You have now seen the trailer. What is everyone saying about it? During this live stream we will discuss our expectations, casting choices, casting suggestions, as well as answer any questions you may have! The spice must flow!!! #Dune2020 #DuneMovie
This will be the first of my new live stream on Monday nights! My co-host Flayer X, and I will be diving into our expectations for Wednesday’s Dune 2020 official trailer, franchise potential, movie vs miniseries, as well as commentary on what we have seen so far! Our special guests include Nerdy Blurb TV who has seen the teaser trailer at Tenet over the weekend, as well as Pete from The Place To Be Reviews! Come chat with us, ask questions, make fun of us, anything! Let’s get hype together! #Dune2020 #DuneTrailer
Why is WB sleeping on the marketing for this movie?!
Today I finish what I started yesterday because the video was running too long. Can we get a movement started to have the David Lynch cut of Dune 1984 started now? Seems to be the trendy thing now…
Let’s talk about that article in Screen Rant…
We are all excited about the new Dune remake, but the new Dune movie has a movie problem…
by Adam M. Wilcox
It is difficult to spoil a movie with an 89 minute run time. As you may have gathered, most of the movie is explained to you by the awesome trailers. I still don’t like to do spoilers, so if some of my descriptions seem vague, it is by design.
What does the trailer tell the audience? Rambo has assimilated himself back into rural society. Some shit goes bad, and there will be Hell to pay. The movie wastes absolutely zero time of it’s 89 minute run time setting up exactly what you would expect from a movie like this. That is both blessing, and a detriment at the same time. Allow me to explain. Stallone has been successful all of these years by being able to come to terms about what he is capable of, his audience’s expectations, as well as the motivations of the characters he has created over the years. Rocky Balboa, is the loser who got a second chance at life, and went against all odds to prove a point, and won over the hears of many as lovable goon with a huge heart, and a winning spirit. Rambo, is a killer Green Beret Vietnam vet who was unable to rejoin society after the war. In a last minute split decision, it was decided not to kill off Rambo at the end of the movie First Blood, and that paved the way for a series of sequels. All of them dealt with his inability to live a normal life. Whether he was killing Caucasian mountain sheriffs, Vietnamese prison guards, Russian military men, or Burmese military, one thing we can all agree on is that Rambo is an equal opportunity murder machine. So why should murdering a group of Mexican sex traffickers be any different? Only the internet seems to know for sure.
I don’t like to read or watch any reviews before I watch a movie, because I often find myself trying to see what others saw in a movie, and now I am no longer looking at it from my eyes, but rather trying to see it from somebody else’s perspective. I hate that I think that way, but it’s impossible to shake, and most of the time I fail to see where others are coming from anyways. So this time I did something different for my review. I ignored the articles, avoided the videos, and just went to the show. However I DID unfortunately glance upon a few headlines on the way out the door, so I agreed to read them on a live stream on my channel as soon as I got home from the movie. I read four separate single star reviews with very outrageously click bait headlines. I refuse to acknowledge, or cite those sources, but I will leave a link to my video below this review. One thing I saw in common among all reviews is that “it’s 2019…(enter any problematic hot spot you wish here)”. So what these critics are telling film makers is that you have to be sensitive now, because 2019 said so. Motherfucker, this is RAMBO, not Creed, not The Shape of Water, not Dora The Explorer either. May I remind you that this whole world existed before 2019, pre-MCU, and action heroes ruled the wastelands of entertainment. Bigger than life heroes doing unrealistic things while spitting out bad one liners faster than you can say “he’s dead tired!”. Many of the people that enjoyed those movies are still in fact alive, and maybe even miss some of that 80’s machismo. Rambo was one of the big ones that dominated that era. This movie is made for THAT crowd, not the hypersensitive cancel culture. Also, don’t mind the 12 thousand robots outside waiting to call my review “problematic”, pay no attention. Don’t feed the trolls. Now that I have got that shit out of the way, let’s move on to an actual movie review.
Last Blood waists no time setting up the third act. If you have seen movies like Death Wish, The Unforgiven, or even Home Alone, you kind of get where this is going. The downside to this, is that other characters that are in this film exist as plot points, and do not actually take on any personality to speak of. There is sadly just no development here. This is where I would have preferred the movie to be a bit longer, at least give us some time to know these people. The good guys, OR the bad guys. We already know Rambo from previous films.
The western vibe that you got from the trailer is a bit of a ruse. He is working on a ranch, and much of the action does take place there. But if you are waiting for a proper western which I honestly was kind of hoping it would be, you would be better to stick with Logan, or The Unforgiven. Like I said, this one is a bit more Death Wish, but somewhat shorter. So pacing is very fast, story is very light, and all of it is only to service the final act.
The final act is where the movie actually pays off. If it has been a long while since you sat with your friends at the latest Friday The 13th sequel to watch the “awesome kills”, then you are in for a shockingly good time. It is at this point where music plays, and I refuse to tell you all what song is playing, but I will give you a hint, it is NOT Drowning Pool’s “Bodies”, but most will recognize it. I recognize that this is the director’s subtle way of acknowledging his true audience, those that came for the kills, so buckle up the ride. And killing is what Rambo does best as he slices, dices, and blows heads off in graphic gory glory. Some audience members were actually laughing at this, and I found no problem with that. This is pure escapism folks. It’s not pro Trump, anti-Mexican, (the focus of the film is the rescue of his very Mexican niece after all), or “toxic masculinity” which I believe is code for 80’s machismo murder boners make me feel icky, so I will call it problematic on the internet. In other words, some of the BS in these reviews is really stretching. Although when you spend 75% of your life bitching on Twitter about all of the alleged “problematic” talking points I listed above of course your going to see these things if you are really looking for them. So what passage in Moby Dick did you highlight today? (Ten brownie points if you get that reference, FUCK I AM OLD!)
So I am saying it’s not great, it’s also not bad. That being said, I can’t cheat myself, or my audience, so my review is going to be a three out of five cheese curds. It is definitely worth a look. It is perfectly serviceable entertainment that actually makes me more excited that Tango And Cash, and Cobra sequels might be coming, so I hope that this movie makes all of the monies in the world so we can get more movies like this. Maybe a trip back to 80’s Machismo is exactly what we are missing in 2019, and Robert Rodriguez is listening folks!
by Groovinator, The Cynical Cyborg
Video reviews are more reactionary. Especially something that’s still new in a movie theater. For the old movies on Cynical Cyborg Cinema, there will only be minor alterations between video and written, because I’m usually going for a series of feelings, and jokes, rather than try to convince you to see this movie. This one will be a little more different than my video material.
I tend to avoid reading, or watching other videos when I write a review, because I want that reaction to be as genuinely fresh as possible. I did that, and then I decided to watch some reviews on YouTube after I uploaded my own just to see if I happened to say the same things as other critics. So far the only thing I repeated was that Once Upon a Time In…Hollywood is a Tarentino style love letter to Hollywood, and that Brad Pitt, and Leonardo DiCaprio had very good on screen chemistry. It’s true about it being a love letter to Hollywood, as a snapshot of a bygone era. Tarantino is coming close to the end of his career (he has committed to doing only 10 films), and that’s damn impressive considering all of his movies have been either critical, and or, commercial successes. 10 seems like a nice round number. Point I’m getting at, is he doesn’t have to take shit from anyone, doesn’t have to prove himself to anyone, and doesn’t have to make any apologies for anything. So when I see clickbait trash journalists poke him with a stick, it gives me a great feeling of satisfaction to snap back at one of them without hesitation.
One of the complaints I hear about this one is feet, and I am kind sad I didn’t mention it, but as I stated in my video review…the movie left me with an uplifting positive feeling of satisfaction when I left the theater. That’s what stayed with me between yesterday and today. Yes Quentin has a foot fetish. It’s in all of his films. It never really distracts from the movie, but he does have a thing with feet. Dirty feet. In this one he makes those feet as prominent as possible. Nasty dirty feet right in the center of the damn screen as if it’s Tarantino’s way of saying “take THAT audiences! How you like me now?”
The other complaint I hear is some people feel the length. I can understand that criticism. For the past ten years the most popular movies at the box office have been Marvel Studios Cinematic Universe, or MCU. We’ve gone from having one of those a year to 2 or 3 in a given year now. Not saying those movies are bad, but they do have a very similar formula in that every single one of them has a familiar cadence to delivery of dialogue. Every scene has to count. Every single scene in the movie has to check a specific demographic. Most movies have tried to replicate this formula in hope of replicating the amount of revenue that those movies bring. Most average people see about 3 or 4 movies in a theater a year. Chances are, at least two of those are probably Marvel Movies. So what I am saying is that audiences have been trained to except a certain type of delivery. They expect to see revelations after the credits. They expect a certain number of jokes. The Marvel formula you will! A lot of people seeing movies now might not remember Tarantino movies, where you get long discussions about piercings, elaborate descriptions about milk shakes, hamburgers, or Madonna’s Big Dick. Also this movie is a bit of a throwback film as are many of Tarantino’s earlier releases. This one has long establishing shots of people eating, dancing, or driving a car for 10 minutes while listening to the radio. There is one scene where Pitt and DiCaprio are watching a scene on an old TV set. Not sure why, but I enjoyed the Hell out of those scenes, because I am old enough to remember those kind of movies and what they were like. In other words, I remember what movies were like before the MCU cannibalized the cinaplexes around the world.
This one is admittedly less violent than most Tarantino movies which was a massive surprise, but it was also refreshing to see that he wasn’t putting these scenes in a movie just to tic a checkbox for people with short attention spans.
I mentioned that I sat through 20 fucking minutes of trailers I’ve either already seen, or movies that I don’t care about. This movie didn’t make me bored or uncomfortable, or impatient. I was falling in love with a good movie. Something I haven’t felt in a long time.
The last complaint I heard was that the “story” isn’t necessarily resolved as far as Brad Pitt’s motives. I think that’s open to your own interpretation. Some people may have forgot a movie called Pulp Fiction that is basically an assemblage of vignettes made to look like footage that was cut from a bigger movie, and deliberately shown out of sequence. I personally have to admit that I like a movie that is shown in order. There is a story here, and everything does happen in order, and things are set up for a reason, and I admit that not ALL plot points are completely spelled put for you with flashy lights and arrows, but I didn’t walk away confused. I was deeply satisfied by the resolution of this Hollywood fairy tale. I still feel after at least 24 hours of reflection, that my perfect score of 5 out of 5 cheese curds is justified and true.
In an age where movies are announced with powerpoints that show roadmaps and “phases”, for movies that will be coming out long after I am dust and rust. I am getting instantly bored out of my skull knowing every single movie coming out for the next 25 years or so. Sooo…you will have to forgive me if I might have glossed over dirty nasty feet, long scenes of driving, talking and eating, and plots that aren’t explained with crayons and lights. I went to see the kind of movie that I’d been waiting for, and am left with both a deep satisfaction, and a melancholy feeling, that Hollywood has changed so much that I don’t recognize it anymore.
by Reality’s Frank
Recently, as I progressed through the marathon of my entire DVD collection, I’ve come to the “G” section and watched every Godzilla movie in order of production with only three exceptions: “Godzilla King Of The Monsters,” “Godzilla’s Revenge,” and the 1998 American Godzilla. I skipped Godzilla KOTM because it’s just “Gojira” with a few new scenes featuring Raymond Burr added in. “Godzilla’s Revenge” was skipped because frankly it’s embarrassing to watch, being more focused on some stupid kid who fantasizes about being friends with Godzilla’s son, Manilla (pronounced “Meen-ya”). And finally the American Godzilla was skipped because if it were a food, it would be Campbell’s Cream of Asshole Soup.
Now interestingly enough, watching the entire Godzilla franchise reveals no less than four separate continuities or timelines. This is played out with time travel, re-launches, and flat-out mistakes. And so, in the interest of fun and completely wasted time, I thought I’d explore this.
The first movie, “Gojira,” was released in Japan in 1954. It was groundbreaking stuff. Naturally there were many giant monster movies in that time period, such as “King Kong” and “Earth Vs. The Spider,” but “Gojira” revolutionized the genre. Before, the monsters had always been obvious visual effects: Kong was a puppet brought to life with stop-go animation, while The Spider was literally just close-up footage of a normal spider superimposed in the movie alongside the rest of the actors and backgrounds. But “Gojira” was completely different. In “Gojira,” the monster was a guy in a rubber suit tromping around a fully detailed miniature city which ensured two things: the monster would always be in scale to his surroundings, and the monster could really interact with his environment.
Now the most important fact to take away from “Gojira” in regards to this piece is the fact that at the end of the movie, Gojira is clearly killed and completely destroyed. I mean he’s gone, wiped out, finito. Elvis has left the building. One year later, (and Toho was good at turning out a new movie on a yearly basis) Toho released a sequel called “Godzilla Raids Again.” Blah blah details, blah blah plot, and in the end Godzilla is lured into a box canyon on a glacial island and buried under hundreds of tons of ice, end of movie.
After GRA was released, Toho decided to give this particular monster a break to focus on other movies such as Mothra and Rodan. But one noteworthy thing happened during this time: “Godzilla Raids Again” was re-titled “Gigantis the Fire Monster” for the American release, even though this was clearly bullshit. The new dialogue written for the English dubbed version suggests that Gigantis is a different monster than Gojira with a completely different origin, with a bunch of crappy stock footage thrown in to back up the history of the monsters, but fortunately this was overlooked and never mentioned again.
Seven years later, Toho remembered that they really liked making money, so they decided to go back to what they knew worked and produced “King Kong Vs. Godzilla.” This movie was primarily stupid, especially considering the original script was actually supposed to be about a gigantic Frankenstein monster, but was changed at the last minute to Kong. But it did set the tone of the movies from then on. Every Godzilla movie that came out over the next thirteen years, from “King Kong Vs. Godzilla” to “Terror of Mechagodzilla,” was done according to the funky 60’s and 70’s film making style, with ridiculous music and some really idiotic camera work. However, the continuity of the series remained fairly constant, with a few slips here and there but no glaring contradictions.
After “Terror of Mechagodzilla,” Toho once again decided to put Godzilla on hiatus for another ten years until 1985, when they released a movie alternately called “Godzilla,” “Godzilla Returns,” or “Godzilla ’85.” This movie kick-started the second continuity in which every movie since the first “Gojira” was completely forgotten about, much like how “Superman Returns” disregards parts 3 and 4. In “Godzilla ’85” the new monster goes back to his roots, he’s no longer the protector of the Earth who frequently teamed up with other monsters and performed victory dances, instead he’s once again a terror who appears from the sea to destroy Tokyo and to feed on the energy from the nuclear power plants.
So now Toho had finally deleted the lasting embarrassment of the films from the 60’s and 70’s by striking them all from the record, just like pretty much everything in the “Highlander” franchise after the second movie, and yet they STILL never mention where this new Godzilla comes from as the first Gojira was still quite dead.
This new Godzilla lasted until 1991 when Toho released “Godzilla Vs. King Ghidorah.” This is the movie that not only kick-starts the third continuity, but also further confuses the series. In this movie, time travelers from the 2200’s come back to present day Japan to warn of an impending attack by Godzilla that will completely destroy the entire country, so they convince the nation’s leaders to let them take a small group of scientists and journalists back in time with them to 1945 near the end of the second world war. It is here for the first time that we see Godzilla’s true origin: he was an actual T-Rex that defended the Japanese soldiers by scaring away the American troops, although he was badly injured in the process.
The Japanese soldiers were then recalled from the island, and the time travelers, now able to work unnoticed, transported the dinosaur to another island, theorizing that if the dinosaur were on a different island further from the testing site of the A-bomb, he wouldn’t be subjected to the radiation that caused him to mutate into Godzilla. The time travelers, in the process, leave behind three little monsters called Doraks that are intended to receive the radiation instead and turn into Ghidorah. Upon returning to the present, Godzilla appears to no longer exist (so how do they even remember him?) but now Japan has been terrorized by Ghidorah all this time.
It turns out the future people can control Ghidorah and intend to use him to destroy Japan because in the future, Japan has become so prosperous that they’ve bought up nearly half the countries in the world. BUT (I told you this would get confusing) the people in the present decide to try to find the dinosaur and subject him to a new dose of radiation to make a NEW Godzilla, only to discover that the dinosaur has already been irradiated by a sunken submarine and become Godzilla anyway. This is where all of the previous continuity goes to shit. According to this new timeline, this third Godzilla is actually the first Godzilla because now even the first Gojira never happened. Also, because he was mutated with modern radiation, Godzilla is even bigger and meaner than ever before.
Oh but we’re not done yet! In 1993 we got “Godzilla Vs. Mechagodzilla 2” where now MG is built by humans instead of aliens, and a new Manilla is introduced, although he’s now just referred to as Baby. This movie sets the stage for “Godzilla Vs. Spacegodzilla” the following year. Baby has gotten a lot bigger and the appearance of Spacegodzilla confuses the timeline even more because he’s supposed to be caused by one of two possible ways in which Godzilla DNA made it into space: either by the destruction of Biollante (a plant monster created by combining a rose with Godzilla DNA), or it was carried into space by Mothra who was on his way to deflect a meteor that would destroy the Earth in 1999, neither or which happened now because that particular Godzilla had been erased from history.
In 1995 “Godzilla Vs. Destroyah” tried to once and for all bring some closure to the whole mess by killing off the new/original Godzilla with a surprisingly brilliant idea: Godzilla’s heart, which is basically a nuclear reactor that powers his atomic breath, is starting to melt down, causing his body to glow red with the nearly 1200 degree (C) heat. The danger involved with this is that if Godzilla’s heart finally does melt down, the heat generated would be sufficient to ignite the Earth’s atmosphere and destroy the planet. Unfortunately there’s one more problem with the timeline that the writers overlooked: Destroyah is supposed to be some microorganism mutated by the oxygen destroyer used in the first Gojira, even though the timeline had been changed in “Godzilla Vs. King Ghidorah” so that the oxygen destroyer was never used.
Anyway, in the end Godzilla finally does melt down, but the military manages to cool him down just enough with a new type of “0 degree laser” so he doesn’t destroy the Earth, and Godzilla jr. is now set to take over.
Four years later, “Godzilla 2000” came out with a brand new looking Godzilla which I refer to as “Beefcake Godzilla” because of his thicker, more muscular neck. This begins the fourth timeline. Nothing of any major importance happens in this movie except to establish the new monster design, which carries over to the next movie, “Godzilla Vs. Megaguirus” which again is of no major importance except to sell tickets for another monster fight.
Oddly enough the next year Toho shifted gears and gave us a movie with the long-winded title of “Godzilla, Mothra, King Ghidorah, Giant Monsters All-out Attack.” It’s hard to understand where this movie fits in with the rest of the series because so many things have been blatantly changed. First off we have a different looking Godzilla from the last two movies, more like the classic Godzilla style except he has completely white eyes. Next they took Baragun and King Ghidorah and arbitrarily changed their origins, so now they’re guardian monsters alongside Mothra, even though in the past, Baragun was an enemy of Mothra; and Ghidorah was, of course, an enemy of the entire planet, first coming from space, and then from the future.
In the end, all three guardian monsters are defeated and Godzilla is destroyed in a very clever way with a drill missile fired from inside his body causing his atomic breath to blast through his own neck and blow up his body. I guess this must be a stand-alone story because none of it is ever mentioned again and the following movie goes back to the Beefcake Godzilla.
This time, in “Godzilla Against Mechagodzilla,” Toho puts the final nail in the coffin of the series’ continuity for anyone who was blissfully unaware of the timeline seperation (which confused the hell out of me for quite a while until I started this analysis.) A new Mechagodzilla is built with the bones of the first Godzilla that was killed with the oxygen destroyer in “Gojira.” Unfortunately, during the first confrontation, Godzilla’s roar awakens the original Gojira’s DNA that was used to make the DNA based computers in Mechagodzilla, causing him to go wild and attack the city until his power supply runs out.
This leads directly to the next movie, “Godzilla: Tokyo SOS” in which the two fairies from Infant Island come to tell the humans that Mothra is pissed that Godzilla’s bones were disturbed and that they must be returned to the bottom of the sea or else Mothra will destroy the city himself. Blah blah fighting, blah blah twin Mothra larva, blah blah Mechagodzilla becomes sentient doesn’t want to fight anymore, and Beefcake Godzilla is finally defeated and carried to the bottom of the sea tightly strapped to Mechagodzilla.
Lastly of course, until “Shin Godzilla,” the big 50th anniversary movie, was “Godzilla: Final Wars,” which is FUCKING AWESOME! Aliens from Planet X come to Earth, brainwash all the monsters and set them on a rampage, so the remaining humans have to free Godzilla from his icy prison at the South Pole and lead him around the world to defeat the entire roster of his enemies, including the American Godzilla from ’98, now called Zilla. Zilla dies like a bitch.
Finally, we have a new series of American Godzilla movies, dubbed the “Monsterverse” which in all honesty I don’t care for, and as before Toho responded with something incredible: “Shin Godzilla.”
“Shin Godzilla,” or “Godzilla Resurgence,” has an amazing premise: what if Godzilla appeared for the first time today? The new design is outstanding, Godzilla has some amazing new abilities, and the story is a cutting critique of the Japanese government being hopelessly mired in policy and red tape. SEE THIS MOVIE!
I’ve always enjoyed Godzilla movies, with the goofy monster costumes, the hokey music, the wanton destruction of innocent pagodas in nearly every movie, and the sappy morals; it’s always fun to just let myself get drawn into the story and suspend disbelief. People today are a little too cynical for their own good, myself included. There’s no shame in admitting, even to ourselves, that there’s nothing wrong with putting on a movie or a show with no intellectual value and throwing a bag of popcorn in the microwave. So go watch something stupid, it’s good for you. As I always say, when you can truly appreciate and enjoy bad movies, it allows you to more fully appreciate the good ones.
by Arnór Hermannsson Wikström
Hey! We’re all nerds here at Raiders, and nerds have opinions on Batman. Sometimes those opinions differ. That’s okay. But when it comes to the Caped Crusader I’m always right! I have hundreds of Batman figures in a glass cabinet in my living room, I have a rough meter of Batman DVDs in my shelf, I have two Batman tattoos (yeah, one of them is Heath Ledger as the Joker, but I’m still not mainstream, goddamnit!), I’m a big ol’ Batman nerd, is my point! I love Back To The Future, Star Wars and I quite like Hellboy, but Batman is my motherloving jam!
So, now that Robert Pattinson is gonna play Batman (I’m fine with that by the way, all aboard the R-Batz… I’m quite alone here at Raiders), who do I want him to kick in the teeth of?
If you’re anything like me, you love the Joker to bits, but you wouldn’t really miss him if he disappeared for a decade.
Believe me, my feelings on this are strong, and important damnit!
Here we go; the 5 villains I’d most want R-Batz to beat the shit outta:
- Mr Freeze
Yeah, I know. Batman & Robin sucked and Arnold Schwarzenegger was terrible as Mr Freeze. The funny thing about that is that The Arnold would’ve actually been a perfect Freeze if he’d played him as he played one of the two title characters in Terminator 2: Judgment Day. Hard, quiet and unfeeling, but with a growing heart on the inside.
Mr Freeze was already an established character by the nineties, but when Bruce Timm produced the Batman; The Animated Series double episode Heart Of Ice, he was re-established as one of the most endearing villains in the entire rouges gallery. Sadly, he was mauled to death in Schumacher’s toy commercial of a movie. But hey! Bane was also in that piece of shit, and he was freaking awesome in The Dark Knight Rises!
4. The Mad Monk
The monk was one of Batman’s earliest enemies, but he hasn’t been a part of the rogues gallery since the forties. Originally he was a kind of cult leader, who pretended he was a vampire. In 2006, Batman comic writing wizard Matt Wagner reinvented the Monk as an actual vampire, but he doesn’t need to be supernatural to work.
He could easily be reinvented as a grand wizard of the Ku Klux Klan who uses the dim-minded hicks who follow hi for his own hidden agendas.
But if they keep him as a vampire, R-Batz and the monk can sparkle each other to death… Damn, Twilight jokes are so old I wish someone would slap me to death for making one.
- The Phantasm/The Reaper
The Phantasm is an amazing villain. Introduced in the animated movie Batman: The Mask Of The Phantasm, the Phantasm is a mysterious and dark figure. A bringer of melodramatic death.
Yeah, I know! All us fans already know who the Phantasm is, and the secret identity thing was a big thing about the Phantasm. Well, screw you for also being a dumb nerd, you goddamn sunnova…, I’ll kick your… wait— sorry. Where was I?
The Phantasm! Yes! Outdated.
Funny thing! The Phantasm is based on the main villain in the Batman: Year Two comic book story line. In that story Gotham was haunted by a masked vigilante called The Reaper. In Year Two, The Reaper eventually turned out to be Bruce Wayne’s girlfriend’s dad, and in The Mask Of The Phantasm, Bruce Wayne’s girlfriend’s dad was actually a red herring, because it turned out that The Phantasm was actually Batman’s girlfriend and not her dad!!!!! So if you base the movie character on both those villains, you still have a nice little mystery to unfold.
Officially, there have been a whole shitload of Clayfaces, but for a movie we could join all the best parts into one, to make an ultimate Clayface.
He could be an actor who wanted to be able to mould his face, but who ultimately made his entire physical being a malleable blob. He can turn into anyone he wants, but only for a limited time, and he can only maintain an erection for a second. But he can temporarily make his outer layer hard as rocks, and therefore make himself into mallets and axes, and he can also slurp through the sewers like a high tide. Batman’s gotta get new boots to step on this piece of trash.
Wait… what are you saying? Two-Face has already been the villain in two movies?
I know. Both versions were terrible. As much as I love both Batman Forever and The Dark Knight, both those films did Two-Face a great disservice.
In Batman Forever he has the Joker’s personality, and he is shown being able to ignore the outcome of his coin-toss, as he is seen, at one point, flipping the coin over and over until he gets a desired result, making that part of his personality completely unnecessary, so when Batman finally throws a bunch of coins into the air to confuse him, he should just as easily be able to shake that off since he clearly doesn’t need the coin.
In The Dark Knight, the character of Harvey Dent is written and played perfectly, Aaron Eckhardt is amazing in the role. He’s also great when he finally turns to Two-Face, although he looks like his burns should’ve left him at least mute and blind (how does a man lose his entire face on one side of the head without it impairing his eyesight and speech?).
But Two-Face is dead within twenty minutes, when he’s actually a major showrunner in the comics. His similarity to Batman makes him one of the most interesting villains in the entire comic canon. There must be a Two-Face who’s a main villain like Tommy Lee Jones, and as real as Aaron Eckhardt, and who can give Batman a seriously rough time..
Do you disagree with my list?
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