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the smell of popcorn search primary menu skip to content search for: review avengers: age of ultron may 2, 2015 max j. lalanne avengers: age of ultron may only be the sec­ond install­ment in marvel’s exhaus­tive series of magna opera, but a cer­tain kind of famil­iar­ity has already been estab­lished. this is both good and bad. it’s good because the audi­ence know what to expect, and the audi­ence is rarely dis­ap­pointed by joss whe­don. but it’s bad because there is no oppor­tu­nity for amaze­ment beyond the desul­tory thrills that high-powered, oblit­er­a­tive brawls between cgi crea­tures engen­der. what’s the point of watch­ing super­heroes save yet another day if there’s no child­like sense of won­der­ment? i won­der. after all, it’s the same everytime—our rag­tag group of heroes usu­ally face down adver­saries who, when not slith­er­ing through inter­galac­tic por­tals above man­hat­tan, more dis­turbingly emerge from clan­des­tine lab­o­ra­to­ries (or tony stark’s own base­ment) as per­verted brain­childs of overly ambi­tious peo­ple who think they found the ruth­less solu­tion to the prob­lems of the world. in age of ultron it is the lat­ter, as the epony­mous a.i. sys­tem designed as a “sen­try sys­tem” against future extrater­res­trial incur­sions elects instead to play god and usher human­ity into a new era of evo­lu­tion. james spader, who voices ultron, lends cred­i­bil­ity to a robot with a dark, twisted soul and a wry sense of humor, although the tease of a truly mem­o­rable and com­pelling char­ac­ter unfor­tu­nately never fully mate­ri­al­izes. it’s frus­trat­ing, but not uncom­mon, as more new char­ac­ters intro­duced as the next crop of avengers also feel sac­ri­ficed to the fran­tic action of the story, where every­thing must keep mov­ing for­ward no mat­ter how silly it is. paul bet­tany, as a seraphic being with con­fus­ing abil­i­ties and even more bewil­der­ing ori­gins, arrives at the eleventh hour to seem­ingly save the day but then devolves into a back­ground fig­ure in the final bat­tle, while eliz­a­beth olson, as the scar­lett witch, is sad­dled with an east­ern euro­pean accent, a twin brother called quick­sil­ver (aaron taylor-johnson), and two expres­sions: bug-eyed alarm, and glow­er­ing fury. but who needs them, while we can still enjoy the holy trin­ity of robert downey jr., per­fect­ing his genius-billionaire-playboy-philanthropist schtick as iron man; chris evans as cap­tain amer­ica, whose moral purity remains hilar­i­ously irre­proach­able, even if he has devel­oped a keen sense of self-deprecation; and chris hemsworth, as the norse god thor, who’s never more lik­able then when sport­ing a beam­ing grin and dis­mem­ber­ing robots with his ham­mer. you also have the per­pet­u­ally pouty hulk, played by mark ruf­falo, who devel­ops a roman­tic attach­ment with scar­lett johannson’s black widow. unlikely cou­ple? sure, but some tinges of ten­der­ness amidst the ram­pant machismo is always appre­ci­ated. keep­ing with the theme, jeremy ren­ner, as hawk­eye, the s.h.i.e.l.d. agent who accom­pa­nies the super­heroes on their peace­keep­ing sor­ties, is given a back­story, more one-liners, and the honor of infus­ing the pro­ceed­ings with a lit­tle down-to-earth human­ism. it’s a wor­thy attempt, but even renner’s best “ wtf am i doing here, i’m just a nor­mal dude” impres­sions fail to ground, or define, age of ultron . the film is a never-ending spec­ta­cle of noisy razzle-dazzle that could go on for five more hours and have the same amount of emo­tional impact, or lack of. i think a rea­son why is that amongst all the irony and the wit­ti­cisms, whe­don for­got to add moments of real grav­i­tas. moments that make the audi­ence stop laugh­ing, so that the jokes stand out even more when they start laugh­ing again (because they are pretty good). pow­er­ful moments. there’s a scene where thor is barely hold­ing off ultron’s assault, and he responds to an insult with the usual grandil­o­quence —only to cut his own retort short by quip­ping, with a shrug, “i’m run­ning out of things to say.” wham, bam, pow! it plays well, but a bit of seri­ous­ness wouldn’t have gone amiss either. b+ share this: review the hobbit movies are not bad. they just look bad. january 20, 2015 max j. lalanne for me, the verdict’s still out on whether peter jackson’s “the hob­bit” tril­ogy was a suc­cess. it cer­tainly struck a chord with audi­ences who, as if drawn to the one ring’s irre­sistible allure, couldn’t resist return­ing to mid­dle earth for yet another adven­ture drenched in nos­tal­gia, and i for one stand in full admit­tance of my gulli­bil­ity— when it comes to hob­bits and elves, for­get gol­lum, i’ll fol­low peter jack­son to mor­dor and back again. but as i rem­i­nisce on the films, the last of which, “the bat­tle of the five armies”, was released in decem­ber 2014, i have to admit: there’s some­thing that really bug­gers me. it’s not the acting—martin free­man per­fectly captured—or rather, cre­ated— the man­ner­isms and char­ac­ter of bilbo bag­gins, and richard armitage, though he doesn’t look much like a dwarf, is noble and haunted as thorin, the leader of the dwarf com­pany who recruits bilbo to go reclaim their king­dom from the dragon smaug. i’m prob­a­bly one of the only peo­ple who appre­icated the addi­tion of evan­ge­line lilly’s char­ac­ter. and it’s not the story—jackson could have a dozen dwarves traipse around new zealand for four hours and i’d still watch it. say, that sounds like a movie called the hob­bit.… no, what almost ruins the movies for me is quite sim­ple: i don’t believe it . not because the act­ing was lousy or the story par­tic­u­larly con­vo­luted, but because it doesn’t look any­thing like the lord of the rings . in those movies, there was more than a mere pre­tense of real­ity in the fan­tasy world of mid­dle earth—the land­scape is gritty and tough when needed, with­out any embell­ish­ment. in the hob­bit movies, how­ever every pixel of the frame seems to gleam unnat­u­rally, tinged with the lumi­nous residue of cgi ; some characters—like azog the defiler, the evil orc—seem to have been born out of this artificiality. does this have any­thing to do with peter jackson’s much maligned exper­i­men­ta­tion with 48 frames per sec­ond (in 3d , no less)? i admit to being totally igno­rant to that con­tro­ver­sial aspect of the hob­bit . but i do know that there’s a prob­lem when the lit­tle grassy hills of the shire, exces­sively green and lush, seems to come straight out of con­cept art for oz the great and pow­er­ful , or when every­one glows sil­ver dur­ing moon­lit night scenes. there’s an even big­ger prob­lem when you can’t tell if there is actu­ally an actor under the scarred alabaster hide of azog—and if there is, the finer qual­i­ties of his per­for­mance seem to have dis­ap­peared in post-production. what hap­pened to the won­der­fully tan­gi­ble qual­i­ties of, say, the uruk hai, the hell-spawned dread­locked louts over whose vicious fea­tures the cam­era could con­fi­dently linger as they bared their yel­low teeth and grunted out beau­ties like “we’ve have noth­ing but mag­goty bread for three stinkin’ days!” to under­score my point, i’ve taken two screen­shots from each of the dvd ver­sions of two films: an unex­pected jour­ney and the fel­low­ship of the ring to com­pare the visual changes between the two. does the more vivid col­oriza­tion serve to rep­re­sent a younger, more inno­cent mid­dle earth, not yet tainted by the evils of mor­dor? or did the hob­bit movies just go through the same fil­ter process as every other hol­ly­wood block­buster? i’ll go with the latter. the first photo is from the begin­ning of “the hob­bit”, frodo’s clothes and even the mail­box are gauzy and smooth, like a paint­ing. the light is dif­fused, the fields yel­lower. observe in the sec­ond pic­ture, how­ever, taken from the begin­ning of “the lord of the rings”—both scenes actu­ally occur only a few hour

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Whois Information

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Domain Name: SMELLOFPOPCORN.COM
Registry Domain ID: 1716431303_DOMAIN_COM-VRSN
Registrar WHOIS Server: whois.liquidnetlimited.com
Registrar URL: http://www.liquidnetlimited.com
Updated Date: 2015-02-14T00:52:43Z
Creation Date: 2012-04-27T14:56:26Z
Registry Expiry Date: 2020-04-27T14:56:26Z
Registrar: LiquidNet Ltd.
Registrar IANA ID: 1472
Registrar Abuse Contact Email: [email protected]
Registrar Abuse Contact Phone: +44-20-3695-1294
Domain Status: clientTransferProhibited https://icann.org/epp#clientTransferProhibited
Name Server: NS1.EXCLUSIVEHOSTING.NET
Name Server: NS2.EXCLUSIVEHOSTING.NET
Name Server: NS3.EXCLUSIVEHOSTING.NET
Name Server: NS4.EXCLUSIVEHOSTING.NET
DNSSEC: unsigned
URL of the ICANN Whois Inaccuracy Complaint Form: https://www.icann.org/wicf/
>>> Last update of whois database: 2017-09-30T23:37:13Z <<<

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  REGISTRAR LiquidNet Ltd.

SERVERS

  SERVER com.whois-servers.net

  ARGS domain =smellofpopcorn.com

  PORT 43

  TYPE domain

DOMAIN

  NAME smellofpopcorn.com

  CHANGED 2015-02-14

  CREATED 2012-04-27

STATUS
clientTransferProhibited https://icann.org/epp#clientTransferProhibited

NSERVER

  NS1.EXCLUSIVEHOSTING.NET 162.210.102.140

  NS2.EXCLUSIVEHOSTING.NET 198.23.56.254

  NS3.EXCLUSIVEHOSTING.NET 46.249.199.214

  NS4.EXCLUSIVEHOSTING.NET 95.175.98.136

  REGISTERED yes

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