This second official trailer for this summer’s X-Men: Days of Future Past really ramps up the action by showing a lot of the heroes using their powers and the Sentinels looking menacing.
I think the fire guy is supposed to be the (silly) new version of Sunspot (Adan Canto). Looked like a snippet of Rogue in there, too, so maybe Anna Paquin isn’t being entirely exorcised from the theatrical version?
My favorite bit is seeing Colossus (Daniel Cudmore) armoring up, while the most disappointing had to be Iceman (Shawn Ashmore) doing his ice slide.
But the most eye-opening sequence had to be Evan Peters as Quicksilver in the scene with Magneto reclaiming his helmet! Quicksilver — also part of a rival film studio’s competing Avengers franchise — has been allowed to cross over. (In the upcoming Avengers: Age of Ultron, Aaron Taylor-Johnson plays the mutant speedster.) Pietro Maximoff has ties to both teams, so it makes perfect sense for him to be in both movies, but… 20th Century Fox and Marvel Studios playing nice for the good of the film properties and the fans? It appears the unique crossover was made possible because the siblings were covered by the rights packages sold for both the Avengers and the X-Men.
Now that’s uncanny!
Nothing like an episode with a tense cliff-hanger, and AMERICAN HORROR STORY: COVEN delivered an ending that left me wanting to know what will happen? What kind of powers do the witches have to fend off the undead?
A helluva lot happened in this episode, and we’re only four weeks into the season. I have a feeling the real storyline has barely begun, because there’s so far to go. There seems to be plenty of time for Madison and the minotaur to come back.
It must be difficult for Jessica Lange to choose two shows for her Emmy reel each year because she has so many terrific performances from AMERICAN HORROR STORY to consider, but I think her work this year just got 50 percent easier: This episode absolutely has to be submitted, because we got to see sweet-and-sour Fiona at her finest.
Who are the eponymous Replacements? Take your pick: Madison is Fiona’s replacement; Queenie is Delphine’s replacement; the patchwork Kyle is his own replacement; Alicia thinks Kyle is a replacement for her husband; and Cordelia is unable to create her own replacement.
The Pretty Little Witches take a page out of Mary Shelley by way of The Rocky Horror Picture Show; Delphine LaLaurie is set loose in the modern, integrated Big Easy; and Fiona gets the most sinister haircut since Keri Russell chopped off her locks and got FELICITY canceled — and it’s all in a week’s work for AMERICAN HORROR STORY: COVEN.
The story features three different kinds of immortality: Delphine and Marie Laveau living agelessly, Kyle being revived after death by a mixture of science and magic, and Misty Day resurrecting herself. How ironic that practically everyone around Fiona is immortal when she’s searching for the key to eternal life.
One of the clichés that absolutely drives me up the wall (and across the ceiling) is a character saying “There’s a storm coming” as foreshadowing of some big conflict that then occurs when the storm hits. (Yes, I wanted to walk out during The Dark Knight Rises when Selina Kyle/Catwoman whispered that line.) It’s just too on-the-nose for me, and makes me think the character feels smug for using such a brilliant metaphor. Ugh. Don’t characters in movies ever go to the movies, or even watch TV?
However, in this case, as disappointed as I was to hear Sister Mary Eunice utter that line so early in the episode, I could live with it because AHS:A wasted no time distracting me with its trademark weirdness. So, although the storm was constantly harped upon, it didn’t feel like a lame storytelling device. (Maybe the fact that my area had just weathered Superstorm Sandy left me more willing to accept the horrors of nature as a real threat, not just a metaphor.)
AMERICAN HORROR STORY, last season’s delightfully macabre surprise hit on FX, has returned, completely retooled, for a second season. Gone are the infamous Murder House and its weird neighbors. In its place is an asylum called Briarcliff with its strange staff and inmates. And while some of the cast is returning, they are playing very different new roles.
But one thing has not changed: AHS’ pedal-to-the-metal, all-out weirdness at any cost philosophy of storytelling. Viewers are pummeled with intense, flashing visuals and bombarded by story details that fly, making an hour’s viewing truly exhausting to keep up with. In the debut alone, we meet the new protagonists and most of the new supporting cast, establish the new status quo and put in place the pieces for several mysteries. The teleplay is a great achievement from Tim Minear, one of the masters of TV weirdness.