You didn’t need a crystal ball to figure out that, once the Lord of the Rings flicks and the Harry Potter series started setting the box office on fire a few years back, Hollywood would start churning out fantasy flicks faster than you could say “Hufflepuff.”

And soon, sure as a Hobbit has hairy feet, the attempts to capitalize on those series’ success started to pile up. Unfortunately, most of them proved to be less than magical from a critical and commercial standpoint, with misfires like Eragon and The Seeker: The Dark is Rising threatening to send the genre back to the obscure realm of late night Dungeons and Dragons tournaments and the aisle at Barnes & Noble you’d be loath for your coffee date to catch you hanging out in. Still, one franchise did manage to make some bank in the wake of Harry and Frodo: the Disney co-produced Chronicles of Narnia series, whose bigger, badder, more epic-looking second installment, Prince Caspian, hits screens this week. Having never made it through more than a chapter or two of the C.S. Lewis books the Narnia movies are adapted from, I was surprised as how thoroughly I enjoyed the first film, The Lion, the Witch, and The Wardrobe, and I’m happy to see the series – thinly-veiled Christian allegory or not – continuing to pick up speed.

As much as I’m looking forward to seeing Prince Caspian, though, the fact that the Narnia series is getting a second installment irritates me just a little because my personal favorite fantasy trilogy, after a disastrous box office showing last year, may never make it to a movie screen again. That’s a shame, because The Golden Compass – the little $180 million fantasy movie whose U.S. box-office failure essentially killed New Line Cinema – is actually a pretty awesome movie, even if few people in this country appreciated it (the film, at least, pulled in some decent bucks overseas).

Adapted from the first novel in Phillip Pullman’s controversial "His Dark Materials" trilogy, The Golden Compass is a triumph of production design and special effects that, although it can’t really elaborate on some of the more interesting ideas in the book, is still a compelling fantasy story, very interestingly told. Set in a fantasy version of Earth where religion and science are involved in a centuries-old slugfest and all humans have talking animal familiars (“daemons”) that follow them everywhere they go, Compass is a “chosen one” tale about a young girl named Lyra (played by newcomer Dakota Blue Richards) who’s entrusted by her adventurous Uncle Asriel (Daniel Craig) to protect a sought-after, future-predicting device called an “alethiometer” from the clutches of a villainous, supposedly divinely controlled world governing body called the Magisterium. Not even counting the daemons, the film’s world is richly populated with intriguing fantasy elements: a mysterious substance called “Dust” that may possibly allow passage to other universes (awesome), high-flying airships like the one piloted by sky cowboy Sam Elliott (really awesome), giant armored polar bears that battle each other to the death (really, really freakin’ awesome), etc.

The film, which careens between locations and introduces difficult-to-explain fantasy concepts at a way-too-rapid clip, is probably best enjoyed after digesting the novel on which it’s based, but there’s plenty to appreciate in the film version anyway – from Nicole Kidman’s deliciously icy performance as the Magesterium’s number-one villainess Mrs. Coulter (named after Ann, perhaps?) to the aforementioned polar bear battle royale to a creepy sequence set inside a lab where the baddies experiment on innocent children. Director Chris Weitz, who’d previously worked only on comedies both broad (American Pie) and more subtle (About a Boy), keeps the film flowing at a pretty good pace throughout, and shows some serious flair during the action sequences – the climactic sequence, in which humans, daemons, polar bears, and the kitchen sink scrap on an icy battlefield, is almost Lord of the Rings-quality.

In hindsight, I guess I’m not exactly shocked that The Golden Compass didn’t find its foothold with stateside audiences – it’s a lot to take in one sitting, it lacked the fanatical built-in fanbase that the Harry Potter series enjoys, and its subtle but still-there commentary on religion certainly didn’t make it an appealing prospect for the churchgoing audiences generally credited for boosting Narnia’s box-office take. Still, the film remains an uncommonly intelligent and inventive stab at the big-budget fantasy genre, and is nowhere near the failure that some critics made it out to be. And although we may never see the next two installments in the trilogy hit the big screen, what happens after the film’s cliffhanger ending can pretty easily be picked up in Pullman’s novels – and, hey, when’s the last time a Hollywood movie actually made you want to read something?

Lloyd Kaufman, the creator and head honcho of long-running indie film studio Troma Entertainment, is one of my favorite people in the entire movie industry. I wouldn't even consider myself a huge fan of his company's movies - which usually combine gleefully executed gore, T&A, and other assorted tastelessness with a tongue-in-cheek and often satirical sense of humor - but I admire him for the way he's built an entirely independent, highly successful studio without any help from the majors... and even if his empire is built mostly out of blood and boobs (and occasionally poop), it's still got more class and integrity than any of the big studios can claim.

Kauifman is also, I would assume, a pretty generous guy, as I've seen him show up for cameo roles in literally hundreds of no-budget movies just as a favor to the filmmakers - yet another way in which he sticks up for the little guys while simultaneously sticking it to The Man. And on top of all that, he's one hell of an interview subject, as this Onion AV Club piece certainly speaks to. Chatting with AV Club editor Sean O'Neil as his latest film, the zombie-chicken musical epic Poultrygeist, goes into limited theatrical release, Kaufman cracks jokes about Eric Rohmer, reminisces about his time as a Yale undergrad (I had no idea!), rags on Al Gore, and even offers a surprisingly incisive viewpoint on why movie piracy isn't such a bad thing for independent filmmakers.

It's a terrific read, and even if Poultrygeist isn't your particular cup of chicken doo-doo, you may very well find yourself feeling the same way about Kaufman that I do.

The live-action/CGI Speed Racer movie is out this Friday, which I thought would make for a good occasion to check out the Japanese sci-fi flick Casshern, another anime-inspired film that features real live actors interacting with surreal, hyper-detailed computer-generated sets.

Unfortunately, technology failed me as usual when I attempted to watch the film – after about 20 minutes of eye-popping coolness, the dvd did that awful, unfixable skip-‘n-stop thing that dvds sometimes do, leaving me wondering just what the hell a “Casshern” really was and, also, what I was going to write about for this week’s Movie Match.

And then it hit me. Technology may have crapped out on me this weekend, but there’s one guy who it worked out pretty damn well for: Robert Downey, Jr.’s fictional billionaire Tony Stark, whose superpowered Iron Man suit blasted him toward a $100 million-plus box-office payday last weekend that surpassed even the most generous predictions for the film’s success. I had high hopes for Iron Man, and was impressed by just how much the movie lived up to them – and so, in order to cover my ass this week, er, share my enthusiasm for this season’s first major blockbuster, I will devote the rest of this column to a few reasons why Iron Man is well worth catching in theaters a second time.

1. The first action sequence
Most fans will walk out of the theater raving about Tony Stark’s ass-kicking exploits in his trademark fire-engine red Iron Man suit (I could watch that scene with him and the tank about a hundred times in a row), but let’s not forget the first time we get to see him wreak some havoc in a mechanical suit of armor, as comparatively low-tech as his prototype Iron Man getup is. There’s a real sense of fun that underlines the carnage in the film’s initial action setpiece, which has Stark blasting his way out of a terrorist stronghold while still awkwardly learning the finer points of mechanized combat – thankfully, his inexperience doesn’t prevent him from chucking freedom-haters around like ragdolls or unleashing a pair of arm-mounted flamethrowers that may just be the must-have movie accessory of 2008. It’s the perfect lead-in to the sparing but spectacular superhero mayhem to follow.

2. The dialogue
Robert Downey, Jr. slings one-liners like nobody else in Hollywood, and the filmmakers behind Iron Man were smart to let him go full-throttle with them throughout the film – even if his sense of humor is a bit over the heads of the action-figure buying segment of the film’s audience. Whether cracking wise about MySpace pages or delivering awkward romantic come-ons a la Kiss Kiss Bang Bang (if I mention that movie enough in this column, will somebody please see it?), Downey’s Tony Stark is outfitted with a gift of gab that far surpasses any screen superhero we’ve seen so far. I’m not sure how much of the killer dialogue to credit to the film’s writers as opposed to Downey himself, but either way this is easily the wittiest movie this genre has produced to date.

3. Gwyneth Paltrow as Pepper Potts
Female characters tend to get sidelined in even the best comics-to-screen adaptations, but despite her limited screen time, Paltrow did a fine job carving out some space for herself as Tony Stark’s devoted assistant and schoolboy crush Pepper Potts in this one. Crafting a poised, down-to-earth character who’s the perfect foil for Downey’s wisecracking, big-kid persona, Paltrow was one of the big reasons that Iron Man seemed like a much classier, more grown-up superhero movie than we might have expected. Plus, if you’ll allow me to get my chauvinist on for a second, she also looked better in this flick than in anything she’s done since the late 90s.

4. The visuals
Matthew Libatique is one of my favorite cinematographers, having been responsible for the jaw-dropping camerawork in all three of director Darren Aronofsky’s films, so I expected great things from Iron Man in the visual department. For the most part, it was hard to be disappointed – from the dimly-lit caves where Tony Stark fashions his clunky original Iron Man suit to the futuristic Malibu mansion where he tinkers with servos and beds the occasional Vanity Fair reporter, the film’s settings and characters pop off the screen as vividly and stylishly as anything you’d see on the comics page.

5. The bit after the end credits
You probably need to be a bit more of a hardcore Marvel acolyte than I am to fully appreciate it, but the two-minute scene that ran after Iron Man’s end credits was pretty cool nevertheless -- it not only featured my favorite celebrity cameo of the year so far, but also dropped some really tantalizing clues as to where the next Iron Man movie, and the onscreen Marvel universe as a whole, will be headed in the near future. Based on this little teaser, we geeks have a lot to look forward to.

Normally here in Movie Match I’m all about looking back on films you might have missed, but this week – it being the unofficial start of summer movie season and all – I thought, just this once, it might be more fun to look forward.

I’ll tell you exactly what I’m looking forward to: the awesome-looking comic book adaptation Iron Man, which finally arrives in theaters tomorrow after tantalizing fanboys like myself for the better part of a year with its Robert Downey Jr. wisecracks and cooler-than-Transformers-looking robo-slugfest action scenes. Early reviews – even some of the more negative ones -- have pegged this film as a surefire start to a lucrative new franchise, and that’s probably a good thing for comics-to-screen fans. Why? Because Hollywood lately seems to have exhausted all the superheroes your mom might be familiar with (Spider-man, Batman, Hulk, that blue tights guy, et al) and is soon going to have to rely on lesser-known comics properties like Iron Man to keep butts in the seats. That may actually end up being a positive, since it frees filmmakers up from having to pay lip service to the well-worn origin stories and character traits of the heroes everybody already knows and allows them to cut loose with unique and original visions of less-famous characters, like Guillermo Del Toro did with his Hellboy series. I’m not saying all second-tier superhero flicks are necessarily worth catching (Elektra, anyone?), but here are just a few of the ones coming out in the next year or so that should give the genre a shot in the arm.

Wanted
This eye-popping adaptation of Mark Millar and J.G Jones’s comics miniseries is sure to be one of this summer’s hot tickets – if the film can live up to one of the coolest trailers I’ve seen in a while, that is. The story of an average office drone (James McAvoy) who discovers that his murdered father belonged to a super-secret, superpowered band of assassins who now want to recruit him, Wanted promises over-the-top action by the truckload, as energetically directed by Timur Bekmambetov – the guy behind the stylish (if not entirely coherent) Night Watch trilogy. The cast is a big asset here, with Angelina Jolie stepping into familiar bad-girl territory as the veteran hit-woman who shows McAvoy the ropes; co-stars Morgan Freeman, Common, and Terence Stamp should give the flick a big boost, too. You can catch it starting June 27 – if your local multiplex is willing to pull a few screens away from The Dark Knight, that is.

Punisher: War Zone
2004’s Punisher movie, starring Thomas Jane as vengeance-driven antihero Frank Castle, was not one of the better adaptations out there, but the film’s impressive dvd business and the character’s enduring popularity still paved the way for a sequel that’s set to drop this fall. Jane’s out as Castle this time – “creative differences,” so he’s said – so Ray Stevenson of TV’s Rome will be taking his place as the new Punisher, with 300’s Dominic West joining the franchise as disfigured villain Jigsaw. The film is reportedly darker, bloodier, and more in the spirit of the “adult” Punisher comics than the somewhat sanitized (but still pretty violent) 2004 film, and director Lexi Alexander’s rough and critically acclaimed soccer flick Green Street Hooligans proved that she’s definitely got a handle on this type of testosterone-soaked material. The tentative release date is December 5.

The Spirit
The solo directorial debut of comics guru Frank Miller, The Spirit takes a character created by late comics guru Will Eisner and throws him into a very cool-looking live-action/animation hybrid a la Robert Rodriguez’s Miller adaptation Sin City. Relative newcomer Gabriel Macht plays the title role, a dedicated cop who’s resurrected as a darkness-dwelling crimefighter who has a way with the ladies and a Batman-like bond with the city where he does his bidding. Samuel L. Jackson handles villain duties as The Octopus, while a rather amazing lineup of female costars – Scarlett Johansson, Eva Mendes, Jaime King, and Paz Vega – play the many women in The Spirit’s life, both good and evil. The film releases January of next year, but to whet your appetite you can check out the short but very promising teaser trailer at the film’s official site, http://www.mycityscreams.com/.

Billy Batson and the Legend of Shazam
This one’s still in the scripting stages, but actually, that has a lot to do with why I’m so excited about it. A take on the not-exactly-well-known Captain Marvel saga, this clunkily titled adaptation (expect that to get shortened by the time it’s actually done) comes to us from super-scribe John August, best known for working with Tim Burton on films like Corpse Bride, Charlie and the Chocolate Factory, and my favorite, Big Fish. Since the Cap’s story is one of the cornier ones in the comics universe – Billy Batson is a teenager who becomes the superpowered Captain Marvel when he utters the magical word “Shazam!” – you can expect August to have some tongue-in-cheek fun with the adaptation; this sure as hell ain’t gonna be Batman Begins, but I think a more lighthearted, campy, self-aware kind of superhero movie could be a blast if done right. No word yet on when we’ll get to find out, but the film does already have a director (comedy guy Peter Segal) and a lead villain: Dwayne “The Rock” Johnson, who’s agreed to play the Cap’s nemesis, Black Adam.