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I'd like to see a cyclical sort of thing, where they start the first movie with Sinestro mentoring Hal only for Sinestro to do a Face -> Heel Turn, and then for Hal, now a seasoned veteran, to mentor John Stewart in the second movie, only for Hal to pull a Sinestro by the end, leaving John to take down Hal in the third one.

Not that I'm holding my breath for any of that.

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Either way, he's got a point.

I just can't get over the casting of the lead role. I love Ryan Reynolds. LOVE HIM. But I can't see him as Hal Jordan. If they'd made this movie 20 years ago, everyone's pick was Dennis Quaid. Nowadays, I can't help but see Nathan Fillion wearing the ring. But Ryan Reynolds? No. He's great as Deadpool. He'd make a fine Human Torch. But I can't see him as Hal any more than I can see the actual Human Torch as Captain America.

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Because apparently it wasn't enough for him to ruin both the film adaptation of Hellblazer and the remake of The Day The Earth Stood Still, now Keanu Reaves is gonna take a big steaming dump on Japanese cinema as well. He's starring in a remake of Chushingura, the fictionalized story of "The 47 Loyal Ronin," due to come out next year.

If you've never seen any of the films or TV shows based on the story, I highly recommend the 1962 version. It's pretty much the ultimate samurai epic. Not only can you watch a good movie, but then you can share in my nerdrage. :argh:

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Look at it another way. We're introduced to the character emptying rounds into his daughter. Of course he doesn't sound like a normal person. He's bat**** ****ing crazy.

But hey, they were low-velocity rounds. Because he loved her.

I finally got around to watching this, and it was so awesome that, immediately after watching it, my entourage and I returned it to the video store, where we immediately purchased a copy to own. Seriously, it's that good. Kick Ass tapdances back and forth across the line. And when I say "the line," I mean both the line between Deconstruction and Reconstruction, and the line that more irreverent works of fiction and parody cross a number of times in excess of one.

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