Tuesday, July 16, 2013

Mudslide


"Mudslide" was the 52nd produced episode of Batman: The Animated Series, but it was pushed back to be the 63rd aired episode on Sept. 15, 1993, technically making it part of season 2.

This is the second appearance of Clayface, and he's slowly dying. He can barely hold himself together and is becoming significantly weaker. However, he has also become smarter with his powers, as we saw him very quickly switch to a bunch of different people at opportune times. I really liked this element, so I'll add a point for it.

I'll then raise the score to a 7 for some classic Alfred lines. First, Batman says Clayface is losing his integrity, and Alfred says, "I wasn't aware he had any to begin with." Then Batman wonders why that woman doctor is helping Clayface, and Alfred says, "Perhaps she enjoys mud baths." Wonderful, classic Alfred.

There is one part in this episode that has always bugged me and probably always will. Batman offers to help Clayface turn human again, but Clayface refuses. He instead steals a secret isotope from WayneTech that actually works and helps him start to turn into a human, but then Batman interrupts the process. Why stop it Batman? You said you wanted to help! I guess Batman sees the world in complete black and white and can't overlook someone breaking the law, even this one time. It still bugs me, though, so I have to take a point off.

But despite my one quandary there, I do have to praise this episode for its overall excellence. The animation was great — you could really see Clayface struggling to hold himself together. The episode was very dark in tone, with Batman suffocating and Clayface's apparent death, but I kind of liked that darkness. Yes, this is a kids show, but it's OK to get a little rough like that. So I'll bring the score back up to a 7.

Final score: 7

Monday, July 8, 2013

Jazz Free Agency: Week One


So NBA teams have officially been able to contact players and agree on deals for about a week now, and it has been a pretty busy week for just about everybody involved, especially the Utah Jazz. So how has my favorite team handled this turbulent period under new GM Dennis Lindsey?

I'll start with the smallest thing first. Earl Watson went to Portland, saying he wants to mentor one of the league's best young point guards — Damian Lillard. So Trey Burke's not one of the league's best young point guards? I know Watson didn't mean that — I just couldn't help myself. I will miss him a little bit, but really I think he should've retired and become an assistant coach somewhere. But hey, if an NBA team is willing to pay you to be a player, how could you refuse?

The next thing, which was pretty big, was Al Jefferson going to Charlotte. I wanted him to leave Utah, and I think this will be better for both sides. I had heard right from the start that Big Al was thinking about the Bobcats, but I was still a little surprised when I heard he was going there. I thought he'd wait to see who got Dwight Howard and then try to market himself as a Plan B or Plan C to teams needing a big man. I thought Dallas might be a good spot for him, but then I remembered the Mavericks need a defensive big man to pair with Dirk Nowitzki, and defense is something Al Jefferson doesn't spend much effort on. In Charlotte, Big Al will return to his early NBA roots of being the undisputed leading scorer on a team with low expectations. Or, in other words, he's going to put up big numbers on a losing team. And you know what? That's perfectly fine for him. Not all NBA players care about winning (despite what they say) and being a big fish in a little pond is not a bad choice.

The Jazz then renounced the rights to Jefferson and Paul Millsap to clear salary space for the monster trade with the Warriors. The Warriors made this first monster trade in hopes to make a second monster trade for Dwight Howard, but that never happened. Instead they had to settle on Andre Iguodala. To acquire him, they dumped a couple of large expiring contracts on the Jazz in the forms of Richard Jefferson, Andris Biedrins and Brandon Rush. As reward for taking on these ghastly contracts, the Jazz were given unprotected first round picks in 2014 and 2017, as well as a couple of second round picks. And all Utah had to give up was Kevin Murphy.

First, the price. Al Jefferson and Millsap were already gone. It's kind of tough, but necessary for all parties involved. So officially renouncing them was no big deal. Kevin Murphy is a little different, however, as he was still under contract and could have potentially played a part in Utah youth movement this year. He wasn't really given much of a chance last year, and I'll honestly be very surprised if he's given any playing this year in Golden State. He doesn't seem that good of a player, but it would've been nice to be able to confirm that. But ultimately, the Jazz gave up virtually nothing for three players and four draft picks. But what exactly are we getting back in these three guys?

Richard Jefferson was a lottery pick out of Arizona who enjoyed seven productive seasons with the New Jersey Nets, including the teams that made back-to-back appearances in the Finals. Jefferson peaked in 2005 with 22 points and 7 rebounds per game. But things eventually fell apart in New Jersey, and Jefferson was traded to Milwaukee. He only lasted one season there before being sent to San Antonio. This, at first, seemed like the perfect fit, but he ended up being a huge underachiever on a couple of Spurs teams that underachieved in the playoffs. Eventually the Spurs got sick of him and sent him to Golden State, where he saw his minutes and production plummet. Last season, in just 56 games, Jefferson averaged 10.6 mpg and 3.1 ppg. He is not expected to do anything this year.

Andris Biedrins was a lottery pick from Riga, Latvia, and has spent his entire career in Golden State. He was a promising prospect, especially in 2008 with 12 ppg and 11 rpg, but everything quickly went downhill after that. Injuries could have played a factor in this — he's only had one 82-game season, and that was 2006-07. But I also think Biedrins' downfall can be attributed to the natural, and glaring, flaws in his game, most notably foul trouble and free throw shooting. Now, he is .503 for his career, but it's hard to overlook seasons of .160 and .111. Of course, in those seasons, he went 4-of-25 and 1-of-9, respectively, but that kind of proves the point. When a player can't make a free throw, they do whatever they can to avoid being fouled and sent to the line. This is a major hindrance, and it leads to low minutes, DNPs, and rosters hampered by massive salaries. Last year, Biedrins appeared in 53 games at 9.3 mpg and 0.5 ppg. It is likely those numbers will be repeated in Utah.

Brandon Rush was also lottery pick, this time from Kansas. He's a pretty good shooter, and enjoyed three promising seasons in Indiana before being traded to Golden State. In 2011-12, he put up just under 10 ppg and shot over 45 percent from 3-point range. But then he got hurt, and could only play in two games last year. Now, his agent claims he'll be completely healthy and ready to go opening day, and I'd like to believe that, but you never know how well someone can recover from an ACL injury. However, there is a slight chance that he will become a valuable player for the Jazz. Worst case scenario, he's just another expiring contract we have to endure for a season like Jefferson and Biedrins.

Immediately after this trade went through, Paul Millsap and DeMarre Carroll both went to Atlanta. I loved Millsap while he was here, but as I've said before and will keep reminding myself, it was time for him to go. But if his fantasy basketball career has taught me anything, it's that you don't want to give up on Paulsap. However, I do think he'll have the same problems playing alongside Al Horford that he had with Al Jefferson. It's not a very promising situation for him. Carroll was somebody I wouldn't have minded keeping, but I'm not really sad now that he's gone. Maybe it's because I got sick of following him on Twitter. Literally every single of his tweets included the hashtags #Blessed and #JunkYardDog. I've never heard anybody call him Junk Yard Dog. I think you need to do something more to earn that nickname.

So now the only free agents the Jazz have left are Randy Foye, Jamaal Tinsley and Mo Williams. I've heard Foye is close to agreeing with Denver, which would be a bit of a bummer to lose a good shooter like him. But if Rush can take his place, then we should be OK. I'd really like Tinsley to stay, but I have heard his name being floated around a few different teams. But I haven't heard anybody talk about Mo Williams. I guess nobody wants him. I sure don't want him. The Jazz aren't done yet shaping the roster (they still need a backup point guard and power forward), but they essentially are thanks to this big trade.

So what does all this mean? Well, theoretically, by locking up the roster with crappy players, the Jazz will be "forced" to play their young guys to develop them, all while losing plenty of games to get a high draft pick. Although Golden State's pick won't be very high, the Jazz could package it with their to jump higher in the 2014 draft, which reportedly is going to be the best draft of all time ever. Plus, the Jazz will have tons of cap space in the most loaded and wonderful free agent class that ever was conceived in the existence of professional basketball. Then the stars will align, the lamb will lie with the lion and the Jazz will win the championship.

OK, what does this trade really mean? In an ideal world, Utah's coach would bury Jefferson and Biedrins on the bench, only using them in spurts to give the young, promising guys a breather. But I don't trust Utah's coach. Tyrone Corbin has often fallen prey to giving the veterans too much playing time, like Raja Bell and Marvin Williams. It seems whenever I caught the Jazz on TV last year, I'd be perplexed with Corbin's rotations. Now, if Jefferson and Biedrins have miraculous revivals, then I'd be more than OK with giving them some playing time. But that is highly unlikely. More likely, is Corbin will give them too much time and we'll suffer through a frustratingly mishandled tanking season.

That brings me to my next point. Tanking is never fun, especially when it comes so quickly after the last "plan for the future." It was supposed to be Al Jefferson, but he only took us to one playoff series, and we got swept. So now we're blowing it all up, and this is where the we shifts into the they, especially if the future isn't as promising as it should be. What if Derrick Favors can't make the leap? What if Enes Kanter can't refine his game? What if Gordon Hayward and Alec Burks have already maxed out, and what if Trey Burke is a bust? All these things have to be considered and I hope the Jazz have contingency plans in place. Yes, there is a lot of hope now, but that's all there is. Hope. Nothing concrete. I can be patient for a little bit, maybe two years, but I'm growing tired of being patient. Since 2007, the Jazz have been on a wild and frustrating roller coaster ride. This franchise used to be a pillar of stability. Let's return to that standard.

Friday, July 5, 2013

Steel


Shaquille O'Neal is a superhero?! This is the perfect movie to review for the Sports and Superheroes blog! Steel came out in 1997, was directed by Kenneth Johnson, and stars Shaq in the title role, Annabeth Gish as his girlfriend and Judd Nelson as the bad guy.

This movie was less about telling the story of of the superhero Steel, as much as it was about finding an action movie for Shaq to star in. He had already made Kazaam, which was a flop, but that didn't stop his acting or rapping career. This movie was produced by Quincy Jones, who is a legendary music producer — not a movie producer. He found Kenneth Johnson to write the screenplay and direct the movie because he had directed the '70s Incredible Hulk TV show. But at this point, Johnson was sick of superheroes, so he intentionally cut back on most superhero elements in the movie and basically ended up with an action movie that vaguely resembles a comic book character.

Steel was created by DC in 1993 after the death of Superman. He was a scientist who decided that Metropolis needed a hero in Superman's absence. So he created a suit of steel that covered his entire body and put a Superman shield on his chest, wore a big red cape and told everyone that he was Superman's consciousness in the body of a robot. The charade didn't last long, but Steel remained a hero and ally of the real Man of Steel to this day. Steel was also one of the very few black heroes in comic books, which is probably the No. 1 reason why he was chosen for Shaq. I guess another possibility would have been Luke Cage, but he's in Marvel, and that probably would have been more complicated to work with at the time (this was still pre-X-Men).

This film was shot in 1996, and was on a very tight schedule. Shaq was in the Olympics in Atlanta, and had to work with an acting coach to learn the script in-between games. As soon as the Olympics ended, they only had five weeks to shoot before Shaq had to report to the Lakers training camp in Hawaii. So if this movie felt rushed, it's because it was. On a related note, Shaq's Lakers finished the '96-97 season by getting knocked out of the second round by the Utah Jazz.

To recap: Shaquille O'Neal, an amazing basketball player, but not a great actor, became the star of a movie produced by a man who didn't know how to make movies and a director who didn't want to make a superhero movie. What could go wrong?

The movie begins with John Henry Irons, his girlfriend Susan Sparks, and Nathaniel Burke demonstrating new weapons for the Army. The first is a laser cannon that can quickly decommission a tank. The second weapon produces a big nonlethal shockwave (they make a big deal about how Johnny doesn't want to kill anyone). Burke, however, is determined to show just how powerful these new weapons are, so he sets it to the maximum setting and accidentally causes the building they're in to collapse. Sparks is buried under the rubble and becomes paralyzed.

Later, Johnny testifies in military court against Burke, who is dismissed. Johnny's tour is up, so he decides to return home to Los Angeles and live a weapons-free life. He moves back in with his grandma and little brother, and there's a really annoying running gag about the grandma always cooking a soufflé and demanding everybody whisper so it doesn't collapse. These prolonged whispering scenes only further compound the basic sound problems this movie suffered from. I never could hear anybody talking and had to crank up the volume, but then the action scenes or any music playing would be ridiculously loud.

The music of the movie was also quite disappointing. Quincy Jones put together a "popping fresh" soundtrack of wannabe hit original singles that were cheesily upbeat and reeked of the '90s. Shaq, who also wanted to be a rapper at this point, contributed a single to the album, but the feature song, "Steel Yourself," was written by director Kenneth Johnson. Similar to Howard the Duck, I think the main people making this movie saw it as a vehicle for their budding music careers, which never took off. Besides all the hip hop songs, Steel features one orchestral heroic theme that was very generic and way overused in the movie.

Back to the movie, Burke decides to move to Los Angeles to plot his revenge against Johnny. Burke finds a shady businessman, who uses an arcade store as a front. The arcade store is interesting. We get a couple of shots of NBA Jam, but ironically, the Clippers are playing instead of the Lakers. We also catch a brief glimpse of a Batman Forever game. So that means either this movie is set in a different universe as Batman, or in that universe, they create video games based on real-life events. Considering the wackiness of both these movies, I'd say the second possibility is more than likely. Anyway, Burke teams up with this businessman to start mass-producing these new advanced weapons. We also see Burke develop into an irrationally evil bad guy who readily kills anybody who slightly angers him. He also gets a black henchman who insisted on talking in a ridiculously low voice. I couldn't take anything he said seriously, and apparently neither did the filmmakers because he got less and less lines as the movie progressed.

One night, Johnny decides to hook up with his old cop girlfriend and they drag his little brother to a meeting about gangs or something like that. On the way, they're attacked by a gang using the advanced weapons supplied by Burke and Johnny's cop girlfriend is seriously wounded. She's never seen or heard from again in the movie. Johnny sees one of the gang members running away, so he chases after him on foot. And thus begins one of the longest, slowest-paced chase scenes I've ever seen.

I can only assume that Shaq was saving himself for the upcoming basketball season, because he didn't even try to pretend to run. He just went at a slow-paced jog that really was more of a trot. So on one hand, you had this punk kid full-on sprinting away, while a 7-foot, 300-pound man slowly trotted after him. Another problem with using Shaq in movies is that you can never find a stunt double for him. He is literally the only man in the world that size. So we saw him pull off a couple of "stunts," which really were very slow and carefully controlled hopping over walls and short fences. At one point, the punk slides through a small opening in a locked gate, so Shaq rips the gate door off its hinges. If Johnny was this strong already, why'd he need to create the Steel armor? The "chase" then leads to a train yard, where lots of cars and tracks are moving and we get probably a dozen very slow close calls. This part in the movie lasts forever. We want to see Steel — not Shaq trotting around a train yard. Then, the scene finally ends with the punk kid getting away. So we did all that trotting, wall-hopping and gate-ripping for nothing.

Johnny then calls up his old general to tell him he's seen his new highly-classified weapons on the street. The stupid general doesn't believe him, not once considering that the recently-dismissed Burke could possibly re-create the same weapons he helped develop. This general is almost as irresponsible as the one that sold P.N. Guin the nuclear submarine. Johnny was so upset with the general that he destroyed the pay phone he was on. Yes, this was 1997, and people still had to use pay phones. In another nod to the '90s, Burke decides to create a "Web page" to sell his weapons on, but it takes him a week to create it and send it out "internationally." And the page looks like crap once it's finished, by the way.

So yeah, Johnny somehow finds out that Sparks is in a veterans hospital in St. Louis and is deeply depressed. Johnny visits her and asks her to help him fight Burke. She refuses, so he literally picks her up in her wheelchair and carries her out the room. He takes her to his uncle's junkyard (he apparently had an uncle who is a mechanics expert) and they set up a secret crime-fighting base there. Sparks eventually agrees to help them and she becomes a sort of Oracle-type sidekick for Steel. Sadly, they never call her Oracle, which would have been awesome. But actually, the best element of this movie was watching Sparks come to terms with her disability. It was genuine and gradual and probably would've been heartwarming had we not had Shaq constantly standing close by flashing his signature smile.

They build the Steel armor montage-style, with the director's "Steel Yourself" blasting away. It is an overly positive song about standing up for what's right and all that jazz. Finally, after about half the movie has gone by, we see Johnny put on the Steel suit. Now this moment is supposed to be the most powerful, amazing moment of every superhero movie. But here, it sucked. I laughed out loud the first time I saw that suit. It looked so awful! It also didn't make any sense, leaving so much of Johnny's face exposed, as well as his palms. It was so strange — he had gloves that only protected the backs of his hands. And then he had his hammer that didn't look or act like a hammer at all. Ninety percent of the time he used it as a gun, so I don't see why he couldn't have used a gun instead — the director had already changed so many things about the character, why stop there? But despite all the problems with the suit, I probably could have accepted it had Shaq not been smiling so much. Look, I know you're happy and excited to be dressing up like a superhero, but you have to at least pretend to be serious for a little bit here. You're chasing bad guys! Don't smile at them!

Anyway, Steel's first night on the job goes fairly well. He disarms some gang members by using his hammer to magnetize his suit and draw all their guns toward him. The cops then show up, which Sparks annoyingly refers to as the "blues" throughout the whole movie. (Why do you need a code word for them? Just say cops.) Steel escapes the police by using a grappling hook to scale a building. He then tries to jump to another rooftop, but Sparks tells him it's too far. Johnny, though, confidently tells her he took second-place in the long jump in high school, and he barely makes the jump. He then gets on a motorcycle and leads another long, obligatory and boring chase scene, before he finally loses them in the junkyard.

The next night, Burke's men rob a bank and videotape their weapons in action to put on the news. Steel tries to stop them, but ultimately fails when one of the punks shoots down a police helicopter and Steel is slightly injured (cuts his chin and breaks a rib) while saying an officer. The video footage gets out showing Steel using a weapon just like the gang's, and the police immediately peg John Henry Irons as a suspect. I mean, how many guys as tall as him are also notable weapons experts? Johnny goes home and has an intense whispering conversation with his grandma (she was baking another soufflé) and she basically comes out and says she knows he's Steel. I mean, it was pretty obvious. Suddenly, the SWAT team comes crashing through the windows and Johnny beats a few of them up before finally surrendering. He's taken to jail, and the one officer he saved nobly decided not to identify him as the vigilante.

Johnny, though, still had to be held on suspicion, so Sparks used her computer-hacking skills to release him. She called the district attorney, recorded his voice, and sent that through the computer so when she called the jail, she sounded like the district attorney. She also discovered Burke's "Web page" that actually only gives the time and address for the weapons auction. This part is pretty funny, because they have to take a long time to explain how the Internet works. All the gangs around the world are quite amazed that such valuable information could be conveyed through computers.

Anyway, Johnny gets back with his uncle and his Steel suit, but Burke had somehow managed to kidnap Sparks and Johnny's little brother. Everything at this point really becomes a blur to me, but I remember Steel trying to save them and getting captured himself, but then they're freed when he tricks Burke into activating his magnet and Sparks reveals she's equipped her wheelchair with laser guns. Somehow, Steel ends up in a room with his brother and a bad guy throws a grenade in there, and the only way to get rid of the grenade is for Steel to throw it out a small hole roughly 10 feet up on the wall. Earlier in the movie, we saw Johnny no less than three times attempt to shoot a basketball or throw something in a garbage can and miss terribly. Each time, he'd just shrug, turn to the camera, and say, "I never was good at free throws." So here, with the live grenade in his hand, he shouted to his little brother, "I was never good at these!" So his little brother told him to bend his knees and follow through, which he did and got the grenade out of the room.

Oh, and at some point he got into a final confrontation with Burke, who once again decided to set his shockwave gun at too high a setting and blast Steel with it. The shockwave bounced off Steel's suit, hit Burke, and caused the building to collapse and kill him. The movie ends with everybody visiting Grandma's restaurant, where she proudly shows off the soufflé she was finally able to make. And then Sparks shows Johnny a feature on her wheelchair and enables her to stand up so she can hug him (after he still has to bend over a whole lot).

So yeah, that was Steel, the last movie Shaquille O'Neal ever starred in. It was made with a $16 million budget, but astonishingly only made $1.7 million. They lost almost 90 percent of the money they spent! At least Howard the Duck broke even! I think there are three main things that led to this movie being such a colossal failure:

First, the budget. A certain amount of money is required to be spent on a superhero movie. Howard the Duck came out 10 years before Steel, but its budget was more than double Steel's — and it was one of the worst superhero movies I've ever seen! You just need some money for special effects, which this movie had none basically. They had their weird little laser/shockwave guns, but they never did anything visually impressive. Steel's suit also looked awful, and was really cumbersome, making any action scenes with it near-unwatchable. So they tried to throw in as many action scenes as they could without the suit, but those also were near-unwatchable because they were so boring. At the end of the day, if you want to make money, you need to be willing to spend some money.

Second, the superhero aspect. This was a superhero movie that was ashamed to admit that it was a superhero movie. There were only a couple of moments that dared to admit this could be a DC character. One was Shaq's Superman tattoo — the classic S-shield surround by the words "Man of Steel." His tattoo was displayed prominently in the movie, and his uncle even called him the Man of Steel once, but they never addressed whether his tattoo was honoring the fictional character Superman or the real-life hero over in Metropolis. We also heard a cop suggest Steel had hidden in the Batcave, and Steel's little brother asked if he could be his Robin. But these Batman references, along with the Batman Forever arcade game, don't really encourage the idea of Steel living in the same world as the Dark Knight. But the biggest problem was how the movie tried to stay away from all superhero elements, but occasionally had to deal with a few unavoidable things that really felt out of place. If you don't want to make a superhero movie, then don't. Just make an action movie. But if you're going to take a superhero's name and likeness, then you need to take all the aspects of that character, or you'll end up with a movie like this — confused and empty.

And the third fatal flaw of this movie was Shaquille O'Neal. It's not entirely fair to say he's a bad actor, because he really never was an actor to begin with. While other movie stars spent their lives studying drama and starring in plays, commercials, TV shows and movies, Shaq was practicing and playing basketball — as he should have been. He eventually won four NBA championships, and he became the first player since Michael Jordan to win three consecutive Finals MVP awards, which is no small feat. But when a superstar like Shaq tries to use his celebrity to invade other forms of media, be it music or movies, it becomes rather insulting to the dedicated professionals who have spent their whole lives at the art. There must have been a hundred other actors who were more qualified, capable and willing to play the part of Steel, but Shaq got it because he's Shaq. And that really isn't fair. Now, if Shaq were an excellent actor, then that'd be a different story, but he isn't. He has a very likable personality, and can goof off and be funny with the best of them, excelling in the All-Star game and kids award shows. He's also great in 30-second commercials, but anything that requires extended speaking is not good for him. He tends to mumble a lot and fall into an emotionless monotone, which can make him unbearable on Inside the NBA, and really unbearable in movies. As odd as this sounds, Kazaam was actually a much better movie for Shaq. There, he was a goofy, out-of-place genie that liked to rap, dance and party. But the role of John Henry Irons was much more complex, and he failed at it — generally under-acting, but occasionally over-acting in some moments. And never, not once in the movie did you forget that he was Shaquille O'Neal, NBA superstar, and it didn't help that the movie kept throwing in basketball references. So yes, the lesson is that Shaq could not and can not be the star of a movie. He can make cameos, he can star in commercials, but he can't carry a full feature-length film.

Steel was a horrible, horrible movie. And it wasn't all Shaq's fault. If you replaced Shaq with Will Smith, but still had the same script and budget, I think this movie still would've been a failure. It would have made more money, but not too much. Sadly, this is perhaps the only superhero movie with a black guy in the title role, and it was a failure. Equally sad, this was one of the few non-Batman or Superman DC movies, and it was a flop. It's movies like this that give superheroes a bad name.

Final score: 0

Tuesday, July 2, 2013

Howard the Duck


I'm running out of superhero movies to review, so I went to iTunes to rent some early, horrible superhero movies. Technically speaking, Howard the Duck was the first major Marvel movie. It came out in 1986, after George Lucas, yes the George Lucas decided to team up with some of his film school friends to adapt his favorite comic book. They originally wanted to do an animated movie, but contractual obligations required them to make it live action. Lucas was the producer, Willard Huyck was the director (this was the last movie he directed, coincidentally), Chip Zien provided the voice of Howard, Lea Thompson (Marty's mom in Back to the Future) played his girlfriend, and Jeffrey Jones was the scientist-turned bad guy.

Normally, when I review movies, I start with a score of 5 out of 10 and add or take away points throughout the movie. And in my post, I usually only talk about the points I reward or deduct. But in a movie this bad, I could have started with a 10 and it would've ended up with a 0 anyway. Also, I think my primary audience isn't very familiar with this movie, so I'll just provide a synopsis and explain what's wrong with it on the way.

Our story begins on Duckworld, which is shaped like a giant egg and has two moons (reminiscent of Star Wars). We don't spend much time on Duckworld, but we are exposed to every duck-related pun imaginable — the worst was a poster for "Breeders of the Lost Stork" with a duck dressed as Indiana Jones. Howard starts channel surfing, and there are actually a couple of funny moments from his duck TV, and we get the sense that this is a nice, fun kids movie. But then Howard lights a cigar to enjoy his latest issue of Playduck magazine, and we actually see some duck boobs. What? Why? How? We don't have much time to worry about this, because the plot quickly arrives in the form of a giant purple laser that pulls Howard and his armchair through his apartment building — right past a bathing lady duck with her boobs exposed. Again, why? We don't need or want to see duck boobs! Anyway, Howard is pulled into space and a narrator explains that there are many different planets in the cosmos and what is reality on one planet is but fantasy on all others.

So right away, we can see that this is a very confused movie. I've never read a Howard the Duck comic, but I always assumed that he was a rude, crude, obnoxious tough guy, who was only funny and appropriate for adults. This movie wanted to keep some of those characteristics, but also tame Howard down for the kids. But you can't have it both ways. Pick one or the other. The movie also seemed to want to be a classic superhero/action film with some comedic moments, but it almost came off as a comedy/spoof film with some cheesy action moments. I think they would have been better served to make this a full-fledged comedy aimed at adults.

So back to the story, Howard lands in a bad alley in Cleveland, where he quickly meets Beverly, who is the lead singer of an all-girl rock band. This band screams '80s louder than anything I've seen. They have a keytarist, and they all have big hair. No, I mean huge hair. No, sorry, I mean enormous hair that took them two hours each day to do. Yeah, this band was quite remarkable, and I think they sung four or five songs during the movie. I think they may have been trying to create a rock career for Lea Thompson, but it never paid off. Anyway, Beverly is attacked by some thugs in the alley, and Howard saves her with his Quack Fu, which really isn't anything special. He does one flip, then kind of jumps on a guy and then hits him with a garbage can lid.

And so now we run into another fatal flaw of the movie. Howard was played by six different people wearing a very intricate and cumbersome suit. Due to his extremely limited mobility, all of his fight scenes sucked terribly, effectively killing the action in this movie. To make up for this, they added a couple of overly-long chase scenes, but that could never make up for the main character being physically incapable of doing anything remotely interesting. Also the six people in the suit thing really hurt his overall performance. Sometimes, he moved and acted in a very natural way that made you forget he was just a guy in a suit. But most of the time, it was painfully obvious that it was just a midget walking around with floppy duck boots on his feet.

Another of the many problems was how people reacted to Howard. Some would immediately start screaming, some would think it was a kid in a costume, and many others would treat him like a completely normal person. It was quite a mixed bag. Luckily, Beverly had the most genuine reaction to him. After he saved her in the alley, she took him to her apartment, and really had no idea what to give him, how to talk to him, or even how to refer to him. It was nice refreshing scene that felt authentic and natural, probably the best of the movie, but then it was quickly ruined when Beverly started going through Howard's wallet. It was full of more duck puns, and a condom. How did this get a PG rating?

The next day, Beverly takes Howard to her friend's boyfriend, Phil, whom she thought was a scientist, but turned out just to be the museum's janitor. Seeing that they can't help him, Howard decides to go off on his own. His first task is to get a job, so he visits an unemployment office, where a sassy, fat black lady helps him out. For some reason, Howard tries to bite her butt at one point, but she does find him a job — at a brothel. Howard's job is to push around a cart of towels and lotions to all the rooms of prostitutes and clients. Again, a PG rating? Howard's boss tells him to fix a hot tub, but Howard refuses, so his boss picks him up and tosses him into the tub while people are still in it. The boss said a really stupid line — "Oops, I slipped!" — while Howard yelled that he can't swim. About two seconds later, we see the boss cleaning out a big tub of sludge, when Howard runs up and shoves him in, saying, "Oops, I slipped." Instant payback!

Howard immediately quits that job and goes to see Beverly's band perform. He finds out her manager is cheating her, so he beats him and threatens to give him "space rabies" to get the girls' money back and free them from their contract. He runs into Phil again, who takes one of his feathers to test a theory he has on Howard's arrival. Howard then goes back to Beverly's place, and she begins throwing herself at him, and undresses to very skimpy underwear. No way is this a kids movie! Howard at first is excited to sleep with her, but then he gets nervous and tries to back out. She kisses him and the feathers on his head rise up.

According to Wikipedia, it took months for the special effects team to erect the feathers on his head. Months?! For a two-second moment? Can you imagine if you were a low-level special effects guy, trying to make it in Hollywood, and you had to spend months trying to figure out how to make a duck's feathers stick up? "So, how's life been treating you, Joe?" "Awful! I've spent the last six weeks trying to get these feathers to stand up on a duck's head, and they just won't stay up!"

Fortunately, the awkward sex scene is interrupted by Phil and his friend Dr. Jenning, who is a real scientist. He says Howard's feather matches the feather he found after his "routine experiment" of blasting a laser into space went wrong. To prove his point, he put a video tape into the VCR and showed him turning on the laser, there being an explosion, and a single feather floating down from the ceiling. Apparently, that laser grabbed Howard, and brought him to Earth. Only one of his feathers ended up at the site of the laser, while the rest of him landed in an alley two miles away. Makes perfect sense to me.

Dr. Jenning believes they can use the laser to send him back home, but they have to hurry while the planets are aligned. So he hurries ahead to prepare the laser, while Howard and Beverly pack up, I guess. I'm not sure why it took them so long to get there, but by the time they do, they find the laser has malfunctioned again. One scientist with a badly burned face comes running out screaming, "My eyes! My eyes!" He then falls on his knees and says, "We have no right to tamper with the universe." He then very calmly stands up and walks away. Our heroes enter the room to find that Dr. Jenning took the brunt of the blast and has disappeared somehow.

And then the cops show up for some reason. They decide to arrest Howard, because ... I guess we needed some tension? First the cops try to take off his costume, but find he has no zippers or buttons. He and Beverly eventually escape the cops by lighting a cigar and dropping it in a waste basket. The cop tries to put the fire out by diving into the basket and getting stuck. They then grab the cop's gun and escape. The commanding officer tells the other cops that their suspect is 3-foot-1 and armed, "Which means he's got a gun, which means he's dangerous — extremely dangerous. Shoot to kill." Wait. What's happening now? I watched this movie twice and I could never figure out how Howard suddenly became a wanted fugitive to be killed on sight.

While Howard and Beverly are escaping, they run into Dr. Jenning, who is looking a little under the weather. He helps them escape in his car, but he explains to them very clearly that the laser brought back an inter-dimensional demon that is now inside him and taking over his body. They don't believe him and drive and drive and drive, and finally stop at a Cajun Sushi diner. By this point, Jenning is completely a demon and he explains to Howard, Beverly and the waitress that he is a dark overlord and with the command key in Jenning's jacket, he will use the laser to summon the rest of the dark overlords to destroy the planet. But again, nobody believes him. Even when his skins starts changing and he makes things randomly explode with his powers. The waitress brings them all the special, which includes fried eggs. This makes Howard freak out, which causes the attention of a few drunk truckers in the diner.

They start to mock Howard and take the command key, and then they all get into a fight. The "fight" mostly involves Howard throwing pies in everyone's face, and by throw, I mean stand still with a pie in his hand while somebody runs into it. It wouldn't have been so bad had they only pulled this stunt off once, but it happened three or four times, looking more ridiculous each time. It makes you question why these people are running toward Howard, stopping, stooping over, and placing their faces in pies. Anyway, the whole diner basically gangs up on Howard and decides to cook him. The cook from the back comes out and starts sharpening his knife, while everybody else starts seasoning Howard with his clothes still on and everything. Beverly tries to get the waitress to stop them, but she says fights happen there all the time.

Eventually, Beverly gets Jenning/the dark overlord to save Howard by pointing out that one of the truckers took his command key. The dark overlord uses his lightning powers and telekinesis to save Howard and scare everybody away, but then he grabs Beverly and kidnaps her in a semi. He tells her that the dark overlords need to grow inside a human body first, so he'll be using her to that end.

The police then arrive at the diner and the waitress tells them she realized that Howard wasn't a kid in a costume since Halloween is still a month away. For some reason, the cops also brought Phil along with them, who had been arrested at the lab for whatever reason. Howard helps him escape and they decide to flee on a small airplane that they first need to finish constructing.

By this point, it's morning again, and the dark overlord and Beverly are making their merry way down the highway. They're held up a bit by a routine smog inspection (which may have been routine in 1986, but is not today). The dark overlord destroys all the cars in front of him, then realizes he needs more power, so he stops at a nearby nuclear power plant to recharge.

Howard and Phil finish the airplane and they take off, being pursued hotly by the police. One cop vows to take in that duck dead or alive. (Again, I have no idea why.) The chase scene lasts forever. At one point, the cops shoot the fuel line and Phil has to fix it and he almost falls, and Howard tries to fly the plane through a gap in railcars on a train. That rips the wings off, and they crash into a lake, but are still somehow able to get to the lab in time to save Beverly.

Phil happens to remember a secret weapon laser that could destroy the dark overlord, but he doesn't know the password to unlock the door to it. Howard kicks the door open, so I guess that means he's pretty strong. Anyway, they grab the laser, which is hooked on to a golf cart for some reason, which happens to be just the right size for little Howard to drive around. He battles with the dark overlord for a while, and they go through the cliche '80s action movie shenanigans, and Howard eventually hits the bad guy with the laser. This expelled the dark overlord from Jennings, who is now perfectly fine. The dark overlord reveals his true form, which is a huge stop-motion monster that was reminiscent of Ghostbusters, but much, much worse.

After a few more shenanigans, Howard is able to hit the monster with the laser and kill him once and for all. However, they realize that he had already activated the laser, and the other dark overlords are on their way. To save the earth, Howard destroys the laser, even though that was his only chance of returning home. It's a very touching scene, I suppose.

The movie ends with Beverly and her band performing at a big concert. Howard is now their manager, and they have written a song about him and their adventure. He's then "accidentally" brought onto the stage in a dramatic way. He's handed a guitar and he rocks out just like Marty McFly. I'd like to see Iron Man do that!

This is quite possibly the worst movie I've ever seen. If you want something to make Batman & Robin look good, you should try Howard the Duck. At least the bad Batman films had good music and elaborate sets and costumes that were semi-interesting to look at. This movie possesses no such redeeming qualities. It also doesn't even remotely feel like a Marvel movie. It does have the line, "Look, up in the sky! It's a bird, it's a plane — it's a duck!" And somebody did refer to a duck-mobile, but those are DC things — not Marvel. Howard the Duck came out at a really bad time for superhero movies. The Superman franchise had just ended in a disastrous way, and Batman was still a couple of years away. It was also a weird time in George Lucas' career as well. He had finished Return of the Jedi, but then did the controversial Temple of Doom in 1984 and then this. He really went into a little funk for a while until The Last Crusade came out in 1989.

Howard the Duck was made with a $37 million budget, and only earned $37.9 million. This enormous failure prevented Marvel from making another movie in more than a decade, and I think it did irreparable damage to the comic book character Howard the Duck. I know he's been around the past 27 years since this disaster, but he has never been a major player or even remotely popular. And I suppose we have George Lucas to thank for that.

Final score: 0

Monday, July 1, 2013

What's next for the Jazz?


I was lucky to not have to work the night of the draft, so I could thoroughly enjoy the most optimistic day in the NBA. It was the craziest draft night in anybody's memory, with all the wild picks, trades and even a fun Bill Simmons–Doc Rivers feud. But the best part of the draft was Dennis Lindsey taking his first action as the new Jazz general manager, and doing exactly what everyone said he was supposed to do. For at least a week leading into the draft, everyone was talking about how Trey Burke would be perfect for the Jazz and how they should trade up to get him. I was saying it, the national media was saying it, and fortunately, Lindsey believed it. Now that he's done what he was supposed to do, what should he do next?

Last season was a disaster for Utah. Kevin O'Connor's final moves were questionable at best, and they turned out to be complete duds as the season progressed. Mo Williams was actually a downgrade from Devin Harris (mostly because of his health) and Marvin Williams made a case for the worst small forward in the league. Al Jefferson never asserted his dominance, Paul Millsap could never play with Big Al and became moody, and Tyrone Corbin never ceased to frustrate me whenever I happened to catch the Jazz on TV. A reasonably talented roster underachieved and missed the playoffs, only partly because of injuries.

However, the future does look bright — as it always does after the draft. Utah now has one promising young player in each position: Trey Burke, Alec Burks, Gordon Hayward, Derrick Favors and Enes Kanter. Jerry Sloan is back (in some capacity), as is Karl Malone and former Ute Alex Jensen. (Hopefully Jeff Hornacek won't make Phoenix a contender and make Utah look stupid for picking Corbin over him.) But first of all, the Jazz need to deal with their seven unrestricted free agents. Here they are in alphabetical order:

DeMarre Carroll

Carroll was on his way out of the league until the Jazz picked him up in the middle of the 2011-12 season. He seems to play with a lot of energy, but not much skill, which may explain his erratic playing time. Last season, he played 66 games, started 12, averaged 16.8 minutes per game and 6 points per game, both career highs. I don't particularly like him, nor do I dislike him. I do think the Jazz should keep him, though, mainly for the sake of continuity. I'd like to limit this year's roster upheaval as much as possible.

Randy Foye

Foye's big thing last year was setting a new franchise record for most 3-pointers in a season at 178 (the previous record was Mehmet Okur with 129 in 2007). Foye played all 82 games, started 72, and averaged 10.8 ppg. Unfortunately, all he did was shoot 3-pointers. He made 3.6 field goals per game and 2.2 of them were from long-range. While he shot a decent .410 from behind the arc, his overall field goal percentage was only .397. I also blame him for creating a live-or-die-by-the-3 atmosphere in Utah, which was ridiculous, since the Jazz had strong post players in Jefferson and Millsap. Despite this, I think it would be valuable for the Jazz to have a veteran sharpshooting guard on the roster. Foye could continue to fill that role, but only if he'll play for cheap.

Al Jefferson

Jefferson has now played three seasons with three teams, and he has pretty much had nothing but bad luck everywhere he went. He skipped college and got drafted by a pretty bad Celtics team. He then got traded for Kevin Garnett and ended up on a really bad Timberwolves team. There, he put up good numbers, but developed bad habits — not passing, no defense, etc. We was then traded to Utah to try to replace Carlos Boozer. But then the whole Deron Williams thing went down, Jerry Sloan retired, and Big Al got stuck with Devin Harris, who could never get him the ball, Mo Williams, who could never stay on the court, and Paul Millsap, who clogged up his lane. I feel bad for Big Al — I really do. But at this point in his career, we know what he's going to give us. He's not the assertive, team-leading 20-10 guy we need him to be. He's a pretty good scorer and rebounder (17.8 and 9.2 last year) and that's about it. He doesn't get to the free throw line near as much as he should, and he only recently started to learn that passing the ball is a good thing. And don't get me started on his defense. In a perfect world, he would start for the Jazz next year alongside Derrick Favors and serve as mentor to Enes Kanter. But realistically, I think it's time for the Jazz to part ways with Big Al. It would be nice to work a sign-and-trade, but that could be tricky to pull off.

Paul Millsap

Millsap was the little 2nd-round pick who surprised everybody with his tremendous hustle and heart. He filled in great when Boozer was injured, but he also benefitted from a great Jazz team with Memo Okur, Deron Williams and Jerry Sloan. After Boozer left, Millsap should have claimed his spot as the team's premier post player. Instead, Kevin O'Connor brought in Al Jefferson, when I think he should have looked for a 3-point shooting center (they're not that uncommon). It became increasingly evident that Jefferson and Millsap didn't work well together, but O'Connor refused to move one of them and the rookie GM didn't dare take a risk that monumental. Anyway, Millsap had to deal with a suddenly crowded post with Big Al, and to try to create some spacing, he started shooting 3s. He never really got that good at it, so Corbin couldn't (or wouldn't) keep him at small forward for his super big lineups very much. Millsap has the heart and skill to be an All-Star, but when he was snubbed, he went into a slump. Although he became a fan favorite with his hard work and occasional game-winning shots, Millsap seemed generally unhappy in Utah last season, and his stats slipped to 14.6 ppg and 7.1 rpg. It's time for him to go. He's had a good run in Utah, but there's no room for him here anymore.

Jamaal Tinsley

In 2011, the Jazz took a rare risk on known-headcase Jamaal Tinsley. Surprisingly, it worked out rather well. Turns out the point guard has mellowed and matured with time, and while age has robbed him of his athleticism, he will still occasionally display a glimpse of his former brilliance. He hasn't caused any problems for the Jazz, doesn't care about playing time or scoring, and does a great job of running the offense. I think he is the ideal candidate to serve as Trey Burke's mentor this upcoming season.

Earl Watson

Watson came to the Jazz in the 2010-11 season, and he has basically been the ideal backup point guard since then. He just ran the offense, did his job, and didn't cause any trouble. But then one day he hurt his ankle and decided to get an unorthodox treatment at UCLA involving a laser. The short term effects were great, but it didn't prevent him from re-injuring that ankle in the long term. When Watson was out (he played 50 games in '11-12 and only 48 last season), Tinsley took his minutes. It became kind of awkward when everybody realized Tinsley could do exactly what Watson could and was even a little better. Corbin was reluctant to play Watson over Tinsley, and then Watson started to complain a little bit. It really wasn't a huge deal, but looking forward, I think the Jazz only need one veteran point guard who can't shoot (Watson's numbers last season: .308 FG, .179 3P, .680 FT), and that man should be Tinsley. For Watson, I think he should consider retirement. He's played 11 years, and when you can barely make it through half the season with abysmal shooting percentages like that, I say it's time to hang up the sneakers.

Mo Williams

Kevin O'Connor's biggest regret played 46 games last season and averaged 12.9 ppg and 6.2 apg. That's not a point guard that can lead you into the playoffs, as we just witnessed. The Jazz missed Mo's prime, and now, after nine seasons, I'm not sure he can start and play 35 minutes a game anymore. He could be a great bench player somewhere, possibly in Utah, but that seems unlikely. Mo and his agent have recently issued rather defensive-sounding statements saying he never has, nor ever will demand to start. To me, if you're taking the time to tell this to people, then there might be some truth behind it, whether he admits it or not. The way it looks now, Mo's time in Utah is done. And that's probably for the best.

So, to summarize, I say the Jazz should re-sign DeMarre Carroll (for stability purposes), Randy Foye (if there's no other 3-point shooter out there) and Jamaal Tinsley (to mentor Trey Burke). Al Jefferson, Paul Millsap and Mo Williams (three of Utah's top four scorers) would likely find greater success on another team. And Earl Watson should just retire. For next season, I want it to be a make-or-break year for Tyrone Corbin and Derrick Favors. Is Corbin a good coach or not? He's now been at the job long enough that we should be able to tell. And if he's not the guy who can lead this team back into contention, then we should start looking elsewhere. Same with Favors. Let's open up the front court, give the man some minutes, and find out, once and for all, if this is the guy we can build our team around. I don't want the Jazz to sign any guys who could take minutes away from our young core. They need to develop and the team needs a fresh start.