Category Archives: movies
The new Detective Pikachu trailer is lots of fun. In fact, after watching it a few times, I had to remember the last trailer that I thought was so unabashedly enjoyable. I was a bit surprised to realize it was way back when Thor: Ragnarok was coming out (though, that last Spider-Man: Into the Spider-Verse trailer was great too!).
So, I went back and watched the Thor trailer, went back to Detective Pikachu, had a thought, played them both at the same time and got enough inspiration to waste my Tuesday evening making this thing.
Not the second best, mind you. I know Star Wars: Episode III: Revenge of the Sith is, for the most part, not a great movie. There’s bad acting, mishandled characters and weird choices throughout. I’m not here to explain why it’s a good film. I’m here to tell you why I like it so much.
First, I should mention, time heals all wounds. X-Men: The Last Stand is watchable, now that X-Men: Days of Future Past provides those original films closure. Jurassic Park III is no longer the disappointing end for that series. And Revenge of the Sith isn’t how Star Wars’ big screen legacy ends.
The thing about the Star Wars prequels was that they were always going to be depressing. They were telling a story about the rise of the Empire and it’s iron fist rule. Obviously, the movies dropped the ball on that and wasted a lot of potential, but Revenge of the Sith comes the closest to what that tone should have looked like.
Take for instance, the scene where Mace Windu and some soon-to-be dead Jedi go to arrest Senator Palpatine a.k.a. Darth Sidious. There’s a tension in the lead up that the prequels didn’t have. We know the Jedi can’t succeed in that moment and we’re going to have to watch their failure play out on screen. The end result isn’t fantastic movie making, but the build before that has weight that remains even on repeat viewings.
The same tension goes for the two “seduction of the innocent” scenes between Anakin and Palpatine. “The Tragedy of Darth Plagueis”, as a story, might only be interesting to people who enjoy the expanded universe, but the scene is atmospheric and a rare, quiet moment that works compared to the previous two movies botched attempts at introspection. The scene where Sidious reveals himself as a Sith Lord to Anakin is one of Hayden Christensen’s better scenes, acting-wise. There’s a real sense of conflict in Anakin at that moment, of betrayal and anger. In fact, he comes across much more conflicted here than he did killing Tusken Raiders or will when it’s time to kill some younglings. And, of course, Ian Mcdiarmid chews the scenery like it’s his last meal.
Mcdiarmid, alongside Ewan Mcgregor, comes out of the prequels with his head held high, and that might be due to the fact that he gets to be one of the only actors who gets to have fun. While Mcgregor gives his scenes the heart that is missing most of the time, Mcdiarmid gets to cackle and hiss and go gleefully into the Dark Side. This is a character whose been waiting for decades to see his plan come to fruition, hiding and restraining himself. Finally, after all this time, he gets to be himself and Mcdiarmid plays those scenes like Sidious is making up for all that lost time. His fight with Yoda, though anti-climatic, is like watching a Golden Retriever let off the leash for the first time. That dog isn’t coming back.
Back to the beginning of the film, though. Revenge of the Sith has one of the best opening of Star Wars films, alongside Return of the Jedi. Obi-Wan and Anakin’s adventure outside and in an enemy cruiser, filled with elevator high jinx and R2-D2 misadventures, is the type of adventure the prequels didn’t have. The climax of that opening, with the ship splitting into pieces as Anakin pilots and Obi-Wan cracks wise is the type of fun we should have had back when we first landed on Naboo.
Now, of course, after that opening, there’s a lot of dead air. Outside the for-mentioned “The Tragedy of Darth Plagueis” scene, we don’t have much to latch onto for a while. Anakin finding out he’s going to be a father has some life, but the complete mishandling of Natalie Portman keeps all Anakin and Padme scenes far from enjoyable. Once Obi-Wan confronts General Grevious, the movie kicks back into gear. But, no surprise, Grevious is a letdown when it comes to his combat skills. Like most scenes, Mcgregor keeps the movie afloat by shear will.
But, then, Anakin learns the truth about Sidious and the Jedi fail. Anakin turns to the Dark Side, a lot quicker than it should be, but George Lucas was probably getting just as impatient with his script as the rest of us. So, we come to Order 66.
The Jedi should not have fallen the way they do in this movie, they should have had more fight in them. But, as time has moved forward, a theme has presented itself in these prequels, that has been later picked up and run with in later Star Wars stories, including The Last Jedi. These movies are about the Jedi at the height of their power politically, but they have become complacent and apathetic in their battle against the Dark Side. Watching Jedi Masters fall so easily due to their lack of critical thinking and weakness in the Force might not be a hundred percent satisfying, but John Williams’ score and a few visually striking shots help provide those moments with emotion.
Williams, I should mention, gave these prequels so much life and identity though his music that you could argue that he’s the reason any of these scenes work, and I would be won over to your side. As much as I liked The Force Awakens and The Last Jedi, I don’t think anything Williams has done in those movies has matched the music in the prequels. And he helped Revenge of the Sith with that thrilling, heartbreaking “Battle of the Heroes”. There’s more than one reason why those final battles have as much weight as they do, but that piece of music, melded with “Duel of the Fates” in the film, is a huge part of it all.
The third act of Revenge of the Sith is what the prequels were building up to over three films. The battle between Yoda and Sidious is an entertaining one, with Yoda getting to be snippy and show off his power in the Force. It’s satisfying seeing him knock the Sith Lord over a chair, it’s cool seeing how much stronger he is than Sidious at times, but it’s also frustrating, knowing that the character we’re rooting for can’t win. I don’t buy into the fact that Yoda could have won if he had climbed back up those seats and continued the fight. This was a surprise counter-attack and fighting Sidious while dealing with guards and clone troopers after falling from such heights might have proven difficult for a eight-hundred year old Jedi Master who spends most days in a bean bag chair.
The fight between Anakin and Obi-Wan is a long one, with more ups than downs. The lead-up conversation between the two characters is full of great lines, and their delivery speaks volumes. When Obi-Wan tells Anakin that his “allegiance is to the Republic…to democracy!” there’s frustration and desperation in Mcgregor’s reading. He thought he and Anakin were on the same page about all of this, what is he supposed to do? “Your new empire?” he asks Anakin, in mockery and disbelief. You idiot, “You’ve allowed this Dark Lord to twist your mind” and yet still a refusal to take the blame for failing his student. Later, near the end of the battle, he tells Anakin, “I have failed you” but there’s still an arrogance in his delivery. Obi-Wan won’t be able to take the blame due to him for a while, it’s too much for him to handle.
On the other hand, you have Christensen’s lines being read like a petulant brat, but that’s what Anakin has become. And, to be fair, there’s a precedent for that. Darth Vader, in all his stern and fear in the original series, doesn’t like things going against what he wants. The line of succession for the officers in The Empire Strikes Back is due to Vader being a bully, who’s tantrums are now controlled Force chokes. But, in the moments on Mustafar, Anakin still has twenty years of anger, regret and loneliness ahead of him. So, when he shouts, “You will not take her from me”, it’s not as a regal and terrifying villain, it’s as a brat who still needs a few lessons from the Dark Side.
I can’t defend the ‘high ground” moment or the “You were my brother but have fun burning for a long time and maybe surviving to come back to haunt the whole galaxy!” However, the scene where Anakin is taken by Sidious to be repaired, to be placed in a robotic suit of wires and machinery for the rest of his life, is too moody and sad not to defend. Yeah, Vader yells “No!” but first he asks about his wife. Sidious lies to him, of course, but, from a certain point of view, Vader did kill Padme (stupid poetry and medical failures aside). There was a Darth Vader comic I read, not a very good one, that had a moment where Vader was beaten and alone and losing his mind. He’s visited by a vision of Padme, who leaves him again, despite his protesting for her to stay. Reading that, it dawned on me how lonely Darth Vader must be, how much regret he must have to fight down every single day. It’s a heartbreaking realization, and I wish the prequels could have shown us that. But, bringing that into Revenge of the Sith gives these last moments a stronger punch.
I remember reading an article about how Darth Sidious’ rise to power was an accurate representation of Hitler’s ascent. I always found that interesting and I remember reading reviews in 2005 of people comparing Revenge of the Sith to the Bush administration. But, those people had no clue that this movie was going to become of the most documentary Star Wars films ever.
In November 2016, I started experiencing déjà vu. Because of their lack of foresight, the Jedi allow themselves to become embroiled in politics. Soon, after the Clone Wars start, you can’t separate the Jedi from the war. Once they were the defenders of peace and the helpless, but soon the government’s cause became theirs. Their Jedi code, their mantra, stopped being as important to them as their political standing. Meanwhile, in the real world, a large population that form organized religion have decided that politics, more often than not, far-right politics, are more important than their own doctrine or that the two line up perfectly. Where’s there’s teaching of love and being an alien just passing through this world, it was drowned out by a desire to see their beliefs in the place of power. And as the Jedi were betrayed, not just because they were no longer of use, but because their mortal enemy had taken power, many of the real world religious figures should be ready to be dropped as soon as they’re no longer useful politically. And, just like the fate of the Jedi, when those that desire greed and power are the ruling party, there will be a sudden realization that these politicians don’t share those beliefs of love or peace. Being part of the Republic was more important than being a Jedi, even if they wouldn’t admit it.
It’s hard to watch Darth Sidious boast about dissolving the republic and creating the “first galactic empire”, to thunderous applause no less while the real world becomes less global and more “patriotic”. A desire for security and a removal of those we don’t trust, along with people finding ways to defend self-proclaimed Nazis, creates a government and country that rules by fear and threats of violence. Suddenly, it’s harder for me to tell if I’m writing about the movie anymore.
Again, Revenge of this Sith isn’t a great movie. Padme is ruined as a character, going from someone who was supposed to start the rebellion to a whimpering dolt who dies of a broken heart. Instead of taking responsibility for their mistakes and helping out those who will be hurt by their actions, the last remaining Jedi go into exile, continuing to fail at their own teachings. Hayden Christensen, while better in this movie than Attack of the Clones, still fails to deliver a performance to defend. Mace Windu dies like a chump, Grevious dies like a chump, Count Dooku dies like a chump, a lot of Jedi die…you know what, I lost my train of thought.
But, there’s that force push between Anakin and Obi-Wan, Sidious showing actual concern for the fate of his new apprentice, a visually impressive and exciting opening and that melancholy tone throughout. Objectively, it’s not on the level as Return of the Jedi or The Force Awakens, but it has more to say then those two movies. It’s not a crowd pleaser, but the prequels were never going to end on a cheerful note. They were about the collapse of the Jedi Order, the manipulation of the government, the creation of Darth Vader.
If this had been the first, or even the second movie of the prequels, with more story launching from the end of Revenge of the Sith, I think we would have had a better trilogy overall. With one more film after this, about Vader hunting the last Jedi or the start of the rebellion, Revenge of the Sith might have been considered a decent start. Instead, it’s a somber, depressing, sometimes infuriating and disappointing film that does exactly what it needs to do while also failing to deliver the most obvious of moments or explanations. And while characters we like do stupid things, they also remind us why we like Star Wars. Obi-Wan is cocky, Anakin is relentless, Yoda is surprising and Sidious is bananas.
But, those are all reasons I, myself, like Revenge of the Sith. It’s my second favorite Star Wars movie, behind The Empire Strikes Back. Third is probably Return of the Jedi or A New Hope, but hopefully, time will place The Last Jedi high up there as well. I don’t need you to agree with me, I don’t need to you to say, “Hmm, I do like Revenge of the Sith now!” but I hope you understand why the movie has it’s defenders.
Relatively spoiler free but you might as well not read this if you haven’t seen the film.
To say you have problems with Star Wars: Episode VII: The Force Awakens is to say you don’t like it. That’s where geek culture is, and has been for as long as geeks have had a culture in the first place. That’s on me just as much as anyone. When it comes to the big series and franchises, I love or hate them. But, hear me, I didn’t love The Force Awakens but I still liked it. It’s possible to think that J.J. Abrams’ 2015 offering was entertaining but lacking and still be a Star Wars fan.
How you felt about The Force Awakens will definitely play into how you feel about The Last Jedi. I hope people who enjoyed that first film will like this new one, but the way the internet is drawing lines in the sand (or salt), I doubt there’s going to be lots of carry over. For myself, I can say that I found the movie exciting, emotional and satisfying.
Rian Johnson has a visual eye that I don’t think Star Wars has had since The Empire Strikes Back. The planet of Crait, with white salt covering the red dirt underneath, allows for stunning shots of ships dragging along the ground and gorgeous caverns. Snoke’s chamber, awash in red like it’s out of the film Kagemusha, is a highlight in simple but effective set design. That won’t be the last time Akira Kurosawa’s films are referenced, which in it’s own way is a reference to the original Star Wars films.
But, for the most part, people don’t come for the cinematography of Star Wars (the lighting change as Luke flies off from Dagobah in The Empire Strikes Back is one of my favorite shots in all of film). What people want is space battles and great characters. Luckily, The Last Jedi has them both, but you millage may vary on how satisfied you are with either.
The new characters introduced in the The Force Awakens are given more room to breathe this time around, with a longer run time and less death stars. The two that benefit the most are Rey and Poe Dameron. Rey’s journey of self-discovery and false father figures continues but she comes out being a bolder and stronger character, one that feels worthy of leading this franchise forward. Dameron gets much more to do this time around and I finally feel like I understand his character. He’s a hotshot, to a fault, but that’s because he’s relentless in the cause. He’s a true believer in the Resistance, but he has to learn that, sometimes, cooler heads prevail.
Finn is a different case. Plot-wise, his story has little impact. It’s a side-quest that doesn’t effect the main story, though that’s because of turns taken in the third act. But, character-wise, his story brings him into the Resistance proper. In The Force Awakens, Finn was looking to get far away from the First Order and only hung around to rescue Rey. In The Last Jedi, Finn’s story brings him to an understanding of why the galaxy needs the Resistance. It seems like he has a reason to stay now, outside of Rey.
Kylo Ren is still entertaining, but he has the least amount of growth as a character, staying more or less the same as when we first met him. His story is still interesting and I’m excited to see where his character goes from here, but it’s less of a revaluation as Rey or Poe.
Leia gets more screen time than the previous film, but, unfortunately, it’s easy to tell Lucasfilm had more plans for the character in the next movie. Her scenes here are great, but there’s a reservation with her character that most likely would have been released in the next film. There are some great moments with her, made bittersweet by Carrie Fisher’s passing.
Luke Skywalker is there as well. And luckily, the direction his character goes in isn’t proving to be controversial at all! I mean, outside of the internet and all of fandom, I guess. I can’t say how you’re going to feel about Luke in this film, as it seems like it will be one of the most subjective elements of all the Star Wars films. In my certain point of view, Mark Hamill is fantastic this time around, delivering some of my new favorite lines and carrying the emotions for the two of us.
There’s a cameo later on in the movie that I didn’t think I wanted, but proved to be a gut-punch nonetheless. Watching that scene, with music from The Empire Strikes Back, brought up emotions I didn’t know I had and I was happy to find them. And Luke’s “Everything you just said is wrong” tag later on was one hell of a delivery.
Another area where you might end up disagreeing with me is the resolutions of Rey’s parentage and Snoke’s identity. I didn’t realize how little I actually cared about Snoke until this movie, so I didn’t mind his reveal at all. And for Rey’s origins, all I can say is that I was relieved by it all. I didn’t realize how exhausting lore can be until this movie. While I don’t want the same tactics in every movie, Star Wars or otherwise, this time around, it was a welcomed change of pace.
Outside of the characters, The Last Jedi is an exciting ride. It’s a slow build, but when the film reaches the tipping point, it doesn’t stop. There’s the stressful ticking clock that reminded me of a certain Battlestar Galactica episode, some stressful lightsaber duels and a stressful last stand…you know, actually, this movie might be stressful! I found myself never knowing what was going to happen next, even if I was certain I knew how it would all play out. And what an opening.
I will say, since I made such a fuss when The Force Awakens went to the remake-side of the Force, that The Empire Strikes Back is all over this film as well. A perusing enemy fleet, a young hero looking for training from a reluctant teacher, trench warfare against giant, walking tanks on a white planet (salt, not snow, as the movie makes sure to point out). Star Wars, since the first movie, has been nothing if not referential. But, I found that tendency to be less annoying this time around. Maybe that’s because it subverted a lot of those references, or maybe I just think The Empire Strikes Back is the best Star Wars film. Whatever the reason, seeing an X-Wing submerged in water made me laugh instead of rolling my eyes.
I don’t know where the series is heading or how this trilogy will conclude. I’m not thrilled with homage master J.J. Abrams back in the helm, as I’m worried he’ll undo a lot of the good done by this film. And where Rian Johnson is influenced by Rashomon and Casablanca, Abrams seems influenced by Star Wars alone. Maybe he’ll surprise me, but I don’t think surprise is in Abrams wheelhouse, no matter how fun or talented he is as a filmmaker.
For now and the next two years, I’ll take joy in the fact that The Last Jedi is an exciting, dark, interesting film that plays around with presumptions about Star Wars movies. I won’t rank it anytime soon, as it took Revenge of the Sith ten years to become my second favorite of the films and I spent most of my childhood preferring Return of the Jedi over The Empire Strikes Back. I’ll have to rewatch this movie a few times to see if it stands up with all it’s secrets laid bare but I’m confident it can handle the pressure. If the next movie can be as surprising and thrilling as this one, this new trilogy will be just as good, if not better, than the original films.
It’s fine. The movie is fine. It’s not great or as grand as a Justice League movie should be. It feels small, but not in an intimate way. It’s scale and tone reminded me of Fantastic Four: Rise of the Silver Surfer. For a movie that cost as much as it did, I sure doesn’t look great. There’s a lot to dislike about the movie, but, for the first time in this non-solo Wonder Woman series, there’s some stuff to generally like.
After the face-slap that was Man of Steel and the so-dumb-I-feel-bad-for-it Batman v. Superman: Dawn of Justice, I pretty much retired any hope of ever enjoying these films. Some people like the darker tones, the hopeless characterization, the over-complicated plotting and maybe that’s a good thing. We don’t want every superhero movie to look and feel the same. I simply had to resign that, like Deadpool, these movies weren’t being made for me.
After Wonder Woman gave Warner Bros. their first great DC movie since The Dark Knight, I felt a bit better but could tell from the lead up and trailers that Justice League was going to be messy. Zach Snyder leaving for personal reasons and bringing in Joss Whedon to rewrite and reshoot seemed like a good way to mess up the joint. And messy it was! But, somehow, the worst feeling I had while watching it was boredom. The anger I used to feel has burnt out and maybe that’s due to the small amount of sunlight that’s allowed through all the sepia tone and CGI-smoke.
First, I suppose, the good. Ray Fisher came out of nowhere and impressed me as Cyborg. In fact, while watching his story, I kept wishing I was seeing the Cyborg movie already, because it would have to be more compelling than what I watching at the moment. I didn’t hate this version of Aquaman, despite being the bro-est bro of bro-dom. I look forward to being surprised by him in his own, solo movie. And Gal Gadot is still a Wonder Woman I would follow into battle. Oh! That reminds me! The fight in Themyscira was fun! And, when there was action on screen, it was entertaining, for the most part.
Now, for the rest. During any scene that there was no fighting, I was bored. And, hey, I’m not some action junky who needs people to shut up and punch! The conversations between these characters, Justice League members or not, felt like time killers or placeholders for the real script. There was always the element of humor laced in the lines, but nothing was able to be truly funny, except for Batman’s, “I don’t not” line.
Ben Affleck’s Batman was less interesting this time around, lacking the fire of his previous performance. The Flash doesn’t really impress and I’m sure that’s due to the fact I’ve been watching a successful representation of the character weekly on the CW for three years now. And Superman, well, that character has been a wash since day one. They try to clean him up a bit, make him a beacon of hope and all, but it’s not enough. He’s still not a Superman I want to watch, even when using all his cool powers. These movies love showing off how strong he is, but the heart is never there.
I’ll say this, and I don’t want anyone thinking I like Batman v. Superman: Dawn of Justice or think it’s even close to a good movie, but Justice League feels small in comparison. BvS felt like an event, albeit a dumb one. It’s tone, cinematography and over-dramatic dialog made it feel like an important, stupid moment in history. Justice League just sort of happens. A big, gray monster-man shows up and is going to make more CGI fire and smoke and some people get together. This doesn’t feel mythic or memorable. If anything, it feels like a preview for a real Justice League movie, with a full roster and characters who aren’t learning their powers or motivations.
So, to summarize, Justice League is fine. It’s watchable and has some moments that make it worth the time. It’s not epic and it’s not a trendsetter, which is a shame. The Justice League deserve better, they deserve to have the best superhero movie, to put the Avengers to shame. This is a team with the biggest names in super-lore and I had hoped for a feeling of awe and insperation. But, that feeling never comes. Sometimes, during the movie, Batman and Superman’s classic musical scores of the past will play and I was reminded of the good feelings and pleasant memories I had for these characters. Unfortunately, I realized, nothing on screen was causing that to happen this time around.. If anything, those themes emphasize the lack of direction and identity this movie has, requiring past visions to guide the way.
I hope a Justice League sequel will be better and I hope the characters can rebuild from here. Whereas the continuity in the Marvel films feels like a boon, these DC movies suffer from it. Every time a movie comes out, I can’t shake the past these heroes are burdened with. You can lighten Superman up, but he still snapped a man’s neck. You can make Batman a team player, but he still loves his guns and shooting people. But, with Justice League, they’re now another step in a more enjoyable direction. I hope they can keep that momentum and get past this version I’ve had not interest in before. I hope I can enjoy future DC films. But, for the first time in a long time with these movies, at least I can hope.
Rumors are going around that Disney is going to buy 21st Century Fox, at least, it’s entertainment side of things. I normally don’t care to write about such things and, besides the fact that it’s scary to imagine Disney owning even more properties and franchises, this isn’t my field of expertise. However, like anything worth talking about, the X-Men are involved.
I’ve written about the X-Men and their movies time and time again. This entry will not be the last. They hold a special place in my heart with their characters and stories. The movies, especially, have been an important part of my life, never rebooting and telling a constant, although convoluted, story as I’ve grown up. And Disney owning the rights to make those movies could ruin everything.
I don’t mean that I’d hate to see the series start over. I liked X-Men: Apocalypse for a number of controversial reasons, but one of them was that it had a crew of big name X-characters; Storm, Nightcrawler, Cyclops, Psylocke, ect. If the movies rebooted, we could see a team of first class (pardon the pun) mutants headlining a film that hasn’t really happened since X2: X-Men United. Heck, that’s partly why I wish Gifted was a real X-Men show, giving us a Rogue that gets into the mix of things. And a reboot could even have a better prepared timeline, though, I might argue, there’s charm and artistic viability in not letting past films completely dictate new stories.
No, the reboot isn’t what I’m worried about. It’s the mixing of the Marvel Universe with the X-Men. Disney/Marvel’s Cinematic Universe would benefit from having a Wolverine, sure, but the X-Men, at their core concept, would be diluted. And this has been a problem since the very beginning.
Back in the 60s, when there were very few mutants on the scene, the idea of people hating and fearing the X-Men made sense. The few they knew about were some teens who wore funny costumes and a madman who could topple every city with magnetic powers. Of course they were scared. Even with Iron Man and Captain America, there was something different about mutants. Not everyone was going to survive a gamma bomb or get hit by cosmic rays, but anyone, even your neighbor or, worse, your own children, could be a mutant.
But, as the Marvel Universe grew, the differences became less important. There were so many non-mutant superheroes on the scene, how could you even tell who to hate anymore? Except, in the comics, as the general populace grew more tolerant of heroes, they still retained their bigotry towards mutants and the X-Men. And it made less and less sense. The core concept, of mutants being a minority and treated with fear, became less plausible, which watered down the X-Men. They still tried to tell X-Men stories like they always did, but, you had to start asking why Captain America wasn’t getting involved in protecting mutant teens from Sentinel attacks or why Doctor Strange let mutant massacres happen.
Another problem is that, in a shared universe, the X-Men could never attain their ultimate progression. Mutants are supposed to be the next stage in human evolution. Part of the fear humans have towards them is based in the fact that they will be replaced by this next step. Unfortunately, you can’t tell that story with Spider-Man around. Mutants can’t take over the world, or even come close.
Grant Morrison tried to tell that story in the early 2000s. He fast forwarded a bit but his X-Men stories were about mutants becoming a dominate force in the world. And Marvel retconned it as fast as they could and yelled, “No more mutants” and sent that number to under two hundred. They claimed they were bringing the X-Men back to their core concept, of being a minority, but, more simply, they couldn’t let the status quo get out of hand.
The X-Men movies are flawed, I get that. Even the second movie, as fantastic as it is, has issues. Fox has made great X-Men movies and bad ones too. And now, with Hugh Jackman gone and three separate trilogies wrapped up, the movies are in a weird state of flux and uncertainty. But, with Fox retaining the rights, they’ve kept the X-Men in their own separate universe and have been allowed to explore concepts that wouldn’t work in the Marvel Cinematic Universe. The idea of a cure wouldn’t matter if mutants could join the Avengers someday, the world building in Logan would never make sense with Tony Stark and Bruce Banner on hand and can you imagine Captain America letting X-Men: Days of Future Past happen? Like in the comics, the X-Men stories would be set to certain guidelines and limited in their scope.
Also, look at Inhumans and Agents of S.H.I.E.L.D. How in the world would a company that makes those types of shows make something like Legion? Aren’t we at least a little better off in this world with a show like Legion on TV right now?
If Disney does buy up the whole world and owns the rights to make X-Men movies, I hope they would keep them separate from the Marvel films. Bring the Fantastic Four and Doctor Doom over, but leave the X-Men alone. At the end of the day, however, I have to remember I’m not in control of this stuff, that whatever will be, will be. I’ll learn to live and let go of the X-Men movies I grew up on and hold my breath as a new wave comes to pass. There would be some great benefits. Disney and Marvel would be more likely to put the X-Men in their comic book costumes and have a fan favorite team that doesn’t just focus on Wolverine. And they’d get the love in the comics that they’ve been missing over the years and maybe a new video game! Also, new films under the House of Mouse wouldn’t negate and erase the movies I’ve loved for so many years. Heck, if it happened today, I’d still have nine X-Men movies (and Deadpool) and that’s something fantastic. I just believe, as the animated series and movies and even games have proven, that the X-Men work when they don’t have to fit in a world of super heroes and can just be themselves.
I haven’t written about a DC Animated Movie in a while. I liked Batman: Assault on Arkham, Justice League Dark and the second half of Batman: The Killing Joke. But everything else has left little impression on me. I miss the days of adaptations that brought different styles to each film, like All Star Superman or Wonder Woman. The new continuity driven films are stuck with boring stories and uninspired voice casting.
Considering my disdain for the Suicide Squad’s take on Harley Quinn, I wasn’t surprised by my lack of interest in this new entry. But, when I looked up pictures of Batman and Harley Quinn, I found myself getting excited. It looks like the WB years of The Batman Animated Series! They got Kevin Conroy back as Batman and they brought Loren Lester out of mothballs to play Nightwing! Wow! And Bruce Timm is involved? I’m back in, baby!
The biggest mistake I made with that excitement was actually seeing the movie. I should have watched my dvds of the animated series or read a new Batman comic. Instead, I drove ninety minutes to the nearest theater showing the movie and saw what poison (ivy) can do to nostalgia.
Batman and Harley Quinn doesn’t know what kind of movie it wants to be. Sometimes, it’s trying to be call back to the great, genre-defining show of the 90s. Sometimes, it’s wants to be the Adam West Batman show with the old cartoon’s setting. Sometimes, it wants to be a comedy. Sometimes, it wants to be a lost episode of Justice League Unlimited. Most times, it’s just bad.
As a comedy, it falls so flat you’d have to think it’s intentionally not being funny. Barely any jokes land and the ones that do are stretched out too far. Melissa Rauch plays Harley Quinn almost as a parody of the Arleen Sorkin. It’s a DOA portrayal, living in the same space of the original character but not breathing the same air. I’d be willing to accept it’s not Rauch’s fault though, as the writing is lazy throughout the whole movie.
Really, Batman and Harley Quinn is a shadow the 90s show, taking the goodwill from the past twenty years and punishing us for it. It makes me wonder if Bruce Timm isn’t as talented as I thought he was. Maybe, he needed all those other writers and artist to keep him from raveling in his inherent tackiness.
We spend far too long in a dive bar with a bunch of extras, watching two twins sing “Don’t Pour Your Love” on stage, only for Harley to then do the same thing with “Hanging On the Telephone“. And, both songs are played in their entirety, because this movie is looking to waste as much time as possible.
The animation looks cheap throughout and closeups are worse. It really does look like a lazy episode of a cartoon from twenty years ago, if that was it’s intention, I don’t know what was. The ending is a dud, but, by then, what was I expecting? The whole affair can’t decided if it’s for adults or kids and is never fun for either. Considering that the 90s show did the whole thing better with “Harlequinade”, it’s hard to understand why anyone thought this movie needed to happen. There were no extra scripts lying around?
Look, if this is canon, I won’t accept it. I’m going to be unreasonable about this for the rest of my life. I’ve long ago said goodbye to the DC Animated Universe of old and I don’t need more of it in my life. Batman and Harley Quinn made sure of that by being the Superman: Braniac Attacks of it’s series. I won’t mourn again.
The core concept of a dinosaur theme park that goes haywire has been done twice now. Both Jurassic Park and Jurassic World have done that story. Jurassic Park saw the park never open, while Jurassic World showed us why that was probably a good thing. Both are fantastic, the first being my favorite movie of all the time.
The problem is that you can’t open the park a third time. After two failed attempts, no one would go to that park again. It would stretch the disbelief a little too far. The Lost World: Jurassic Park came up with a good reason to get people back on the island, the idea that companies would try to pillage the remaining dinosaurs for profit or that our human curosity would be too much to not study them. Jurassic Park III, well, it’s certainly a movie, isn’t it?
I think that third film showed the problem with having a remote location to keep the dinosaurs locked away. I could watch people trapped on a dinosaur island every day for the rest of my life and never get bored, but you start running out of reasons to get them there. How many helicopters/planes/ships can crash with a crew of interesting characters who have skills able to keep them alive from Velociraptors? Five? Eighteen? It’s a finite number, I’m sure.
So, I think, you have two options. One is to set up permit residence on the island. Come up with a reason people are living on that island, despite the dinosaurs. That’s hard, because something has to go wrong, otherwise we’re watching Dinotopia, which would be my jam as well, but that’s it’s own franchise. In Jurassic Park, people have to get eaten. It’s important. To me.
The second option, which I would have never thought I’d be down for, is to let the dinosaurs loose in the world. And that’s what Jurassic World: Fallen Kingdom sounds like it’s setting up, even if the “world” is just mainland military bases and neighboring towns. But, from there, the sky’s the limit!
What I’ve been thinking is that, maybe, it’s time for the franchise to shake up the status quo. When Rise of the Planet of the Apes was released, it presented the apes that gain intelligence as a localized occurrence in the here-and-now. In order for it to be conceivable that the planet could become theirs, there needed to be another force to lower the human population and even the playing field. The Simian Virus in that rebooted series shrunk the human population, creating a dystopia where a few hundred intelligent apes were dangerous and becoming the dominate species.
Jurassic World introduced us to the idea of extreme genetic manipulation with dinosaurs, creating the Indominus Rex. In the sequel, it sounds like humans, specifically the movie universe’s now seemingly evil company InGen, aren’t done messing with DNA. What if, in doing so, they ended up creating a virus like that in the new Planet of the Apes films. What if humanity is no longer plentiful and dinosaurs roam the earth?
I love that idea.
To be fair, I probably love that idea because it’s not unlike Cadillacs and Dinosaurs. You’d have a reason why a T-Rex could be loose in suburbia and we couldn’t stop it. Sure, those humans that are still alive have weapons, but the world doesn’t work the same way anymore. And humans are panicky primates. If you have an assault rifle and a Spinosaurus started charging at you, I’d be surprised if you didn’t start running, fully loaded gun and all.
How far should this world go? Makeshift cars akin to Mad Max? The toys alone would be fantastic! Domesticated dinosaurs? We’ve seen trained raptors, so why not? InGen could still be around, maybe as a paramilitary force keeping most people under their charge. Sure, that would start to turn them into the Umbrella Corporation from the Resident Evil movies, but even bad movies can have decent ideas.
Yes, doing any of this would change the franchise forever. But, with a title like Jurassic World, the concept of going expansive is set. And change is good. It’s chaotic, it’s evolution. The plots would be forced to deal with the human characters and their motivations, while still including the prehistoric carnage these movies have always been so good at delivering. We’ve had four (and probably five) movies set in a slightly grounded dinosaur populated universe. Let’s go big.
Free Fire is an intense scene of an action movie, stretched out to ninety minutes. It’s a shootout that takes place entirely in an abandoned warehouse, between different and splitting parties. By extending that premise to a whole movie, director Ben Wheatley explores the fun you can have with a limited scope. Unfortunately, he also discovers the problems you can run into when your concept isn’t backed up by writing or imagination.
It’s the 1970s and we meet a whole bunch of gun traffickers looking to close a deal. Of course, things go wrong, bullets start flying and not everyone is going to make it out alive. That’s the premise and I’m not too sure Wheatley thought more beyond that. The movie feels trapped in the warehouse and not in a good or suspenseful way. There’s just not a lot to do or see once the killing starts.
The action in the movie never rises above fine. Guns fire and shoot people but that’s it. There’s never a great, inventive moment of violence. Yes, the movie is low budget but other cheap action films have found ways to impress. Because the shootout keeps the characters grounded and seeking cover, it’s all very impersonal. When one character shoots another, it doesn’t feel connected. If the gun play was there to simply move the plot along, that would be easy to deal with, but when the whole concept of the movie is based around bullets going everywhere, it wouldn’t hurt for a little style. Heck, most of the movie’s posters have more style! Even the seventies setting is really only there for costumes and lack of cellphones.
The dialog never does more than it needs to do. The only reason characters come across as likable is because we have some fun actors on hand. Brie Larson and Cillian Murphy are the straight men of the assemble, playing relatively grounded characters. Sharlto Copley brings his unique brand of insanity and detachment to the screen. He’s not a fantastic character, but Copley injects the role with much needed uniqueness. Armie Hammer, for the first time in his career, impressed me. He plays Copley’s bodyguard and he’s a character with skill and poise. In a movie set in the 1970’s, Hammer is the only one looking to have fun with the decade. His character might be the only stylistic choice with any impact. If he could play more roles like that, I might not think of him as the blandest face in film.
Free Fire is adequate. It’s an easy, uninspired way to pass an afternoon. But it’s not going down as a classic. Maybe a curiosity, or an example of how far you can stretch an idea without bringing real life to it. Free Fire isn’t as stylistic as Smokin’ Aces and the characters aren’t as “out of this world” as that film either. Free Fire isn’t as clever as Reservoir Dogs, the movie it’s most likely trying to ape. The dialog isn’t as biting and it’s missing a soundtrack to breathe life into the the void. In a world where John Wick is the standard for brutality, Free Fire comes across as rather toothless. The characters take hits, but when they start dragging themselves along the floor, the movies slows down with them. There’s a twist here or there, but nothing that affects the plot or how you feel about the characters.
I think given a better director, Free Fire could have been a new classic. The ingredients are all there, but most people can make cornbread if they follow the directions. What Free Fire needed was funny, clever dialog between more unique characters in between interesting gun play. If you’re staring at a TV and Free Fire is on, I’d say let it play. But it’s not something you need to seek out. Watch John Wick: Chapter 2 or Hardcore Henry instead. They bring new life into all that killing.
Dunkirk is the most stressful movie I’ve seen all year. It starts with a ticking soundtrack, with a loud, drawn out retreat from gunfire and then doesn’t stop, even for a second.
The movie takes place during the evacuation of Dunkirk, in World War II before America became involved. Over the course of the film, we follow four stories; fighter pilots coming to provide air support, civilian ships coming to help with the retreat, soldiers trying to make their own escape and officers trying to get as many people off the beach as they can.
Director Christopher Nolan uses a time shift throughout the movie, switching between stories, which then gives us multiple points of views of the same events. It’s a technique that allows for the most stress-inducing ways to to watch the movie, giving Nolan the ability to go back and forth between near-death experiences by the minute.
All the performances are strong, with most actors going for a minimalist style. It helps with the desperation, that all of these soldiers are so worn out from waiting for the next bomb to drop that emoting is a thing of the past. Tom Hardy, one of the pilots we follow, is behind a mask the whole time, forcing the actor to express everything with only his eyes. I don’t think I realized how much Hardy could convey that way, even with his take on Bane in The Dark Knight Rises. Hardy’s story is also the one I found the most heart wrenching. His choices and story lead to some of the most inspiring and frustrating moments of the movie. Mark Rylance gets to show a little bit more emotion, playing a man just trying to do his part in a hopeless situation. It’s Cillain Murphy who gets to be the most emotional, though. Murphy’s a soldier who almost gets away from Dunkirk but, due to Rylance picking him off a sinking ship, has to contend with heading back in that very direction.
I should point out that I have no idea what Harry Styles looks like so I can’t say if he was good or not. Since no one gave a bad performance, I can assume he did fine. He doesn’t stand out for those of us who don’t have his poster on our walls.
Nolan has a a clear and widescreen eye and he films a war movie that looks unlike anything that’s come before. Where other films have made us feel as if we’re following troops on the ground, Dunkirk also shows how tiny someone can appear during these great events. At the same time, Nolan does create moments where we feel on the ground but it’s different than something like Black Hawk Down or Saving Private Ryan. It doesn’t feel like we’re following the characters through these events, but that we’re experiencing them as well. That’s one of Nolan’s great strengths, creating immersive movies that feel like events rather than just a viewing. I was stressed because I felt like I was sinking with the ships, like I was avoiding being shot down.
Helping create that experience is Hans Zimmer’s score. While he does use more traditional music every now and then, Zimmer employs a constant ticking throughout the movie, along with an ostinato of strings that somehow seems to only ever speed up. Alone, the soundtrack would make you anxious. With Nolan’s film, it’s almost too much. And, while other Nolan films may suffer from weird sound mixing choices, they only add to the Dunkirk experience. Bullets sound unstoppable, water sounds crushing, planes sound like harbingers of mercy or doom.
Dunkirk is a perfect movie-going experience, though not a fun one. It’s a movie that should be seen in theaters so that you can be fully immersed in it’s story, in it’s cinematography, in it’s sound. I don’t know how the movie will hold up during a second viewing, as I’ve only ever seen Inception and Interstellar once each. But Dunkirk should be seen, if only ever once, because it will be an experience you won’t forget, It’s one of the best movies of the summer and will probably end up being one of the best movies of the year. If this is the future of Nolan’s career, I can’t wait for his next film.