, twelve years after X-Men and ten years after Spider-Men, it has the misfortune to be released just after the end of the superhero movie boom and flops miserably.
Has anyone noticed how many game adverts of recent years have used the gimmick of juxtaposing violent imagery against music that’s classical, laid-back, sombre, old-fashioned, jaunty, or otherwise incongruous?
Then we had:
- Gears of War‘s take on “Mad World” (plus its Battlefield: Bad Company parody)
- Bioshock‘s “Beyond the Sea“
- Mercenaries 2‘s “Oh No You Didn’t!“
- Fallout 3‘s use of “I Don’t Want to Set the World on Fire“
- The Killzone 2 ballet of death, set to “The Flower Duet” (the British Airways music)
- And to a much lesser extent, I suppose that Bayonetta‘s “In for the Kill” might also qualify, at a stretch.
I recently finished watching the anime series Cowboy Bebop. I’d rented the film several years ago, and at the time (when I’d only seen Akira, Ghost in the Shell and The Animatrix, and no Studio Ghibli movies) found it to be the first anime I’d seen that lived up to its reputation. Now, thanks to LoveFilm I’ve been able to watch the whole series.
It was quite superb. However, the “mythology” episodes with Julia and Vicious were probably my least favourite “sessions” of the series – I was more a fan of the one-offs that focused more on action (“Pierrot le Fou”), sci-fi (the cyberpunk episode “Brain Scratch”) and comedy (the wonderful “Mushroom Samba”).
I was disappointed that Ed, the most memorable character from the movie, was introduced so late in the series (episode nine). I suppose she’s the sort of character who’s best used sparingly, generally as comic relief from the sidelines, with more central appearances being rationed out, but I don’t think that introducing her a couple of episodes earlier would have led to her being overused.
I was never really sure whether I should be watching the episodes subtitled or dubbed. Sometimes the subtitles gave additional information, but were really awkwardly-worded (I was irritated by the weird rendering of numbers: “1 0000″ appearing instead of “10 000″ or “10,000″). The English voice acting was generally fine, but again there were a lot of sentences that felt awkward – as if matching the timing of the lip sync was taking priority over a naturally-flowing sentence. In the end credits, strangely, some episodes had the lyrics as both burned-in Japanese subtitles and English DVD closed captions, for others it was the other way round, for others they were both English, others were both Japanese, and some had no burned-in subtitles at all. But I suppose such inconsistencies are all par for the course in the wonderful world of translated anime!