Posts Tagged ‘Daredevil’

I’m not against rebooting a franchise. I’m not even above rebooting it multiple times, because it means ideally they learned something along the way. Incredible Hulk is a better movie than Hulk, and I’ll bet you Avengers will have a better handle on the character than Incredible Hulk.

And I’ll bet someone could chop up all three Punisher movies and make them into something that’s actually pretty awesome (if, y’know, the lead character’s face changing in every scene might be a little surreal).

Which is why saying the Daredevil sequel won’t be a straight reboot, but will just not so much mention the previous movie, is a little surprising, in an era when it’s easier just to start over.

I’m on record as saying that Daredevil is not…that bad. I mean, certainly it’s not good, no, I can’t make that case. When you watch a movie starring a lawyer and you can’t figure out whether he’s prosecution or defense, we can safely call this one Flawed.  (more…)

It’s no wonder Brian Michael Bendis’s best work (as I see it) is his long run on Daredevil. He successfully redefined the book outside the shadows of Frank Miller’s run, by making it a David Redbelt 1Mamet movie. And I can see why. Mamet’s got plenty of problematic writing tics, but his material can be great instruction.

While Mamet’s plays are often about impotent men raging against things they can’t change or pretending to have control over things they don’t, Mamet’s movies, especially as he’s gotten more comfortable as a filmmaker rather than a guy whose plays become movies, are generally about men who know they only control their own core belief systems.

Mamet’s more recent films tend to feature settings that are incredibly pulpy. He likes playing in settings that are usually reserved for pure genre films. The Edge is a wilderness adventure; The Spanish Prisoner is an industrial espionage story revolving around a macguffin; State and Main throws back to old Hollywood screwball comedies; Heist features a pack of well-worn thieves; Spartan goes for military black-ops; and his most recent, Redbelt, is set at the outskirts of a martial arts scene.