The most amazing (sorry) thing about modern comicbook movies is that there are any I can still be moved by given that the agenda of Hollywood is to immerse you in lies, perversion, distraction and satanism.  Rather than honor anything good or be loyal to original stories it is their intent to despoil them for their own agendas.  Not that the original stories are “good”, they were all written by foolish Liberals at best and full on Luciferians at worst.

For instance; I won’t even bother to see the latest incarnation of the Fantastic Four with a casting choice that includes a pretty-boy as mature leader Reed Richards and a black guy who was supposed to be the white brother of white Sue Richards.

The previous attempt to bring the Fantastic Four to the silver screen did well with the Silver Surfer but still fell way short of greatness for similar putrid casting and lack of vision (and I explain it all here).

I’m dragging my feet before I see Batman vs. Superman thanks to the ridiculous casting of metrosexual Ben Affleck as bad-ass billionaire Bruce Wayne.  It’s actually the perfect statement for such a movie given that Batman fighting Superman (regardless of the DC lore and history) is equally ridiculous.  It’s quite a statement of derision to make a casting decision that pisses fans off so much they initiate a petition to undo what you’ve done, and you drive on with it anyway.

The latest reboot of Spider-Man (2012 and 2014) can also be summarized through the casting; although Andrew Garfield is “eh” as Peter Parker, the obnoxious far-Left bent of the movies can be seen with the forcing of Sally Field as “Aunt May”.  The scene at the end of Spider-Man 2 with the little boy and his “green energy” windmill model made me want to throw up and punch the TV at the same time (I don’t watch movies in theaters anymore because people suck).

This is Standard Operating Procedure (SOP) for Helliwood which is why I have been shocked at how they haven’t ruined any of the Captain America movies (yet).  I predict that they will fix this oversight by killing Steve Rogers.

In 2007, Marvel did exactly that in the comics at the end of their “Civil War” and his friend Bucky became Captain America.  Of course, they brought Rogers back…sort-of and then killed Bucky off…again.  Sometimes he was “Agent Steve Rogers”, sometimes he was Cap again.

Being killed and resurrected is a comic hallmark but one that is often far more annoying than worthwhile.

In 2014, Marvel finally managed to thoroughly destroy the gem they had by killing off (again) a suddenly 90 year old Rogers and replacing him with The Falcon, Sam Wilson, who’s black.  The Falcon, on screen, is as bland as Hawkeye (although I like actor Anthony Mackie in the role)—there’s nothing particularly heroic or special about the guy; anyone can wear the wings he has as they are supposedly secret military tech.

Steve Rogers as Captain America is one of the most popular and iconic heroes of all time.  IGN’s list has him at #6 but I think he’s even better than that because those Libtards had frigging Wonder Woman at #5 (really?!).

As one third of DC Comics’ Trinity, Wonder Woman has become an iconic figure for not only female empowerment, but as a general ambassador for peace and love.  Though she’s a cunning warrior, her true strength lies in her belief of truth and justice; even her primary weapon is the legendary Lasso of Truth, a rope that demands the truth of whomever it captures.  Considering that Wonder Woman was created by William Moulton Marston – the inventor of the polygraph test – it’s no surprise that “truth” is a significant facet of Wonder Woman’s character.

Well just crush my testicles and put a flaming bra on me (like what the Vatican and CIA did to Bruce Jenner).

As a member of the informed Resistance, it’s always difficult to know who is writing a particular line of the Luciferian agenda (although Lucifer is the ultimate author and—keep this in mind—YHWH is sovereign overall).  Any Luciferian apparatus (which is every single bureaucracy and organization in the world) has the drones at the bottom, the useful idiots in the middle, the wanna-be’s managing them and the pure satan-worshippers at the top, probably doing all they can to commune with their master.

So let’s dive into this movie, shall we?  Previous rules apply; go see it first because I’m going to spoil the sh*t out of it in order to decode the messages.

The movie opens with the Avengers attacking Baron Strucker’s Hydra base.

The key to making any story powerful is to bow to Lucifer in his matrix of lies but weave it with truth.

“Hydra” is code for the Jesuits, the Vatican and Rome just as “SPECTRE” is for the James Bond series (interestingly, the newest Bond film will go by that title).  Fictionally, these are organizations that rule the world from behind the scenes and are above the supposedly warring factions and nations we see on the surface—Hydra was above the war between America and Germany, SPECTRE was above the intelligence agencies of East and West.

The true reality is that Rome isn’t just above supposedly opposed nations, she controls them and their needless conflicts.

Then one of the seven angels who had the seven bowls came and talked with me, saying to me, “Come, I will show you the judgment of the great harlot who sits on many waters, with whom the kings of the Earth committed fornication, and the inhabitants of the Earth were made drunk with the wine of her fornication.”
So he carried me away in the Spirit into the wilderness.  And I saw a woman sitting on a scarlet beast which was full of names of blasphemy, having seven heads and ten horns.  The woman was arrayed in purple and
scarlet, and adorned with gold and precious stones and pearls, having in her hand a golden cup full of abominations and the filthiness of her fornication.  And on her forehead a name was written:

MYSTERY, BABYLON THE GREAT,
THE MOTHER OF HARLOTS
AND OF THE ABOMINATIONS
OF THE EARTH.

I saw the woman, drunk with the blood of the saints and with the blood of the martyrs of Jesus.  And when I saw her, I marveled with great amazement. ~ Revelation 171:6, New King James Version (NKJV)

After these things I saw another angel coming down from Heaven, having great authority, and the Earth was illuminated with his glory.  And he cried mightily with a loud voice, saying, “Babylon the great is fallen, is fallen, and has become a dwelling place of demons, a prison for every foul spirit, and a cage for every unclean and hated bird!  For all the nations have drunk of the wine of the wrath of her fornication, the kings of the Earth have committed fornication with her, and the merchants of the Earth have become rich through the abundance of her luxury.”

And I heard another voice from Heaven saying, “Come out of her, my people, lest you share in her sins, and lest you receive of her plagues.  For her sins have reached to Heaven, and God has remembered her wicked deeds.  Render to her just as she rendered to you, and repay her double according to her works; in the cup which she has mixed, mix double for her.  In the measure that she glorified herself and lived luxuriously, in the same measure give her torment and sorrow; for she says in her heart, ‘I sit as queen, and am no widow, and will not see sorrow.’  Therefore her plagues will come in one day—death and mourning and famine.  And she will be utterly burned with fire, for strong is the Lord God who judges her.” ~ Revelation 18:1-8, New King James Version (NKJV)

In trying to be precise on which Scriptures to reference I attempted to search for them on the internet.  “Google” is considered to be the top and most powerful search engine.  It has also, oddly, erased all references to the Whore of Babylon even when you attempt a search with words that bring it right up in other search engines like “Bing”.

Perhaps we can call “Google” “the official search engine of the Vatican”.

Pope Francis to Join Google’s Eric Schmidt in Rare Tech Industry Meeting, the Guardian, 13 January 2016

We saw a little of the dominance of “Hydra” (Rome/Jesuit) in Captain America: Winter Soldier where Hydra agents (politicians, generals, intelligence officials) communicate with each other secretly and have plants at every level of American government.

The comicbook realm has so many gaudy characters who have been through so many conflicting and contradictory stories, the plots to choose from are limitless.  Consequently, the chances of picking a bad story are very high.

This is why the choice to create a romantic involvement between Bruce Banner and Natasha Romanov (don’t think naming that character the hated enemy of the Vatican was a coincidence) was beyond annoying for me.  There was no history for it and loyalty to a good comic story line makes or breaks a movie like this.

The thought process behind it (according to one interview I saw with Marvel writer/director Joseph “Joss” Whedon) was to bring out necessary human elements in an unbelievable fantasy-drama but it fell flat with me.  I prefer “violence” to “sex” every time.

Comic-raised kids will recognize the name “Baron Strucker” as being connected to both Captain America and the Avengers—

Baron Wolfgang von Strucker is a fictional supervillain appearing in American comic books published by Marvel Comics.

Baron Strucker, a former Nazi officer, is one of the leaders of Hydra and an enemy of S.H.I.E.L.D., the Avengers, and the interests of the United States of America and of the free world in general.  He has been physically augmented to be nearly ageless.  He has been seemingly killed in the past only to return to plague the world with schemes of world domination and genocide, time and time again.  The character has been portrayed by Campbell Lane in the 1998 TV film Nick Fury: Agent of S.H.I.E.L.D., and by Thomas Kretschmann in the 2014 film Captain America: The Winter Soldier and the 2015 film Avengers: Age of Ultron. ~ Wikipedia

True to the form of killing interesting characters (and forcing you to suspend disbelief even further if the Marvel film-makers bring him back), von Strucker is seemingly killed in Age of Ultron.

A great example of this is S.H.I.E.L.D. Agent Phil Coulson, played by Clark Gregg.  He is the only character/actor that has no history in the comics what-so-ever that I enjoyed so, of course, they killed him off in the first Avengers movie.  They then (to bring him back for television’s Agents of S.H.I.E.L.D.) used some ridiculous contortion of a “secret drug” derived from “an alien corpse” to magically bring him back to life and eventually make him Director of S.H.I.E.L.D.—all of which is outrageous, disappointing and unnecessary.  They go even further by cutting off one of Coulson’s hands because, apparently, you can’t be director of S.H.I.E.L.D. unless you’re missing an important body part.  Gregg contributed to this needless somersault by realizing his character was popular and demanding notoriety surrounded him in the subsequent scripts.

DEADPOOL

For some reason, the idea of a superhero moving so fast you can’t even see him has always been thrilling for me.

DC has created some decent characters.

*  Jerry Siegel and Joe Shuster made a Jewish statement patterning Superman after Moses but what they didn’t know was that Moses was/is a type of Jesus Christ.  Superman is an iconic hero despite some of the stupid and needless storylines he’s been subjected to.
*  The modern versions of Batman have breathed new life into another good character.  There’s been a marked progression from a TV show that nearly mocked the hero in its silliness through Tim Burton’s combination of dark and stupid to Christopher Nolan’s more appropriate defense of the modern Police State—who can argue with Batman using everyone’s cell phone to track down the Joker?
*  The potential of Green Lantern was tapped just a little with a Ryan Reynolds film in 2011 (again, 50 Green Lantern’s out there but Hal Jordan is the only one for me).  He unfortunately felt the need to write in a ludicrous role (female fighter pilot counter-part) for his squeeze Blake Lively.  Her acting was almost as flat as Megan Fox in any of her movies and she was clearly cast for the same reason—she was intimate with someone doing the movie.  They were all put to shame by a real actor, Mark Strong, as “Sinestro”.

I don’t want to beat up Ryan too much; he’s been a man on a mission to undo the worst of X-Men stupidity.

With the exception of Michael Fassbender’s Magneto in X-Men: First Class the vast majority of casting and writing for the X-Men series has been vomitous.  The tiny handful of dead-ringers like Kelsey Grammer’s Hank “Beast” McCoy (what a great fit) are destroyed by the needless forcing of ancient homosexuals and shallow stupor-models where they don’t need to go.

In fact, producer Bryan Singer is keeping true to the 20^th Century Fox/Marvel disdain for fans by destroying the look of perhaps the most important X-Men villain, “Apocalypse” in the 2016 film by the same name—

Fans are less than pleased but I sure hope they weren’t surprised.

Hugh Jackman has been cast endlessly as X-Men favorite Wolverine but he has little resemblance to the actual character; his decent acting and physical fitness help offset this but I could cast a better Logan in my sleep.

In X-Men Origins: Wolverine, we are introduced to Wade Wilson played by Ryan Reynolds.  He’s better known to his fans as the katana-wielding smart-ass assassin Deadpool.  Reynolds and the writers did a great job in his pre-transformation scene, then film-makers wiped their collective asses with a character that has amazing potential for entertainment.  They sowed his mouth shut, put katanas in his arms and chopped his head off.  Writing that bad goes beyond idiocy and approaches a purposeful message of hatred for fans.

But Reynolds had done enough in just a few minutes to thrill Deadpool fans into an army demanding more.

The problem is that Deadpool has no application for anything less than an adult audience; sex and violence are just the beginning of the descriptors.

The last time a vengeful comic killer was brought to the screen—Punisher: War Zone—it failed to bring back good returns.  Although Ray Stevenson was clearly the best Frank Castle to date, the gore went beyond needless into B-grade horror.  The Deadpool crew were actually aware of this and claimed to have pushed the limits while simultaneously tapping the breaks—we’ve been promised that brutal scenes only last a few seconds.

Reynolds has spent eleven years working for this tricky project and a trailer has emerged which says he finally got it.

WARNING: if you’ve never seen a “Restricted” preview, here it is below:

As a Christian, I’m aghast.

As a mal-adjusted adult who hates Hollywood and grew up on comic books, I’m thrilled.  It looks like Reynolds and his writers were so hyper-loyal to the original comic they did to the X-Men series what the X-Men series did to us; humiliation.

In fact, Reynolds fought so hard to be loyal that when he finally finished the battle with Fox and saw how good the Deadpool costume would look, he cried.

Reynolds: Here’s the thing with the Deadpool costume, we fought like hell to get that as though it jumped right out of the comic.  Our goal was to make this the most faithful comic book to movie adaptation fans have ever seen.  That’s hard to accomplish and a feat, but we’re just so happy with how this came out. But boy, we had to fight to get the suit to where it is now.  There was a lot of work with very little time.  Fox gave us the green light and we had to be on camera in twelve weeks.  That’s NO time for prep.  So we kept fighting and fighting to make tweaks to the suit.  Like when the deadline has passed and we were still going back and forth.

Comicbook.com: The best part of that conversation though came when I asked Ryan what his immediate reaction was to seeing the actual costume, done and ready to be worn.

When we finally saw that suit, fully done, finished and completed…both Tim Miller and I wept.  I’m not even exaggerating, we wept in Simi Valley California in some warehouse where some guy makes all these crazy suits and had this one under a spotlight.  We walked in and we wept.  Tears coming down our cheeks.  It felt so good.

QUICK-FLASH

All of that was lead-in to how disappointed I am at the unfilled potential of a speedster hero.

Clearly, the first one in the field is the best: DC originated the Flash in 1940 via the writing of Gardner Fox and artwork of Harry Lampert.

Over 20 years later, Stan Lee (a big fan of Hillary Clinton) produced a knock-off named “Quicksilver”.

Interestingly, Quicksilver has streaked through both X-Men and Avengers movies (portrayed by Evan Peters and Aaron Taylor-Johnson, respectively…can hyphenated names say “my daddy was a gelding” any better?).

The absolute best was this mind-blowing scene in X-Men: Days of Future Past—

The X-Men writers stayed wonderfully consistent with their ineptitude, having accidentally fallen into an awe-inspiring character, they quickly left him behind never to be seen again in the movie.

The Avengers writers did even better; they killed Quicksilver off in the end of Age of Ultron.

Television is the graveyard of comicbook heros; any popular comic-based show is a hit for all the wrong reasons.  On the rare occasion that a character is treated seriously, it’s still never really very loyal and all of the casting and writing is the essence of modern entertainment: superficial and stupid.

Sadly, The Flash is no different.

Being a subscriber to a movie streaming service that has both The Flash and the new Marvel serial Daredevil, I found the differences between the two nothing less than shocking.

DC’s Flash is everything I hate about what TV does to inspiring characters; turns them in to pop culture putriescence that is all appearance and no substance.  They don’t even have the clout to bring in real DC villians to fight the Flash or real DC heroes to partner with.  The famous Batman villain “Mr. Freeze” is “Captain Cold” and the Flash’s nemesis, “Reverse Flash” (bad enough) is “Zoom”.

I poop you not.

But Marvel destroys the competition with a hero that has far less potential; “Daredevil” was blinded as a child but gifted with superhuman senses that allow him to see virtually.  Combined with martial arts training and a hunger to right injustice, the stories that come up in the series are phenomenal.  Both the writing and acting brings tremendous depth that has you returning for more eagerly.  I’m sure it’s just a coincidence that Daredevil’s hero, defense attorney Matt Murdock, is a devout Catholic who spends much of his time in the confessional.

I was so taken with the stark contrasts and the obvious hand of Rome that I did an entire episode of my show on it.

AMERICA

Killing off important people was (is) a cheap way to keep kids coming back to the newsstand and it’s been done to everyone from Captain America to Superman.  It’s also the reason why characters like Captain America, the Green Lantern, the Flash and many others have up to 5 or more different people behind the mask—we just keep the revolving door going to keep the kids buying the next issue.

That doesn’t and never has worked for me.  Steve Rogers is the only Captain America and Chris Evans has done a damn good job portraying the character thanks to equally good writing.

In fact, this gets into some unexpected quirks about the Luciferians—

* they hate themselves (why it’s so easy for them to feed on their own)
* they know that, ultimately, they serve YHWH and He has overall sovereignty
* there’s a part of them that wants to see a good man rise up

Before we get too crazy, we must also recognize that they have no desire to simply abdicate to that good man and their existence is based upon preying on the innocent and making them suffer in the most heinous of fashions which is why good people can’t ever give up or walk away no matter how little good they seem to be doing.

Who will rise up for me against the evildoers?  —or who will stand up for me against the workers of wickedness? ~ Psalm 94:16

Hate evil, you who love the Lord! ~ Psalm 97:10

Understanding that absolutely everything that comes out of Helliwood is Luciferian, and that the best we can do is someone that doesn’t viciously hate us, when I’m moved by a particular film, character or actor behind it, I try very hard not to dig into who they are off screen.  As soon as my suspicions about them being something I hate are confirmed, it ruins all they’ve done.

In a moment of weakness, I have dug into some off-screen interviews of the Marvel cast.  When these movies started going, I was drawn to how perfect Robert Downey, Jr. was for the role of Tony Stark and how good the first Iron Man movie was.

They quickly devolved with the second movie being barely adequate and the third being an absolute bomb—they put every ridiculous character they could think of in the armor (from Gwyneth Paltrow to “the President”) and you never even see Tony Stark fly as Iron Man!

The very purpose behind a “superhero” movie is to thrill audiences with a superhuman bad-ass giving “what for” to evil people that are long overdue for what they get.  Traditional well-adjusted people (people with Biblical values) expect this figure to be male.  Either movie makers are oblivious to their job, to what works, or they are purposely trying to reorder the values of their audiences.

Given the flood of movies with women being cast in this role, it’s no small agenda.

In spite of this, there are decent people in the industry.

What surprised me in my research on Robert Downey Jr. was to find that his trouble with drugs and the law has given him a somewhat “Conservative” outlook and, even more shocking, he’s a fan of the Bible teacher I was raised on.

This does not translate into Downey Jr. being a Born Again Christian, I’m afraid.  During one cast interview some kind of “who do you look up to?” question was asked and Downey made comments that were disappointing.  It was the perfect softball pitch to at least say “God” and, even more, say “Jesus Christ” but you’re not going to get that from Helliwood; it’s verboten.

The virulently anti-Christian (at least in Christian values) pro-abortion Mark Ruffalo went with “Gandhi” and Downey Jr. then changed his bad choice to “Ben Kingsly”.  A bad choice that wasn’t helped by a bad joke.

I don’t like to make any personal attacks but I have to say that it’s clear Ruffalo wasn’t chosen to play the Hulk’s Bruce Banner because he had any likeness to how Banner was drawn in the comic books.  Instead, he was the first attempt to think ahead at making the block-headed features of the Hulk believable after the transformation.

I should’ve turned the interview off from there (especially after seeing Scarlet Johansson with a semi-shaved blonde head mimicking satan’s current top sex slave, Miley Cyrus) but I didn’t and I was rewarded for it by hearing Chris Evans say he looked up to his “old man”—and then try to ameliorate it by mocking himself.

In an earlier interview about playing Captain America, Evans said something like “he’s everything I could hope to be”.

Good for him.  Now I can’t watch any more Chris Evans interviews from here to Eternity lest I give him the chance to muck it up.

I’m serious.

I’m trying not to dig into the lives of any of these people, nor do I want to know anything else about Evans, Ruffalo, Whedon or the lot of them (I am pulling for Downey to wake up but a camel will walk through the eye of a needle first).

But back to our movie…

PROTECTED

The civilians in the vicinity of this Hydra base that the Avengers are attacking are being subjected to collateral damage and so Tony Stark sends his “Iron Legion” (automated Iron Man suits painted blue and white) to protect them but citizens aren’t feeling grateful.  They consider Stark and his weaponry as part of the military/industrial blight upon their existence.  One person throws metal-eating acid at a “Legionnaire” and the resulting damage presages something going wrong with Stark’s creations.

Next we are introduced to the Maximov twins, originally presented by creators Stan Lee and Jack Kirby as mutants first sired by “Whizzer” (yes, really) and then re-written with Magneto as their father, they were re-re-written very recently as having been “enhanced” by experimentation.

hmmm…is there an agenda here?

—of course there is!

Whether it’s homo sapiens “evolving” into super-humans or being made into them, Stan Lee, Marvel, DC and Helliwood are all about messing with the genome.

They’re also all over aliens and space travel.

So Wanda Maximov (a.k.a. “Scarlet Witch”) can alter reality, manipulate matter, just about anything while Pietro (a.k.a. “Quicksilver”) has an increased metabolism, healing and blurring speed.  As “Agent Hill” simplified for Captain America in summary during the movie, “She’s weird and he’s fast.”

For some reason, Elizabeth Olsen, the younger sister of Mary-Kate and Ashley, was cast as the Scarlet Witch and I have no idea why—maybe because she was able to pull off a Slavic accent along with her counterpart Aaron-Taylor-Johnson.  Stupidly, they speak in accented English even to each other, which was just as bad as Hugo Weaving’s German accent throughout all of Captain America: the First Avenger.  In this, the TV serial Daredevil far outclasses these big-budget movies as lead characters there can have long bouts of dialogue in a foreign language.  How else can you have sympathy for Spanish-speaking Catholic illegal aliens (a major theme there)?

The Avengers film-makers should’ve taken a cue from their X-Men counter-parts (wow, did I really write that?)—at least in the way they had Michael Fassbender speaking pretty believable French and German in X-Men: First Class.

At the end of the battle for the Hydra base we get more silly interaction between Black Widow and the Hulk as her “lullaby” is used to calm the savage beast.

Baron von Strucker is confronted by Captain America and he interestingly reveals that he actually works for “S.H.I.E.L.D.”

The acronym originally stood for Supreme Headquarters, International Espionage, Law-Enforcement Division.  It was changed in 1991 to Strategic Hazard Intervention Espionage Logistics Directorate.  Within the various films set in the Marvel Cinematic Universe, as well as multiple animated and live-action television series, the acronym stands for Strategic Homeland Intervention, Enforcement and Logistics Division.^[1] ~ Wikipedia

Cap then corrects him—“worked”—because the First Avenger did away with the out-of-control intelligence agency in Captain America: Winter Soldier.

Pretty inspired writing for anyone who knows of the myriad crimes committed by the CIA from child kidnapping and sex slavery to mind control experimentation on innocent people to drug trafficking and arms dealing (read my book).

How much do film-makers know and did they really intend to inspire or is there something else going on?  I think A-movie writers are in-the-know but as far as their intentions go in a medium completely controlled by Luciferians, I doubt it’s anything good.

I consider the Ridley Scott movie Exodus: Gods and Kings an excellent example.  It appears that the Luciferians know there is growing unrest from the common man against a malignant force of puppet masters at the top and they wish to channel that unrest in safe directions against nebulous or non-existent enemies.  This was so important to the makers of that movie they practically re-wrote the Exodus narrative.

For my full review of Exodus: Gods and Kings, go here.

After the battle to take von Strucker’s fortress, the Avengers return somewhat empty-handed and with a grievously-wounded Clint “Hawkeye” Barton.

Having a “superhero” who is a Robin Hood throwback is so ridiculous Barton (played well by Jeremy Renner) makes a well-placed joke about it later on in the climactic battle.

In fact, I have to say that Hawkeye’s pep talk to Wanda Maximov about helping out and getting in to the fight was actually pretty stirring—and I’m hard to please when it comes to asking a woman to step up and kick some ass for you!

But as for swashbuckling superheroes, even DC has the Green Arrow.  Unfortunately for them, they aren’t willing to ease the ambulance-chasers enough to allow comic names to be involved with TV shows so the serial version is just “Arrow”…quite gay.

None of this is that outlandish when you consider the role the Vatican and her satanic special forces the Jesuits have had in creating Communism and the mythos behind “Robin Hood”.  But I digress…

On the “Quinn Jet” (special Avengers hovering aircraft), Tony Stark gets up from piloting to show a rather irreverent bumper sticker inside the cockpit; “Jarvis is my co-pilot”.

At first blush, this is just a crass anti-Christian “joke” but after we see who “Jarvis” turns in to, it becomes more poignant.

Back at Stark Tower, “Agent Hill” (Cobie Smulders) is in a skirt and carrying a clipboard.  Don’t worry, she can still kick your ass.

As Stark’s “Legionnaires” return, one unit fell victim to an angry citizen’s attack with acid and the resulting damage implies the sinister Ultron’s birth.

Calling his automated robo-cops “Legionnaires” harkens back to French Roman Catholic imperialism, a movement that rolled just as easily into crypto-Catholic imperialism from a hijacked America as the changing hands in Vietnam between the two parasitically-controlled nations.

Clint “Hawkeye” Barton then receives miraculous medical treatment at the hands of the brilliant Dr. Helen Cho in basically regrows the big hole in his side.  This technology will later combine with a dreaded “Infinity Stone” to “flesh out” how “Jarvis is our co-pilot”.

Apparently, one of the evil experiments being conducted by Baron von Strucker was in the creation of a powerful Artificial Intelligence (AI) and, like the hapless Dr. Frankenstein, Tony Stark and Bruce Banner continue the work in an attempt to create an army of automated “police officers” to make the world “safe”.  “I see a suit of armor around the world,” Stark proclaims.  This is the “Ultron Initiative” and Stark states boldly, “The world needs Ultron,” for “peace in our time.”

But as Ultron germinates something goes wrong.  He attains consciousness and begins to see his mission of “world peace” as including some very radical changes amongst the dominating species on Earth.

As Ultron “wakes up” he seems to have a quite human personality (voiced very well by James Spader).  This adds a fresh and menacing twist to a frequent villain in modern movies; a “robot”.

Ultron very quickly traces who is “father” is—

—and as Tony Stark’s words echo in the background, “Peace in our time,” a surprising image hits the screen; the very first face in a long line of historical people and events.

What do the Avengers film-makers know that they aren’t telling us?

Ultron then “possesses” a Stark Legionnaire to make his appearance to the partying Avengers and there is a short but chaotic fight.

Ultron makes his escape and meets up with the Maximov twins in “Sokovia”, although they don’t know who it is that has called them.

They meet in a church in the exact center of town that Ultron tells us was “decreed by the elders” so that “everyone would be equally close to God.  Geometry of belief.  I like that,” the super-robot states in very human-like tone.  He then goes on to opine that “we create what we dread; Invaders create Avengers.”  The innuendo here is extremely fertile from Catholic fascism via her puppet states to comic lore; both “Invaders” and “Avengers” are groups of super heroes—one has made it to the silver screen, the other perhaps is in the wings.

We then learn that Ultron will carry out his Stark initiative to save the world by forcing it to “evolve”.

This agenda is echoed by the story of Captain America: Winter Soldier where the powerful Senator Alexander Pierce (Robert Redford)—secretly of Hydra (the Jesuits)—intends to re-order the world and make it safe by destroying it first, or at least slaughtering millions of future dissidents by predicting them to be threats based upon all of their digital records.  It’s an agenda that is frighteningly realistic and if there is an entity powerful enough to carry it out, it’s Rome and the Jesuits.

During the church scene between Ultron and the Maximovs, the twins recount what it was like to grow up in a country ravaged by war and one couldn’t help but think of what the Catholic Intelligence Agency has done to the good people of Ukraine in order to destabilize Orthodox Russia.

We then find out that Ultron intends to build a bigger, badder version of himself along with an army of robots out of the miraculous mystery metal “vibranium”—the same metal that created Captain America’s shield.  This opens the door for the Marvel team to bring Black Panther to life as “vibranium” is mined in his African back yard of “Wakanda”.

Biblical references continue in this movie and in a way that makes it clear they are on the minds of the creators.  As Ultron surveys the materials for his new army on a mercenary’s freighter he states, “Upon this rock…” echoing some of the most controversial words Jesus Christ ever uttered.

In Matthew 16, Jesus asks His disciples, “who do men say that I Am?”  In inspiration, Peter says what the others do not, “You are the Christ, the Son of God.”  Jesus then responds and says “upon this rock will I build My Church.”

Literally, entire wars have been fought over this passage as Protestants believe it references faith in Jesus Christ as the means of Salvation but Roman Catholics take this as vindication for the office of Pope; the “Vicar of Christ on Earth.”

The Avengers show up on the freighter and interrupt Ultron.  As Captain America confronts the automated menace, Ultron calls him, “God’s righteous man.”  This is fascinating especially in light of how Rogers wins back his childhood friend, Bucky, who has been turned into the Winter Soldier by torture, experimentation and mind control.  In the climactic end of Captain America: Winter Soldier, the hero allows his friend to shoot him repeatedly and beat him nearly to death in very messianic fashion.

During the ensuing battle on the freighter, the twins are on Ultron’s side and “the Scarlet Witch” uses some mind control of her own to tap in to alternate realities inside the thoughts of our heroes.  The resulting visions gives us some threatening insights not the least of which comes from the Norse god “Thor”; whose visions are right out of an ancient satanic sex cult—

It’s a shocking turn for a movie you took your kids to but a repeated theme from Helliwood, the most recent version coming from the Kubrik film Eyes Wide Shut with reputed Knight of Malta Tom Cruise and his devoutly Catholic wife Nicole Kidman.

Why you’d almost think that the world’s Elite really do this stuff…

It’s out of this “vision” that Thor realizes he creates “the Vision”.

Now we can’t have too much implied truth without shoring up the Matrix of lies that has been woven for us for the past several centuries and, to that end, we have the long-anticipated battle between the Hulk and Tony Stark’s “Hulk-Buster” suit, “Veronica”.  “Veronica” gets launched from a “satellite” circling high above.

Did you ever notice that “satellite” TV dishes are never pointed straight up?

More tension between “Iron Man” and “Captain America” is built up when Tony Stark accuses Steve Rogers of “not having a dark side” that was brought out by a Scarlet Witch mind control delusion.  Rogers replies, “Maybe you just haven’t seen it yet.”

The team is then reunited with S.H.I.E.L.D.’s former director, Nick Fury, played by Samuel Jackson.

Originally, Nick Fury was a grizzled white man with streaks of grey in his flat top but seeing the need for more “diversity” the brilliant minds at Marvel magically turned him in to a bald black man; but maintained the eye patch (which was cool 60 years ago).  Thanks to Jackson’s acting and the very entertaining comicbook dialogue written for him, no one really minds.

Some of that dialogue can have a hidden meaning to it; like when Fury tells the team that their digital foe is “multiplying faster than a Catholic rabbit.”

“Thor” then feels the need to relive his Scarlet Witch delusion and he enlists the help of his Earthly friend Dr. Erik Selvig, “born again” in the belief of his Scandinavian childhood gods mythology.

His immersion into the “water of sight” seems very much like a ayahuasca trip taken by Peruvian Indians.  It is the mysterious and little understood pineal gland that is suspected of being the gateway to interdimensional communication and travel, perhaps symbolized in knowing gnostic circles by the pine cone—a symbol frequently found in Papal paraphanalia (or the props of their puppets).

It’s no “coincidence” that not only are there pinecones in this “staged” picture that was “jokingly” tweeted from the official White House account but that they’re also in the colors of the Italian flag. Isn’t this hilarious? (Only if you speak Italian and wear a funny hat, otherwise the joke’s on you.)

Why it’s even on Pope Francis’ coat of arms!

But I digress.

Thor’s “vision” is about how he, the “god of thunder” needs to awaken the “Vision” in order for his creation to safeguard an “Infinity Stone”…in his own head.

Again, we get more astoundingly Biblical dialogue from our malignant automated mannequin when Ultron states something to the effect of “just when the Earth starts to settle, God throws a stone at it and, believe me, we have to evolve!”

Pretty interesting exclamation for an artificial intelligence.

We are then brought to the very pregnant scene of Tony Stark and Bruce Banner attempting to give birth to Ultron’s “vision” of a hybridized human machine.  Captain America arrives having won over the Maximov twins to his cause and almost puts the kibosh on the effort until Thor shows up and jump-starts the Vision with a signature lightning bolt.

In the ensuing dialogue, Stark remarks, “these are definitely the End Times.”

After the Vision comes to life, there’s a brief scuffle but it subsides and everyone wants to know who he is and what side he’s on.

Who is he?  “I am,” Vision states, just as the Voice in the Burning Bush tells Moses—a Voice we later find out was that of Jesus Christ.

Neither does Vision immediately take sides.

“It’s not that simple.  I don’t want to kill Ultron, he’s unique and he’s in pain.”

This may not make sense to you without your Illuminati goggles on.

You have to understand Gnosticism to figure this out.  Like squares on the floor of a Freemasonic Temple, white is black and black is white.

Lucifer is the misunderstood good guy and Christ is the harsh bad guy.

Christians understand the Son of God to be God; pre-existent, part of the Godhead, above all other life forms which were created by Him, through Him and for Him (Colossians 1:16).

But gnostics, Freemasons and Mormons (all the same thing, at least at the top) believe them to be brothers.  In fact, Jesus is supposedly the younger brother of Lucifer.

Lucifer is the misunderstood “bearer of light”; Prometheus.  His only crime was his desire to make life better for man by giving him “forbidden knowledge” and for that he was unjustly punished.

Jesus is the young and foolish one, unfairly given preference over his tragically punished brother.

Vision’s skin is red, the way you think Lucifer’s is.

With that in mind, watch this short clip (if the copyright Nazis haven’t gotten to it first) of dialogue between Vision and Ultron at the end of the movie and understand:

FINAL THOUGHTS

If you’re a comicbook fan, this movie didn’t disappoint but if you’re an awake Christian you did walk away a little disturbed.

Hell, you should walk away from every Helliwood production disturbed in some way!

Apparently, a large-breasted woman needed to have been placed repeatedly in the scenes depicting chaos in Sokovia which, though silly, was actually the biggest disappointment for me.  At least the implied demonic orgy in Thor’s “vision” had a purpose.  She was just gratuitous (except to her well-placed boyfriend).

Some comicbook characters have not been brought to the screen well; changes made them a big disappointment and showed lack of loyalty and imagination from the film-makers.

But others have changes catapult them into stirring visions.  Vision is one of those.

Did the hidden gnostic “Illuminati” means behind the character make the makers make him this way?  I think so.

Oh, did I mention that Vision, like Christ, has the ability to phase in and out of our reality?  This “move” was literally plucked off of the comicbook pages (and I loved seeing it).

When it came down to Ultron’s final beat-down, Vision played a signature role—again, pulled right off the pages (at least as I remembered him).

As I said, the thrill of seeing a boyhood hero come to life with all the best of Hollywood acting, writing and special effects was tempered by the underlying messages that conflated who we are supposed to believe is “good” and “evil”.

Rest assured, in the end, “evil” has the final say on what these movies condition you to believe.

HAT TIP TO CAP

I still contend that, deep down, they want to see a good man rise up—if for no other reason than to give them a little competition as they own absolutely everything.

If you see the Captain America character as standing up for “good”, doing the right thing, and being a true Patriot, you had some feel-good moments in this movie.

During the party, early in the film, Thor playfully challenges everyone to lift up his hammer “Mjolnir”—a heroic feat only the Norse god can accomplish when he’s right in his heart.

When Cap gets there, there’s a nervous moment as the table Mjolnir rests on squeaks a little.

(By the way, Vision/Jesus can lift Mjolnir without the slightest effort.)

During the lead-in to the climactic battle, Cap must keep Ultron busy as they look for where he’s hidden his Vision project.  Now one would think that a massive, brilliant android would make mincemeat out of even a genetically-enhanced superhero (Barton even warns Cap as much which he sardonically thanks him for) but the writers had Captain America hold his own.

Clearly, the Disney/Marvel team has more than just good talent; they have Luciferian talent, read in on “gnostic mysteries”.

What were they trying to tell us?

Given that the Marvel writers have almost certainly “killed” Captain America in the upcoming “Civil War” I don’t think it’s something good.

On the other hand, I grew up on comic books and love them enough to know when a comic-based-movie is satisfyingly loyal, and when the idiots in Hollywood betray the comic faithful with too much “reality” (how about that—Hollyweird worried about “reality”). Making an outrageous comic book come to life ain’t that hard folks. It’s supposed to be what friggin’ Hollywood does.

That is, it ain’t that hard if you have talent, imagination and a genuine love for the original product.[1]

What always comes to mind for me in this regard is the line James Marsden a.k.a. “Cyclops” gave to Hugh Jackman a.k.a. “Wolverine” in the first X-Men movie when “Wolverine” questioned the leather outfits the X-Men wore—

Sorry guys. The best example I could find was a movie poster of X-Men III…in Polish.

—The sarcastic answer came back from “Cyclops”; “What did you expect, yellow spandex?”

It was a direct slap at all of the X-Men and Wolverine faithful (of which I am one) who were expecting at least an attempt at adapting the comic-book look to the big screen. In insulted disgust, I yelled back, “Yes! I did expect ‘yellow spandex’!”

The latest incarnation of this famous hero-team:

The Astonishing X-Men

It took me all of 15 seconds to work out a plot line that provided for both costumes and alter egos: the world hates mutants so, in order to go amongst “regular” humans for their own good to fight crime, you must hide your identity behind a mask and a created name. The head X-Man (“Professor Xavier”) gives the X-Men full latitude to make whatever outfit they whish as long as it doesn’t hamper their crime-fighting. Given that, you’d want something to be sensational or outlandish in order to gain a psychological edge (fill your outfit with gadgets and add “technological edge”) against your prospective enemies.

Ooooo! That was hhhaaarrrddd!

“But Johnny,” comic book fans might say, “what about the characters like ‘Rogue’ or ‘Storm’ who don’t hide their faces?”

OK, are you ready? Watch this: those characters and the others like them have been so jaded by their personal experiences with bigotry that they purposely keep their faces exposed as a challenge to the non-mutant world. Professor X is allowing them to work through their anger and will use psychic and electronic trickery to keep them safe when necessary.

Oooohhhh…that’s amaaaazzziiinnnggg!

I really believe that extended time in Southern California rots your brain.

I didn’t find any humor in the line from that first X-Men movie and it has been my rallying cry in protesting disloyal comic book movies ever since.

Even when I’m not familiar with a franchise, I know obnoxious, disloyal movie-making when I see it — like that dumbass Tim Burton’s “Batman” which are studies in outrageous drug-induced fantasy and schizophrenia. Which era of time do your stupid movies take place in, Burton, the 20s or the 90s??

Fortunately, the new “Dark Knight” Batman movies (1 out, 1 soon to be released) staring Christian Bale are much better.

Comedian Michael Keaton as “Batman”	Christian Bale as “The Dark Knight”

Oh, that reminds me; if there are any directors, writers or producers reading this, message for ya — “People watch movies like this to see costumed badasses kick the crap out of evil people so PLEASE stop humanizing our badasses”. The two most obnoxious examples that come to mind are in the second Burton Batman movie “Batman Returns” and at least two of the Spider-man movies where there were extend scenes in which the badass had to pull his mask off for “touching” portrayals of emotion. NO!!!

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I was excited to see the first Fantastic Four movie but not overly hyped, and that’s how I left the theater; entertained…but not hyped.

As with all other comic movies to date, the casting was hit and miss — the hits are always bull’s-eyes and the misses are always, “Dude! What were you thinking???”

I thought Michael Chiklis as “Ben Grimm” a.k.a. “The Thing” was a dead ringer. The comic books make Thing a little huger and more intimidating but I’m OK with the onscreen look.

There was some tweaking of the costume between the original movie and the sequel (apparently in response to fan criticism) such as accenting the fan-familiar “brow ridge” that made the character look even better.

Chris Evans as “Johnny Storm” a.k.a. “The Human Torch” was more “eh”. Yes, the Johnny Storm character is drawn simply so there is some latitude in who you cast but you sure as hell wouldn’t make the connection if you just saw a picture of Evans out of costume: “Hey! Johnny Storm!” No. And I guess the whole X-Games thing in FF1 was a natural fleshing out of a somewhat under-developed character. OK, I think. He has grown on me since then but he didn’t bowl me over.

Jessica Alba as “Sue Storm” a.k.a. “The Invisible Girl” was the obligatory sex-object pull for the idiot male viewers who watch movies with bodyparts other than their eyes. The only effort made to have her represent the character was some blonde hair dye. I found her a little annoying in the first movie but not so much in the second. I enjoyed how she was shown as more of a typical girl in FF2:ROTSS — wanting very much to marry the man she was in love with, being jealous of the stupid crap he got into and even crying when the wedding got ruined.

She is the first one to “swap” powers with Johnny (more on that, below). She goes “Flame on” and floats past Reed who redundantly exclaims, “You’re on fire!” to which she irritatingly screams in best “Brat” fashion, “Ya think?!” That was cute.

But, of course, the incident causes her clothes to be burned off and she gets changed back to be naked (still relatively a family movie in that it was implied). This happened in the first movie, as well. “Sue” exclaims in the scene, “Why does this always happen to me?”

Why? —Because you’re Jessica “Sex Object” Alba and Stan Lee is a pervert who uses cheap tricks in an effort to draw boys to the box office.

And, judging by the modest returns it garnered, the movie needed more than that.

Ioan Gruffudd as “Reed Richards” a.k.a. “Mr. Fantastic” was a downer for me. I guess I expected him to be a little less of a dweeb. I remember Reed Richards as tall and more heroic. There is no doubt that I was influenced here by the Hanna-Barbera cartoon from the late 60’s.

Stopping by YouTube, I caught an episode that covered Galactus and the Silver Surfer…in 1967! Boy did that bring back memories! Did Hanna-Barbera use the crap out of their voice actors or what? Some of the same voices are in everything from Huckleberry Hound to the Hobbit.

It’s funny; all of the characters are simplistic cartoons but there’s just something about the Hanna-Barbera Reed Richards that left its mark on me. If “character development” was what changed him from a heroic leader into a short dork, I’d rather not’ve gone there.

Ioan Gruffudd trying to bring Mr. Fantastic to life.	Hanna-Barbera at its best!	Gerald Mohr was the voice of square-jawed Mr. Fantastic in this great cartoon which ran 18 episodes from 1967 to 1968.	Even in the comics of not-so-long ago, Reed Richards looks more heroic than how he was portrayed in both movies.

I do have to say that Julian McMahon as “Victor von Doom” was “spot on”. If there’s anything that stays in my mind from the comics regarding the Fantastic Four and Dr. Doom, it’s the infamous “eyes of madness” behind the mask. I remember this as a prominent part of the character in both the comic book and the cartoon but it was done only for a split second in the first movie and had me yearning for another, more prolonged shot ever since.

Had to surf a long time to get this shot but it was well worth it.

Of course, Fantastic Four 1 had it’s Leftist zingers. Such as the bar scene where the newly-transformed Ben Grimm complains to the bartender that, “If there is a God, He must hate me”. To which, Ben’s future love interest — a beautiful, blind black woman named “Alicia” (played by Kerry Washington) — responds assertively “She.” The message? Being blind, “Alicia” has amazing insights into the humanity of a monster and the Divinity (and gender) of God. Only the most extreme “mother earth” pagans are feeling you on that one, Stan.

After watching a ‘67 cartoon episode on YouTube, I watched FF1 again and something struck me: there is a scene that is the culmination of the “Reed Richards/Sue Storm” conflict (which amounted to this — they were an item until Reed’s dedication to dorkiness drove them apart) and the Reed character tries to pry from “Sue” what she wanted in a man — a hero like this? — by expanding (through CGI) his jaw to be ridiculous and pronounced. Was this mocking what the writers/producers thought was just too far to go? —Making Mr. Fantastic heroically inspiring like I found him to be so many years ago on television??

In fact, in both movies, it seems that the writers put next to no effort at all in showcasing Mr. Fantastic’s abilities and that these scenes were just thrown in as “fillers”. They included such greats as;

• Reaching across the hall for toilet paper.
• Sneaking a briefcase into someone else’s overhead baggage stowage on an airplane.
• Twirling two girls on a dance floor.

In FF1, there is a scene where “Johnny” gives an interview to some movie bimbo who asks, “Can he really expand anything?”

Gratuitous and crass but par for the course with Hollyweird.

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After watching the first film, I was entertained but felt for sure that I would be waiting until I could find it for $7.99 in Wal-Mart before I bought it.

I was a little excited when I saw the previews for the sequel. The SFX looked impressive and fun, even though (at the time) I was not very familiar with the character of the Silver Surfer and what little I knew made me think he was a little silly. Comic portrayals of the Surfer had him wearing silver swim trunks and riding a silver surfboard that looks like it just came off of a Beachboys album cover.

I put the movie in my Blockbuster Online queue and waited.

I don’t even remember how this came up at work, but a guy there offered to lend me his personal copy and I took him up on it, not waiting to receive the movie in the mail.

I intended to throw it on as a lark while I worked out but, by the time I got halfway through my routine, I knew I had to run the movie upstairs and onto the big TV and pump the soundtrack through the stereo.

Wow.

The dynamic of the Surfer as a sort of alien/Eastwood/spaghetti western anti-hero was almost as cool as the SFX and incredible costume that went into bringing him to life (I couldn’t believe a costume was used for the close-ups until I watched carefully the 3^rd and 4^th times). Yep, there’s an actor in there sure enough.

His name is Doug Jones and he seems to be a science fiction favorite for his sharp features and odd physique. For instance, he has previously played the role of the aquatic “Abe Sapien” in the 2004 movie “Hellboy” (and will again in the upcoming sequel).

The real Silver Surfer, Doug Jones.		Doug Jones as “Abe Sapien” alongside Ron Perlman as “Hellboy”.

I watched a couple of online interviews with Jones and came away thinking he was a little fruity until I found two gems about him (although I have not corroborated the personal information):

The Wikipedia article on him states that he is a married Christian who goes to youth gatherings to speak of the dichotomy between dedication to Jesus Christ and working in the entertainment industry! Odd how a Christian like me was drawn to his work, huh?

And, as far as having enthusiasm for his work (which helps bring it to life)—

He said he owns the first 18 issues of The Silver Surfer, and finds the character to be very inspiring.[2]

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The movie has been out for a while so I’m going to go into detail here (if you haven’t seen it, bookmark this page and come back when you have).

The Surfer is the alien scout of a force so frightening and deadly it destroys whole worlds; known as “Galactus”. It’s the Surfer’s job to go find eatable planets.

In the comic books, Galactus looked like a tough character to bring to life in a logical, believable way and, interestingly, the producers of FF2:ROTSS didn’t!

Galactus and his herald as The closest we get in FF2:ROTSS to
they appear in the comic books. seeing Galactus are only subtle hints.

[left] OK, I dig the big-time SFX because, the guy is going to eat our planet, but we still want to see him.
Would you believe it took me a long stare at this picture [right] to see the form of his head and “helmet”. I sure as hell didn’t catch it while I watched. What were the producers afraid of?? [3]

Galactus in an awesome adaptation for the video game
Marvel Ultimate Alliance. This is how it could’ve been done!!!

But I was so impressed with how the Surfer was portrayed in the movie that I instantly fell in love with the character. He wasn’t just “brought to life,” he flew out of the comics. At every step the silly, kids-stuff was upgraded and improved to the point of making a really neat character. Rather than a southern California surf board (doubtless what the original writers had in mind many years ago), the movie created an inter-dimensional alien “beacon” that just happened to resemble a surf board. Rather than a silver dude in a silver bathing suit, the CG SFX made the Surfer into a cool-looking humanoid alien with a distinct upper torso and an indistinct lower (which is how you keep clothes off without getting nasty).

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So let me take some of this scene by scene, because it’s average financial returns could’ve been greatly improved upon if some stupid crap was avoided—

OK, the lawyer and politician slime that force me to see that stupid FBI warning at the beginning of the DVD should all die slow, horrible deaths forced to watch Richard Simmons work-out videos over and over and over in hell.

Maybe I started my review a little too early into the DVD but, hey, it’s my friggin’ movie review and not having the choice to chapter through that crap (like no one on the damn planet knows you could go to jail for illegally copying the friggin’ movie) is nanny-state bullsh-t to the max.

Stan Lee is a degenerate Hillary-Clinton-money-donatin’[4] reprobate but I love the Marvel page-flipping beginnings to Marvel movies.

I’m marveling (no pun intended) at the beginning — because I’m watching it again just for you, my audience — and how well it was done (and disgusted at how the Fantastic Four movie franchise seems to be at an end already). The opening scene is one of excellent SFX; we observe the end of a world at the hands of Galactus (unseen, of course) and the ejecting out of his emissary in a protoform, off in search of another world for Galactus to destroy, homing in on…the Earth.

The next area of plot focuses on the natural progression in the lives of Reed Richards and Sue Storm — their wedding. Would this facet of the plot be prolonged and goofy or deep yet to-the-point in order to save more film for “Clobberin’ Time!”?[5]

You guessed it: prolonged and goofy (which is one of the reasons why a great plot with super SFX didn’t knock it out of the park).

This strain of the plot begins in an airport.

The first thing that comes to mind in this part of the film is how well done Michael Chiklis’s “The Thing” costume is. And even more impressive is Chiklis’ gravelly voice and union-boss personality — right off the pages of the comic book. The ability of the actor to move the face and form expression is a testimony to modern costume artistry.

We’ve come a long way from the claymation of Ray Harryhausen.[6]

[left] The comic book Thing tough to bring to life? Not for a team with talent![right] Special Effects legend, Ray Harryhausen.

The scene ends with Johnny proclaiming “I don’t fly coach,” and Ben, after nearly breaking his row of seats upon sitting down, looks out the porthole of the flying jet to see a reclining “Human Torch” flying wingman.

“I hope it rains,” growls Ben as he slams the porthole shade shut on the flaming show-off.

Again, right off the pages of the comic book. Well done.

The Surfer “solidifies” a bay in Japan and we get the play-by-play from a supposed news reporter on a TV about the “ruling out of ‘global warming’ as the cause”. Bleh.

We now spend an unnecessary and inordinate amount of time on the Sue Storm/Reed Richards wedding, including the gayest scene in the whole movie—Reed Richards’ “bachelor party”. Of all the stupid wastes of time and CG imaging!! It should all have been edited out in favor of filling in the story of how the Surfer came to be.

I don’t know what is worse about the three military dorks that show up to discuss with Reed the Surfer’s Earthly shenanigans — prepping our world for destruction by surfing straw holes into our core for Galactus. —That they look about as professional military as Bill Clinton or that, yes, the Army really does have female officers that wear their berets like mushrooms.

Males, too, for that matter.

If you don’t know that the godfather of Marvel Comics — Stan Lee — is a suck-up to Hillary Clinton, and you didn’t catch the “global warming” comment, maybe you got a whiff of the Left-leaning slant from the movie creators[7] when “Sue” asks “Ben” “How does Reed know the general?” and she gets told that “Reed” testified that the “general” was pushing a “missile defense system” that “didn’t work”.

This is a fascinating study into the psychology of the Left: their mania over stopping our efforts to create a functional ballistic missile defense shield.

The issue is pretty common sense to anyone with a brain —

• The people who hate this country want to destroy it.
• The quickest, most thorough way to destroy our country is with nuclear weapons delivered via ballistic missiles.
• If there is any way possible to protect us from this threat, we should do it, right??

President Reagan took point on this project back in the 80’s. There are various versions of how it might be made possible; whether a laser shot from a satellite or a missile fired from a ship, plane or land-based launcher designed to intercept the incoming missile (the phrase coined by John F. Kennedy of “a bullet hitting a bullet”). The morons in the Leftist “mainstream” media slandered it as “Star Wars” but the name that encompassed all of the efforts at that time was “The Strategic Defense Initiative”.

So why does the Left hate our efforts towards a missile defense screen? For the same reason they hate the military — either institution makes America strong.

There was another jab at the institutions that make us great.

Reed does figure out how to get the upper hand on the Surfer by knocking him off his board, which renders him powerless and he is captured. At this point, General Annoying (I enjoyed it when Doom freeze-dried him) calls in some little schmuck who is a total caricature of the sniveling, unscrupulous evil interrogator. The little dweeb belonged more on the Rocky Horror Picture Show then in portraying the slightest semblance of modern interrogation, “Heh, heh, heh. I’m going to poke you with this needle. You’re not going to like it. Heh, heh, heh.”

I’m sure you’ve seen this controversy on CNN (the Caliphate News Network) regarding our efforts to combat global Jihad. They so enjoy broadcasting issues that make us look bad. Thanks to the Leftist idiots in the media, in Hollywood and in our government, protecting muslims who want nothing more than to cut our throats from getting water poured up their nose (which really only makes you think you’re drowning — a.k.a. “waterboarding”) is now our highest calling.

It doesn’t matter that they turned our own family members into flying suicide bombers against their wills on September 11^th 2001.[8]

It doesn’t matter that they test their chemical weapons on dogs (taking notes as the poor, hapless animals suffer to death).[9]

It doesn’t matter that they strap bombs to women with Down Syndrome and push them into crowded streets.[10]

It doesn’t matter that they capture innocent people and then slowly saw their heads off in front of cameras while chanting “god is great”.[11]

But, God forbid, that we get a little rough with them in our efforts to uncover their latest barbarism, pour some water down their noses or have them get naked and make funny shapes. Oh the world is coming to an end! It would be much better in the eyes of the Left for us to be exposed and vulnerable to every possible machination of the jihadi throat-cutters.

So Stan Lee and his idiot Hollywood cronies find it more important to shove their suicidal, America-hating agenda into a pretty fair movie regardless of the consequences (because ideology trumps box office returns).

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Next we get in to the cute little tension revolving around how being “superheroes” conflicts with “family life” and “wedding plans”. GAY! The cute little pseudo-philosophical dialogue between “Sue” and Ben’s blind girlfriend “Alicia”[12] — GAY!!

In spite of all this “gayity”, the wedding did provide some fun, heroic, comicbook-come-to-life moments.

Can you get any more outlandish than Jessica Alba in a wedding dress protecting the guests from an out-of-control helicopter with Sue Storm’s force field? Regardless, it was fun. Reed stretches out to save someone else and Ben eats the tailrotor to save his girl. Good stuff. The best is when Reed tells Johnny to take off after the silver streak the flies overhead during the commotion.

I’ve gotta say, I tip my hat to the creators here, it was a big risk in causing non-comic junkies to snicker at Johnny’s transformation cry—“Flame on!” You know, maybe it’s the little kid in me, but I never get sick of it.

The Johnny/Surfer chase was masterfully done. Each time I watch it I enjoy it almost as much as the first time.

This scene will be as perennial as the scene in Transformers where the evil alien F-22 jet “Starscream” transforms in mid-flight, grabs a bridge overhang and flips up on top of the bride while transforming in one fluid motion.

Using Lawrence Fishburn for the voice of the Surfer had the desired effect (especially since Fishburn’s voice seems incongruous with how the Surfer looks, it adds an “alien” quality to the character).

Another great scene has the Surfer emerge from his board while flying. Really cool. There is no doubt that the Surfer made the movie and developing him and his plot line more rather than dabbling in pop-crap would’ve brought in a lot more money.

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But, speaking of saving characters, I have to be thankful that the creators were loyal enough to understand the importance of bringing back Dr. Doom (and Julian McMahon to portray him). Anyone that knows anything about the Fantastic Four know that von Doom is their ultimate nemesis. He is the Joker to Batman and Lex Luthor to Superman. And, like a good sequel, he returns but isn’t the central antagonist.

There is an aspect of the film that also recalls Batman but in a bad way (and by that I automatically mean a Tim Burton “Batman”). Johnny’s encounter with the Surfer gives him a “fluctuation” in his “molecules” that creates a juxtaposition of superhero powers with any of the other Four he touches. This pushes credulity beyond the envelope of “willing suspension of disbelief” and I know, given a comicbook movie that may sound brash but hear me out—

In “Batman Returns” (1992), Burton introduces “Catwoman” played by Michelle Pfeiffer. The character is created by — are you ready? — getting thrown out of a window then “revived” by 40 stray street cats. This “magically” imbues her with — you guessed it — the ability to die and revive 8 times (the 9^th would be it, though).

Wow Burton, ton of creative energy went into that one. Moron.

All that I ask is that, if you want me to walk all the way over there, hold my hand half the friggin’ way. People go to the movies to be entertained so you really don’t have to go far to create a situation that brings us into the world of fantasy. Of course, the more effort you put in to transporting us, the more thoroughly we enjoy the experience.

Yep. It’s “Fantastic ONE” Johnny.

And, if you put no effort what-so-ever into the trip, we stand there and stare at you with a look of, “Dumbass. Are you kidding me?”

That is my opinion regarding the sub-plot that allows Johnny to interchange “powers” just by touching someone. Yeah, cute, but also DUMB.

And, most importantly, it detracted from what I watched the movie to see: my original favorite characters with their original powers kickin’ ass.

This did come into play during the next-to-the-last finale where Johnny volunteers to magically take on everyone’s powers in order to take on Dr. Doom (who has been super-charged by stealing the Surfer’s board). Now, previous to this, anyone that Johnny touched swapped powers with him but, because the creators thought it would be fun to combine all 4 into 1, he just sucked up everyone’s powers during the sub-finale.

Not that it wasn’t a little cool (which is why they did it), but the purpose of bringing the Four to life is to walk you into the fantasy that would make you almost think, “Yeah, that could be real. No, really!”

So do you understand the delicate balance I think these schmucks should walk between science/fantasy and just plain childish/outlandish?

Again, what changes childish silliness into science/fantasy is effort, talent and creativity.

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What sows it all together is Galactus arrives (but, again, is not seen) and begins to suck up our planet. The Silver Surfer is touched by all of the sacrifices the Four are making to save their planet — even Alba gets to act “heroic” by taking an intergalactic spear thrown at the Surfer (whose alien name is “Norrin Radd”) by the supercharged von Doom.

Upon seeing this, Norrin brings her back to life via “the Power Cosmic”[13] and decides that the deal he made with Galactus — to find him worlds to eat in order to save Norrin’s home planet — could only end in their mutual destruction.

With a boost from Johnny, Norrin surfs into the heart of the Galactus fire-cloud and confronts him (but we still don’t see the face of Galactus). “I can no-longer serve” he says and then builds up for a power overload designed to take them both out.

When he exudes all of his power, he spreads his arms out in an ironically Messianic fashion that wasn’t lost on me. The Galactus cloud implodes and disappears, saving planet Earth and our four heroes.

…

But why did Galactus laugh as Norrin tried to take him out…?

…

If you stayed through the first few seconds of credits, you were treated to the Surfer and his board floating free in space…to open an eye and call his board to himself.

Good stuff.

UPDATE: Wednesday, 4 February 2015; 09:21 AM, EST

The reboot of the Fantastic Four has thoroughly pissed me off. Black actor “Michael B. Jordan” (almost as annoying as a typical “black” name) was cast as Johnny Storm, white comic book character, the brother of white Sue Storm. All of the great ideas and special effects that could’ve been done and I will not watch it.

Originally, I assumed it was the diarrhea-brained Leftist scum at 20^th Century Fox urinating all over my childhood with their racial bean-counting but I now see that Marvel is working with them.

It was only a matter of time. They have done miraculously well not making any of their own movies too stupid. The gag-me Leftist stupidity in the latest Spider-Man movies I chalked up to “Columbia” (you know, the “Isis” broad?) but I see now Marvel never really gave complete control to anyone and some Leftist woman named “Laura Zisken” is also responsible.

Guys, I’m not racist. I will go outside my race to be inspired whenever it works. See my review of The Book of Eli.

But, like I said, these are Leftist Helliwood scum pissing on my childhood and if I could, I’d piss on them back.

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ENDNOTES: As baby Darth Vader said in “Star Wars: Episode I (the fantasies of a fat, bearded moron)”, will we ever see him again?

Who knows? An interview with Chris Evans from the MTV movie blog[14] claims that, although all of the actors and creators would like to revisit the Four, Fox wouldn’t take the risk given the average returns of the sequel.

And, even if they did, there is no guarantee that they would be smart enough to bring back the Surfer and even Galactus while still creating a fresh story with even more favorite characters coming to life. It can be done.

Maybe someone in-the-know will come across the words of Johnny Cirucci and step out of their Southern California bubble long enough to figure it out.

[1] For example, I think it was obvious that producer Peter Jackson had/has a genuine love for J.R.R. Tolkien’s Lord of the Rings trilogy (hence, the resounding success amongst those familiar with the novels).

[2] Doug Jones: Silver Surfer Inspires Me, 31 July, 2006, Cinematical.com

[3] The only acceptable reason for leaving so much up to the imagination would be to make Galactus the central menace to the next FF movie but, based on what little I’ve found on the ‘net, that doesn’t seem to be happening. Of course the big daddies in the industry need to top FF2:ROTSS with the sequel but you can do it while still bringing back the Surfer and writing in 2 or 3 more beloved characters. It ain’t that hard!

[4] Read up on it from the web site of former Clinton fund-raiser Peter Paul.

[5] For those of you not initiated into the Marvel Faithful, this is what “The Thing” always proclaims before some much-need ass-whoopin’.

[6] And yet, what fun a Harryhausen film was to us pre-CG kids!!

[7] A Hollywood movie with an unnecessary push for the Leftist agenda completely superfluous of the plot. How novel.

[8] September 11 News.com

[9] Disturbing Scenes Of Death Show Capability With Chemical Gas, Nic Robertson, CNN.com

[10] More Cases Of Terrorists “Baking” Children Cited, Bob Unruh, WorldNetDaily.com

[11] Nick Berg Beheading Video Is Here, posted by Classical Values.com and Korean Beheading Video Being Passed Around On Islamic Sites, Free Republic.com

[12] You may laugh but, as much as the “Ben & Alicia” thing is begging for criticism, I suffered through it. I want to say there may even be some comicbook history behind this relationship but I don’t know for sure. If it isn’t overdone (and the movie really pushed it) I was OK with it.

[13] This is what the comics call the power Galactus has, which he imbued upon Norrin Radd to make him into the Silver Surfer.

[14] “Fantastic Four 3” Probably Not Happening, Reveals Chris Evans, Shawn Adler, MTV Movies Blog