Still, it satisfied its hormonal fanbase with imaginative and exaggerated gusto. Now the directorial duo grab the reigns as they spearhead the second installment of Marvel Comics' hot-headed anti-hero Ghost Rider/Johnny Blaze. In Ghost Rider: Spirit of Vengeance, the sequel to 2007's anemic Ghost Rider, Nicholas Cage reprises his role as the hell-raising, flame-scorching devilish bounty hunter out to create havoc in whatever crosses his perplexing path. Although slightly more engaging than its predecessor five years ago, Ghost Rider: Spirit of Vengeance is marred by a sluggish script, cheesy and overwrought CG imagery and a ludicrous Cage performance that has now become commonplace for the once respectable Oscar-winner. Meandering, disjointed and unintentionally silly-minded, Ghost Rider: Spirit of Vengeance never quite matches the intensified heat as radiated from the movie protagonist's fireball noggin.
When Perseus reaches the Gorgons' lair, he's about to embark on the most dangerous part of his adventure. Perseus finds Medusa sleeping and chops off her head. The other two Gorgons chase him, but Perseus escapes with the help of Hades' helmet of invisibility. Perseus has got Medusa's head, which is certainly a kind of reward. While flying home to Seriphus, though, he also wins Princess Andromeda's hand in marriage.
Of course, the tale is well known as an anachronism; however, the main protagonists emulate the ancient Romans in mythological and pagan practiceof reverence. Amongst the temples of Diana and Venus; Mars takes lead in interest. Chaucer depicts Mars as a figure who induces, or promotes, the conflicting and chaotic elements of destruction and warfare.However, his depiction of war falls into two categories. Chaucer illustrates the good and the bad elements of war in his description of the artisticwalls in the temple of Mars. Temples are known to represent otherworldly figures presiding over man and his actions.
Tolkien’s The Lord of the Rings, there is a perfect example of the battle against evil that young Frodo faces as he makes the journey to rid himself of the ring. In Nathaniel Hawthorne’s “Young Goodman Brown,” the forces of evil tug at the protagonist repeatedly, forming a very central theme. These dark pictures of evil illustrate how the protagonist, Young Goodman Brown, takes a journey throughout the story- not only a physical journey but one of much deeper meaning that shows how, over time, the evil evokes emotion from within him. From the beginning of the story, Hawthorne paints a memorable picture: “Young Goodman Brown came forth, at sunset, into the street of Salem Village, but put his head back after crossing the threshold to exchange a parting kiss from a young wife” (435). Hawthorne explains Goodman Brown’s young wife’s name is Faith and says she is “aptly named,” which is an indication of her virtue and the symbol of faith that she represents in his life (435).
The movie ‘The Fifth Element’ is a must see if you are into fast paced action movies with great visuals and special effects designed to create Sci Fi realism. The movie is set 250 years into the future, where life as we know it is threatened by the arrival of Evil in the form of a giant fiery object racing towards the earth. Only the fifth element can stop the Evil from extinguishing life, as it tries to do every five thousand years. Leeloo, who symbolizes life as the fifth element, is helped by ex-soldier, military hero and current-cab driver, Korben Dallas, who is, in turn, helped by a ship cruise promoter, Ruby Rhod. Pursued by both the government and a powerful magnate enlisted by the forces of Evil, Leeloo is the key to Earth's salvation.
In addition, viewers will know more about the battle between forces of good and evil in this movie. More meaningfully, I realized myself that Harry Poter and the Deathly Hallows (Part 2) help me to believe about the power of love. Love is more clearly in this movie, so this is a reason why I enjoy it more than any movie in the series. Harry Poter and the Deathly Hallows (Part 2) continued with the concluding scene of Part 1 (2010) when Voldermort (Ralph Fiennces), a powerful evil wizard, obtained the Eder Wand. Harry Potter(Daniel Radcliffe), Ron Weasley (Rupert Grint) and Hermione Granger (Emma Watson) searched for Voldermort’s Horcruxes to destroy them.
Richard Beauchesne November 5th, 2012 Ms. Tourout HZT 4U1 Matrix and Philosophy Part A: The Matrix & Rene Descartes The Matrix is an interesting movie because it examplifies the very basic questions of philosophy. The existence of human beings, the reality of the world we live in, and the questions of the human and mind as one. The philosophy in The Matrix has very common theories with the well known philosopher Rene Descartes. The Matrix is a re-telling of Descartes' dream of the evil demon who came to trick him into believing that everything he senses and thinks is not real. He believes in what he sees and feels while dreaming, but can not trust his senses to tell him that he is not still dreaming.
Some of the most popular television shows, movies, and novels of all time have dealt with some aspect of militarism. As if war was like the television show Star Trek, or it can be a supposedly historical rendition of a world long gone such as those represented in cowboy movies, ancient epics, in which a brave soul must battle against impossible odds to save a loved one. What they have in common is the fact that they are all
Symbols of savagery and connections to the devil can be found in various locations in the novel. “Jack’s bloodlust and thirst for power have overwhelmed his interest in civilization” (Barnes 4). Bloodlust and thirst for power are two qualities that symbolize savagery, and explain further how it is taking control of the kids. Another symbol of savagery is Jack’s mask, and how it covers his face when he is hunting. The mask can symbolize Jacks’ inner evil and, when he puts it on, symbolizes its control over him as it covers up his normal self.
Philip K Dick’s novel, Do Androids Dream of Electric Sheep, explores the fundamental concepts of spirituality and empathy and their necessity in the human experience. In the film adaption Blade Runner, directed by Ridley Scott, however, the central idea of empathy is completely obliterated and the moral discovery of characters is entirely reshaped. This results in the severe alteration of meaning and arguably even the destruction of momentous philosophical ideas proposed by Dick. Moreover, Scott’s reshapes Dick’s dystopia and Deckard’s struggle against progressive dehumanization into a story of two men: one who is seeking meaning in his life and the other who because of their encounter gains a deeper understanding of who he is. The purposeful obliteration of Mercerism completely reforms Dick’s exploration of consumerism and spirituality and almost completely destroys his other main consideration involving real in comparison fake.