Tag: Masters of the Universe
-
Skeletor yields Nixon?
Anthony Breznican’s USA Today profile of “Frost/Nixon” star Frank Langella is a nice sprint through the actor’s career with nice anecdotes from this year’s Best Actor hopeful. But sue me for relishing the send-off more than anything else:In the 1980s, his movie career waned, but one high-profile performance was that skull-faced villain Skeletor in 1987’s Masters of the Universe, based on a hit toy line and cartoon his children watched. “In the end, they couldn’t care less,” he says. “I had a screening for them, and they both fell asleep!…I loved playing Skeletor, and people sometimes say, ‘Aren’t you embarrassed?’ Not in the least! I loved my performance in that. I worked very hard to make him as exciting as I could. It was a great paycheck. But it was also delicious.”
He also wrote some of his own dialogue, including this question to Dolph Lundgren’s muscle-bound hero: “Tell me about the loneliness of good, He-Man. Is it equal to the loneliness of evil?”
The actor pauses as an idea occurs to him. “Sir Thomas More and Richard Nixon,” he says. “I am playing in both of these men the loneliness of good and the loneliness of evil. Jeez, I never thought of it before.”
Langella starts to laugh: “The parallels between these two … Who would have known Skeletor would be the precursor?”
Brilliant. Read the rest here.
-
Movie stingers: do they work?
If you saw “Hancock” over the weekend, you probably noticed a brief scene in the middle of the closing credits sequence featuring Mike Epps and meant as a funny punch for your theater exiting pleasure.
It got me thinking about inter- and post-credit sequences — called “stingers” — and whether they ought to be eliminated altogether. I ask this despite a history that includes a precious few great examples in films like “Ferris Bueller’s Day Off” and perhaps extending way back to the point-and-shoot moment of “The Great Train Robbery” that sent audiences screaming out of nickelodeons in 1903.
Most of the time, these moments are random, useless and nothing more than a send-off treat (like in “Hancock”). Other times, they might be an “Easter egg” for those who know to stick around, like Samuel L. Jackson’s Nick Fury scene at the end of “Iron Man.” (There are also stingers after the credits of “WALL-E” and “Kung Fu Panda” this year.)
More often, however, they have the potential to leave viewers who weren’t aware somewhat burned. Or otherwise irritated — like Eric Snider of Cinematical, who dug into this issue in May.
The question actually brings up another point, which is, are the closing credits of a film a part of the greater artistic whole? Plenty of opening credit sequences provide direct commentary on a film and could therefore be argued part and parcel of the piece. But with few exceptions, closing credits are a tacked-on necessity that even those featured in the roll wouldn’t consider any part of a directorial vision or collective filmmaking result — even if they are beautiful or interesting (i.e. “The Lord of the Rings: The Return of the King”).
Then again, used to the right artistic effect, a subtle stinger might actually add to the overall canvas of a film. Such is the case, I thnk, with the sound of children’s laughter after the credits of “Children of Men.”
Typically, the existence of stingers just annoys me. I’m more at ease with the inter-credits stuff. As I was leaving “Hancock,” the Mike Epps scene kicked in and we all stopped and watch — har, har — off we go. Fine, fair enough. But if I miss something I realy want to see (like in “Iron Man”), it’s quite irritating.
That doesn’t mean I don’t enjoy the scenes, however. And I do have a few favorites.
My top 5 movie stingers of all time after the jump! (spoilers obviously involved)