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<a href=“http://slashdot.org/article.pl?sid=05/09/06/2230210&tid=97&tid=186”>Marvel’s now got the checkbook out to pay for 10 more films, at least</a>

To get the discusison rolling: Sure, it’ll be a profitable move for the first few movies, but do you think that the public is going to get saturated? The more data you give the fans to grind, the more they’re going to be able to see the cycle of hype and dissappointment that surrounds so many of these ventures. Face it, comics and cinema, though they both start with a “c,” are very different media. Certain things do not translate well (the uncomfortably fast voice-over monologues in <i>Sin City</i> spring to mind).

As George Carlin said on abortion, “not every ejaculation deserves a name.” I extend that to, “not every comics franchise deserves a can of celluloid.”

Hollywood operates in trends. I think it shows how incredibly stupid these Hollywood executives believe the public to be. ‘Spiderman was a huge success… spider-man was a superhero movie… all superhero movies will be successes right now!’ Even though they seem to be right so far, they don’t stop to think mayve Spider’man’s phenomenal success had something to do with the individual people involved with it.

People will get tired of Super-hero movies eventually. There was a burst of Super-hero movies back in the 90s, which were all modelled after Tim Burton’s Batman, being dark and tragic and the hero being angsty, and that trend eventually wore off until Spider-man came along(which was actually a lot different than those movies, and the super-hero movies being made now are much different from them as well).

It’s not going to harm you if they make these movies, and there’s always poeple to like even the worst ones, so let it be.

BTW, I loved Daredevil, I was hpoping for a Daredevil 2.

The movies announced, the only one which I think I’ll like is Dr. Strange. I love the character.

In my opinion it’s a good thing that they are making more movies based on comics. There’s PLENTY of great stories in comics that deserve to be better known by the public, and the comics business really needs an influx of new readers these days. The problem is that making an adaptation that pleases BOTH the comics’ fans AND the average moviegoer can be tricky. Spider-Man had that balance, thus it’s success.

Of course, the public at large is unbelievably unpredictable. You can produce a first-rate movie and the public might ignore it in favor of some piece of crap. It’s always a gamble.

My opinions:

Captain America might be seen as proAmerican propaganda, even if it isn’t, so it might not be appreciated by the public.

The Avengers would have to be made AFTER Captain America, Thor and Iron Man have had their own movies.

Nick Fury could work, it’s basically Spy stuff (with more gadgets.)

Black Panther might work as a segue to BLADE (we need more Black heroes in the movies.)

Ant-Man?? Maybe as comedy. ("Honey, I shrunk myself… and I can speak with ants! :slight_smile: )

Cloak and Dagger, if done right, would be very cool.

Dr. Strange would have to be depowered, and probably would do better as a direct-to-video (anyone remember the WARLOCK movies?)

Hawkeye? Naah, not on his own, maybe in the Avengers movie.

Power Pack ALREADY has a movie (made for TV. Never aired.) Honestly they’d work better as a Children’s cartoon.

Master of Kung Fu (Shang Chi) would work if Martial Arts movies come back. But note that they’ll need permission from the owners of Fu Manchu to use that character (Shang is Fu’s son.)

You lied, Kraken.

How can you have a Nick Fury movie without David Hasselhof?

Certain things do not translate well (the uncomfortably fast voice-over monologues in Sin City spring to mind).
As Miller’s use of voice-over was itself stylistically lifted from previous noir books and film, I don’t agree that this didn’t work well with Sin City. I think the way audiences responded to the movie illustrates that this wasn’t a significant obstacle; the chief critical complaint (not necessarily pervasive) was about the plot, not the voice-over.

It worked okay later on, but in Hartigan’s introduction the exposition trips over itself trying to get out.