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 again. 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 skies 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 releases, 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 expansion 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.
When I first watched Night of the Living Dead, I was fifteen. I had only gotten into the world of zombie fiction earlier that year when I watched the first Resident Evil movie. The very concept of zombies was relatively new to me, and creeped me right out. Even with that fear, as someone who found the first Alien movie not scary or that great, I wasn’t expecting to be put on edge by an older horror film, no matter the monster.
Watching George A. Romero’s Night of the Living Dead made me check my attitude at the door. It didn’t matter how old the movie was, it was still unsettling. The zombies were still creepy and only grew in number throughout the night. The building tension was just as palpable as I imagine it was at the drive-in during 1968. It also showed me what zombie fiction was really about, the living. The whole movie is a boiler because the occupants of the house are flawed, sometimes destructive people and just because there’s a horde of zombies outside doesn’t mean the survivors are going to work together. Technically, it’s an amazing achievement of budget constraints and independent film making. While aspiring directors may look to Scorsese or Tarantino for inspiration, what Romero did is both attainable and impressive. It helps that Ben is one of the great movie heroes of all time and the shambling extras make for convincing zombies.
Dawn of the Dead is all of that but bigger. While not as focused as the laser-sighted storytelling in Night, the sequel is great and stands on it’s own. Less frightening, its an examination of consumer culture, as well as the struggle to survive in a world that will never get better. The opening raid in the rundown apartment complex is brutal, but so is watching the relationships break apart. I’ve watched both Night and Dawn multiple times and they both bring something new to table with each viewing.
It was by luck that I came upon Day of the Dead on TV. I was hooked by that creepy synth playing over the calls for any survivors during the opening credits. The story is maybe less focused and maybe the budget wasn’t up to the Romero’s vision. Taking place in an underground military base, the movie does have a sense of claustrophobia akin to Night. New to the table is the idea that zombies can be domesticated, maybe brought back from the brink. Of course, being the dark film this is, it doesn’t work out but the journey is still entertaining. The end is one of the best shock/relief moments of the series as well.
For my money, one of the most underrated movies is Land of the Dead. It made money at the time, riding the wave of growing zombie mania, and most critics liked it, but no one talks about it like the previous films. The focus on rich vs. poor in the undead landscape is just as depressing as the zombies themselves. And Dennis Hopper’s character, ruling over the high tower, might have been too ahead of it’s time. If this movie was released today, it would be considered a political attack on the current administration. Luckily, the themes are relatively timeless. And it has some of the most impressive zombie carnage the series has to offer.
Romero would go own to make more zombie movies, such as Diary of the Dead and Survival of the Dead and he has a whole career of non-zombie films that are worth checking out. But what I find so fascinating with the man is that he created a genre of film, of storytelling, and then used it to make the movies he wanted to create. Others might have decided to focus on the lore of these new worlds or made them into action films, like World War Z or the 2004 remake of Dawn of the Dead. But not Romero.
Romero wanted to tell stories about people, politics, race, consumerism and classism. So he told those stories, tricking viewers with zombie horror and gore. Creating a brand new genre wasn’t enough for him, he had to perfect it and show how many layers could be found within it. Heck, Night of the Living Dead could be done as a stage play and it wouldn’t lose anything in scale and would be just as compelling as Long Day’s Journey Into Night.
Because of that, Romero made movies that will outlive him and remain watchable and timely. Because, while zombies may someday fall out of fashion, the ideas that fill his films will always be relevant. They’ll continue to inspire hopeful directors, writers and viewers. And they’ll continue to scare those who think age has weakened their potency.
Who the heck is Ansel Elgort and why is he so entertaining? Because I don’t think I knew he existed until Baby Driver but that’s just one of many reason why I’m glad Baby Driver exists.
The movie is fast. It opens just as a bank robbery is starting and then immediately hits us in the face with the concept; crazy car chases set to an eclectic playlist of music. The first chase might be the best, but that’s not a knock against the the ones to come, just a comment on how the film starts at 90mph and doesn’t slow down.
It’s in this opening that Elgort’s starts with the charm as Baby, singing his favorite tune while waiting for the hired guns to do their work in the bank. It’s a wacky couple of minutes, with him throwing a personal dance party in the front seat of the car, but it’s delightful nonetheless.
From there, we meet the people that make up Baby’s world. The deadpan Kevin Spacey, Baby’s stepfather (grandfather? I don’t think I picked up on it), the adorable waitress Debora who finds Baby’s strangeness appealing, and a assortment of ne’er do wells who rob while Baby drives.
It’s a fun movie with a lot of heart. The action is violent and R-rated, sure, but Baby has a conscience and it’s getting to him. He’d rather just leave with Debora and never look back, but he’s the best driver Kevin Spacey’s Doc can find, so it’s not so easy to get out of the business. In the midst of all the action and car chases, Baby tries to keep the body count low, sometimes to his own detriment.
I don’t want to spoil too many of the twists, though their fairly basic. Plot-wise, Baby Driver doesn’t bring much new to the genre. And that’s because it’s all in the execution. The car chases are choreographed like dances and I was constantly amazed by how much of it felt too chaotic to have been planned.
And there’s a shootout or two that have the same style. That shouldn’t be surprising for anyone who’s watched Edgar Wright’s The World’s End or Scott Pilgrim vs. the World. Both had crazy fist fights that felt more like dances than anything else. And while Baby Driver scales back the absurdness, it doesn’t skimp on the fun.
Jon Hamm is good as a semi-father figure, semi-tragic crook but Jamie Foxx steals the spotlight whenever he’s on screen. He’s an intense figure and everyone else seems in danger by just being around him. There’s some scenery chewing, but Foxx uses it to great affect. You don’t trust his character, but you like him anyway. Spacey, on the other hand, uses his low-key, monotone take to steal small moments left and right. He has one of the best jokes in the film and it’s so quick you might not even realize how great it was.
So, to summarize and not break the spirit of Baby Driver by dragging on, the movie is great. It’s fast, fun and is reminiscent of the thrill that was Mad Max: Fury Road. I won’t be surprised when it’s on everyone’s Best of the Year lists come December. I also won’t be surprised when Edgar Wright’s next film is fantastic as well, since I can’t think of a bad movie he’s directed. So, go see the movie, tell your friends and lets keep this guy working.
What do we want with a Mummy movie? Do we want an action-adventure like 1999 Brendan Fraser movie? Do we want a horror film? Period piece or modern day? European, American or Egyptian location?
I ask these questions because I feel like The Mummy isn’t very itself. While the previous trilogy of films had a clear vision, that doesn’t mean it has to be the blueprint for a new movie. Unfortunately, this movie doesn’t seem to have a blueprint of it’s own.
The film starts off well, once it gets past the cold open with Russell Crowe. We have Tom Cruise in trouble, stuck in a lost cause of a shootout. He discovers a tomb, is joined by a boring blonde, they grab a mummy and then the mummy’s curse starts messing with people.
Breaking the film down in thirds, the first is by far the strongest. It seems to have a vision, a hectic pace with both action and horror and it’s here Tom Cruise seems to be the most game. My appreciation of Cruise as an actor has grown over the years, in going back to his earlier work and enjoying some of his new output. These days, it seems like the he and the audience have the most fun when he’s getting beat up. Whether he’s being thrown around, punched, dragged, stabbed or chased, Cruise has a way of making his pain amusing and thrilling at the same time. I can’t think of another actor who’s as fun to watch get knocked around.
There’s some genuine horror that’s stylish and small scale. Even though the plane scene has been shown nonstop in all the trailers, it’s still a cool sequence and it’s actually creepier in the film itself. Cruise’s interaction with the movie’s mummy, played by a fantastic Sofia Boutella, is fun and flirty. He’s definitely over his head with this monster. There’s some early scenes at a church and later in a forest that fit a smaller scale horror movie that has some action to keep the excitement going. Unfortunately, the movie is soon derailed by it’s second act.
I mentioned needing a blueprint earlier and the one this movie decided to borrow was Marvel’s. Except, when Marvel made Iron Man back in 2008, they made a movie first and world-built second. If you re-watch Iron Man now, after all the Marvel films that have come after, it’s surprising to see how standalone that film really is. If there was no Marvel Cinematic Universe, that movie would still be self-contained, even with S.H.I.E.L.D. showing up to help the plot move along.
The end credits scene in Iron Man, with Nick Fury mentioning the Avengers Initiative, worked because it was short and not part of the movie proper. We get the tease and then can only speculate what’s going to happen in the future. Now imagine if, in the middle of Iron Man Nick Fury showed up and spent a whole act explaining S.H.I.E.L.D. and super heroes and how the world worked and… well, I guess we’d have Iron Man 2.
The Mummy has that middle chapter as Russell Crowe spits out exposition while trying to chew as much scenery as possible. As Dr. Jekyll, he’s fine, I suppose. He’s not as compelling as he was when playing Jor-El, but he gets the job done. As Mr. Hyde? Yeesh. Supported by neither compelling effects or accent changes, he’s a dead stop and the movie never recovers. Prodigium, this universe’s S.H.I.E.L.D. is dull, ineffective and wastes the time given to it. I have to believe there was a better movie here at one point, one with a more suspenseful and exciting middle chapter, but it’s not the one we’re being shown.
Maybe a different color pallet would have helped liven things up. As it stands, the movie is gray. Every location, even those that take place in the desert, are filmed in a gray hue. And I don’t mean to hue-shame, if that’s what’s in the director’s heart. But. when most movies, even Captain America: Civil War, have that unoffensive, neutral color scheme of parking lots, a little bit of red and yellow stand out. The Mummy goes for gray in all things; sets, skies, even Sofia Boutella is made-up in gray costumes and makeup. It makes for a dull picture, to be sure.
The third act of the film tries to right the ship, but it’s already taken on too much water. If the movie had kept the tone set by the earlier reel, the smaller scale climax wouldn’t feel like such a letdown. After all that Prodigium exposition, we need more than the one-on-one conversation between hero and villain. There’s a brief moment when the movie seems like it’s going bigger, but it just equates to flying glass and a bus stunt (flying debris hasn’t been exciting since the car chase in Terminator 3: Rise of the Machines). If the movie had stayed the course, all of that would have been a cool raising of the stakes. And then, when it went back to the the more personal ending, it would have fit with what came before. Instead, we have a movie that crawls to the finish.
The Mummy is disappointing. Disappointing in terms of what the franchise has been before, in what it could have been and, since we already know Universal wants a spanning franchise of monster films, disappointing in what’s to come. I would love a bunch of new Universal monster movies but this does not leave me with hope. Maybe, if the next film downplays or completely ignores Prodigium, we can have a more standalone movie. Maybe Bride of Frankenstein will have it’s own tone and style. Maybe general audiences won’t connect this movie with The Creature of the Black Lagoon. Maybe Universal will change that stupid Dark Universe logo.
It’s insane to me that Warner Bros. and DC Comics took seventy-five years to make a Wonder Woman movie. In that time, they’ve made movies for Steel, Jonah Hex, Catwoman, Supergirl, Constantine, the Suicide Squad and yes, I chose the bad ones to point out. I mean, they had a Lobo film in the works before they had a final script for their premier heroine.
But, the movie is here, so we can (but probably not for long) move on from that fact. Let’s focus on the film instead.
I had hesitancy about the movie leading up to seeing it. After all, Man of Steel made me rage until I had destroyed all the love in my life. (old blog, please come back to this one). Batman V. Superman was so dumb I just felt bad for it. And though Wonder Woman was a highlight in that movie, anything remotely NOT dumb would have been a relief during that two and a half hours.
But I was pleasantly surprised. For first two thirds of the movie, Wonder Woman is the film I wanted for years. The first third, which takes place in Themyscira, is great and the island itself feels exactly right. The Amazons have a Spartan vibe, without the machismo, and feel like a real society, even if our time with them isn’t that long. The action scenes that take place there have a 300 vibe, but those scenes are done with confidence and not in way that wears our patience.
Steve Trevor, as played by Chris Pine, is likable and charming, but he’s got an edge to him and also comes across as more progressive than his World War I society. The chemistry between him and Gal Gadot is on point and there’s some great interplay between the two early on.
The action is great. I think, like Captain America, we sometimes forget how strong Wonder Woman really is. But, unlike the First Avenger, Wonder Woman’s powers are big league. She can topple buildings, toss trucks and wreck through soldiers as she goes for jog. When her full powers are on display, such as the terrific charge through the front lines that ends the first half of the movie, she really is a full blown super hero.
But Wonder Woman is more than just a set of powers and lassos and bracelets. Gal Gadot is, and I don’t want to understate this, fantastic. For years, I thought Wonder Woman would be one of the hardest characters to cast, but I can’t imagine anyone doing the job better than her. There are times when I could of sworn the character walked right out the comics. She’s inspiring, she’s dangerous, she’s funny, smart, naive, she’s stubborn but for the right reasons. When she speaks, you believe her. When she charges into battle, you want to follow her. Gadot embodies the character in such a defining way that it feels iconic before the movie is even over.
And now, with all that praise, here comes my critique and my struggle to not spoil anything. And that’s hard, because my problem with the film, is in the third act and might qualify as a twist. For a long time, the movie seems like it’s going one way and it works. Characters are learning lessons, humanity is getting called out for being the worst species to ever walk the earth and it feels right. But, they need a big action scene to end with and after we’ve seen what a tank Wonder Woman is, the stakes have to be raised. The final confrontation is so fantastical and out there, it almost feels like it’s betraying the rest of the excellent movie that came before it. Actually, the excellent animated movie with Keri Russel might have hurt the live action’s take on the confrontation. It’s not a deal breaker, it doesn’t make the movie a bad film, but I feel like a stronger third act could have put this movie up there with Spider-Man 2, X2: X-Men United and Batman Begins.
But, please, don’t take my issues with the finale to indicate I don’t like the movie. It was great, should be seen and I look forward to watching it again. To meet expectations seventy-five years in the making is a daunting task, but Patty Jenkins was up to the challenge and delivered. This was the first live action DC movie I loved since the Dark Knight way back in 2008.
I’ve talked a lot about the X-Men and their movies on this blog that, even though I’m behind, I’d be remiss not to talk about Logan. And since it’s now out in stores, everyone can watch the movie. Including me. Forever.
Logan broke me. I’ve seen movies that made me sad, that got me emotional but few have hit me so hard that I had to bring it up in therapy. Yes, Logan is an action movie, full of blood and violence and adamantium claws doing what adamantium claws do. But, it’s also a powerful piece of legacy, aging, family and your place in the world, no matter how bloody.
And all of that is well done and can effect you alone. Normally, it would get me to that emotional level as well. But the reason Logan got me was something I’m not sure the movie should be blamed for. The end of Hugh Jackman as Wolverine and the ultimate fate of the character in the movie felt like a long, heavy book closing on my life and I was not prepared to deal with those emotions.
The first X-Men movie came out in 2000 and I was 14 at the time. It changed my life in pop culture related ways, getting me into comics and making me a fan of the characters and the Marvel universe. But, as a weird, unpopular and messed up teenager, the X-Men gave me a place that I wanted to go and live, gave me characters that I wouldn’t to be friends with and take me in like a family. Not since Animorphs had I found a world and characters that felt so real that I could almost see the door.
And Hugh Jackman was there from the start and he’s stayed for seventeen years. As my life has gone on and changed, as I’ve dropped out of school and graduated college and got married and traveled around and said goodbye to friends and family, this has been a constant. Hugh Jackman as Wolverine has been one thing, one of the very few things, that hasn’t changed, that I could expect on a regular basis. And while he’s always teased retiring from the role, it always seemed like something vague, something I wouldn’t really see.
And I didn’t think watching his last performance would be as emotional for me. I mean, it’s just a character. I can read Wolverine adventures in the comics, rewatch the movies, there’s plenty out there. But it dawned on me while watching Logan that the character, as played by Jackman, is one of the most consistent father figures I’ve ever had. The character has been something I could trust was going to be there. And yes, it’s also because I love the character and Jackman’s portrayal of him and I don’t want it to end.
But like Logan in the film, I had to face how much older I am than when this all started. I had to except that I may someday die very far from home, that the world won’t be the same as when I was younger. That family and loved ones leave. There was a lot I wasn’t expecting to come to the surface.
I’m not 14 anymore, free from the oppressive figures that had been in my life. I’m not the 17 I was when the second movie came out and I was a dropout with no direction. Nor am I the 21 that I was when the third movie came out and I was about to start college. It goes on and I’m not that age anymore.
I’m still not sure I’m explaining this well enough. I don’t want the character to end? Is that what I’m trying to say? This run is over and it’s been so integral in my life there’s an empty space now. It’s its bigger than I thought it would be. I know how this sounds, but it’s like I lost a friend, or family. Because Logan wasn’t just an end for Hugh Jackman’s role, but it has a sense of finality for the X-Men series as well.
And I wasn’t ready.
2016 is going to have seven super hero movies! There was a time when four was a lot, but 2003 is far in our past now. So, now it’s time to look ahead at these movies and see what I’m excited for and what I’m less than thrilled about.
Deadpool ( February 12)
Now, I’ve already seen this, as have most people who wanted to, so I’ll be short. I was hesitant about this film. I went back and forth about whether I wanted to see it, if I should just wait for the DVD, ect. I wasn’t convinced that this movie had to be R-rated and crude. Having grown up reading the Joe Kelly run of the character, plus the rest that followed in his original series, I had a set idea of what Deadpool was like.
And to be honest, those reservations are still there. The movie was funny, it had it’s moments of genuine comic book glee, but something still felt off for me. Hearing Deadpool drop the F-bomb was hard to get around, because I’m used to it all being bleeped out or struck through with a black bar in the comics. I don’t see the precedence for the character being such a hard R, but Fox is rolling in cash now, so what do I know? Again, I liked the movie just fine, but it wasn’t really my cup of tea. I’ll watch the sequel(s?) but I want be waiting with baited breathe for them.
Excitement Level = Hesitant
Batman V. Superman: Dawn of Justice (March 25)
I won’t talk anymore about Man of Steel, at least not now. But it can’t be denied that this film is battling the bad taste that movie left in my mouth. I’ve slightly mellowed to that first film, as long as I tune in after all the Pa Kent stuff. The trailers and interviews for and about this new movie have not left me hopeful for Superman. I just don’t think anybody involved really understands what makes Superman different. It’s too bad.
So I’m split in two over BvS. One part of me is very scared for Superman and how this movie will further hurt the character. The other part of me, however, is excited for Batman. If Zack Snyder was just making a Batman solo film that looked like this, I’d be thrilled. Give us something like Hush, Under the Red Hood or just a straight up adaptation of the Dark Knight Returns and I think Snyder could knock it out of the park. It’s just too bad he’s been given the keys to Superman and the rest of the Justice League.
Excitement Level = Nervous
Captain America: Civil War (May 6)
I didn’t need that second trailer to get excited but it helps. I think this movie shows a key difference between Marvel and DC. With BvS, I doubt a lot of the general audience is going to be rooting for Superman. We don’t know anything about him, his solo film didn’t really endear us to him and he’s going up against Batman. Batman has had more movies, more video games, more cartoons, the guy is beloved.
Meanwhile, you watch a trailer for Civil War and it’s stressful for just those two minutes. Captain America vs. Iron Man is not easy to take sides with. Everyone loves Captain America after right now. Also, everyone loves Iron Man right now. These characters have had multiple movies to grow and enter our lives and now we’re watching them fight. True, the characters themselves have never been super close in the movies (unlike the comics), but they have a certain respect for each other. This movie is going to be like watching Mom and Dad fight and Uncle Spider-Man is just making things complicated.
Excitement Level = Highly Stressful
X-Men: Apocalypse (May 27)
This one is weird for me. I’m usually through the roof excited for a new X-Men movie, watching the trailers over and over again. Not so much right now, even with Apocalypse, a villain I always wanted but never thought we’d get to see. We’ve got a sweet line-up of Horsemen, Nightcrawler and Psylocke and Michael Fassbender’s Magneto!
I think I’m just getting a little tired of Brian Singer’s choices with this franchise. I’ve loved this series forever, but I’m also ready for some color in the costumes, characters who have the same powers they have in the comics, characters who act like they do in the comics, characters who are the same age they are in the comic. I don’t know what I’m trying to say but it has something to do with comics.
Again, I’m plenty excited for this movie and I’m sure it will be great, but the franchise might need another kick like X-Men: First Class to make it fun again. But then, this movie is apparently closing out all six of the main X-films, so I better be careful what I wish for before this series is taken over by Deadpool.
Excitement Level = Controlled
Teenage Mutant Ninja Turtles: Out of the Shadows (June 3)
Man, everyone hated the first movie! Except me! I thought it fun, action-packed and not serious enough to have be bothered by it’s problems. But not everything has to be Civil Wars or Apocalypses, you know? Sometimes it can just be easy popcorn fun.
And this second movie looks like everything is being dialed to eleven. Bebop and Rocksteady, Shredder, Baxter Stockman, Casey Jones, Krang in a giant suit and the technodrome? This looks nuts. It looks like the 80s cartoon threw up. I know everyone loves the original movies and the first is great and will likely always be the best, but geez, relax and have a good time that isn’t set between 1982-1991.
Excitement Level = Extreme
Suicide Squad (August 5)
What is it with DC? I want to be excited for this movie, I really do. I love the Suicide Squad and a lot of the characters they’ve chosen to be part of the team, but something is off. Well, it’s really two people.And, surprisingly, it’s not the Joker that’s bothering me!
Harley Quinn and Deadshot bother me. Sure, I’m just going off the trailer so I’m sure I’ll be surprised by how much better they are in the full film, but what I’ve seen is getting to me. I like Deadshot in the comics because the dude is apathetic to his core. He doesn’t care if he lives or dies, doesn’t care who he kills, he just doesn’t care. Again, no idea if what I’ve seen in the trailer is the full story, but it looks like Deadshot has a bit more… care about him. And Harley Quinn? Well, maybe the character is like Deadpool and moved past me. Neither seem to need me anymore, losing some of the appeal that I fell in love with at the beginning. It’s a brave world out there and I’m outdated!
What was the point again? Oh, right. Suicide Squad. Outside of those concerns, I’m pretty excited to see how they pull this off!
Excitement Level = Medium-Well
Doctor Strange (November 4)
I like Doctor Strange. I think he’s cool. I like his mini-series by Brian K. Vaughan. I like when he turns up in Spider-Man stories. I like when people ask, “What sort of doctor are you?” and he answers, “The strange kind”. Classic stuff there.
But I’m excited to see some magic in the Marvel movies. Sure, it’s probably pseudo-science magic, like quantum physics or something, but that will work. Benedict Cumberbatch is looking pretty great in costume and everything I read about this movie makes it seem weird and different from all the weird, different stuff Marvel has done before.
Excitement Level = Spellbound
And that’s it for the year! We’ll see which films meet or exceed expectations and which fall flat. I think each of these films will be interesting and good in their own ways. None of them seem bad or fatally troubled. It helps that, outside of the Bat/Supes/Cap/Stark fighting, all of these movies seem pretty different from each other. I’m on board.