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The Fantastic Four Criticized For Its Fictional Acts



Critics Believes The Movie Is Trending Because Of Its Comic Characters

Since the X-Men , Spider-Man and other Batman Begins , comics have found favor in the eyes of the general public, and their adaptations on the big screen are only better.

However, the case of the Fantastic 4 will take more than ten years to be finally treated, after a first transposition produced by Roger Corman in the most total urgency (the adaptation rights came to an end), with means ultra cheap but held secret in the eyes of the public, was born. That which could have arrived on the screens is carried by Jessica Alba , Ioan Gruffudd , Chris Evans , Michael Chiklis and Julian McMahon .

These four superheroes straight out of Stan Lee’s fertile imagination once again had a double handicap: their physical abilities and their popularity. If it were relatively easy by some visual tricks to make believe a man flying in Superman in the late 70s, a human spider galloping along the walls in Spider-Man or to genetic mutants armed with claws and a few flashes in X-Men , it already seemed much more difficult to give credibility to the image of an elastic man or a human torch to name only two of the four characters.

Second difficulty, not least: our four superheroes are known, acclaimed and even solicited by the public, where the X-Men are discriminated because of their genomic differences and the Spider-Man, Superman and other Batman are forced to mask their nocturnal vigilante activities in order to protect their true identities as well as those around them. How to deal with such technical constraints and scripts without sinking into ridicule or pathos? Answer: simply by hugging the subject of departure without asking too many rhetorical questions.

The various images and other trailers visible for several months already foreshadowed and the completed film confirms: the people behind this “official” version (as opposed to “the unofficial” Corman) of the Fantastic 4 have applied this method literally to offer us a first-degree adaptation, totally uninhibited and perfect for summer family entertainment.

Family, it is also question originally in the comic with the fraternal links that unite Sue and Johnny or marital between Sue and Red, the latter have also not been taken at the start of the film, as well as the origin of the powers of Dr. Fatalis , victim of his own scientific experiments in comics and irradiated in space flight in the film, as his companions in misfortunes.

These divergences between the starting material and the feature film constitute a good part of the backbone of the screenplay and will then give rise to a succession of semi-comical, half-fantastic sci accept themselves at the same time as their new family. At this little game, one of the group members will draw their “physical disability” to their advantage. Taking a role similar to that of Detective Vic Mackey in the series The Shield , namely the big hard in the heart tender, Michael Chiklis is doing pretty well with only real means of sensory expression his eyes, hinted that he is in his “jacket” of 30 kilos.

The problem is that this adaptation very first degree completely dries the characters. Too busy filling his array of equations of all kinds without moving a toe, Reed alias Mr Fantastic forgets to look at what reaches his arms. Johnny aka The Human Torch, too busy to shine in the eyes of the girls, burns the wings of his character a little uselessly, if not to tease Ben.

Finally, and this is probably the most regrettable of all, Dr. Fatalis, whose motives are also underused, is largely in the background except for the last quarter of an hour. he is in essence the No. 1 opponent of the four fantastic and nothing less (say some rumors) than the villain who inspired George Lucas for his famous Darth Vader. Too bad that his interpreter, Julian McMahon , in full facelift metal, camps with a real conviction the same kind of bastard in the surgical series Nip / Tuck .

Surgical, The 4 Fantastic is not really in terms of treatment, thus favoring fun at the expense of thematic deepening on the mediatization of a fantastic phenomenon or the characters in themselves.Without falling into complete buffoonery, the film fully assumes its status of “entertainer” and delivers virtually every new scene his share of comical replicas and / or visual prowess. Admittedly, here again, some effects are less successful than others, the fault probably being the reshoots of the final confrontation that took place in disaster in March 2005 just four months after the release of the film on the screens, but these few gaps fade (a little) before the steady and entertaining rhythm of the spectacle unfolding before our eyes.