Us Review

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Jordan Peele’s directorial debut, Get Out, took the world by storm. It was lauded by audiences and critics alike for its social relevance, unique ideas, and thrilling twists. It even garnered Peele a Best Director nomination and Best Original Screenplay win at the Academy Awards. Naturally, his sophomore effort has caused collective anticipation from enthusiastic audiences. Us focuses on a family that is attacked by seemingly alternate malevolent versions of themselves. Lupita Nyong’o plays the lead role of Adelaide Wilson, a mother of two children, who is disturbed by the return of the doppelgangers since she once encountered her evil counterpart as a young girl. As the fight for survival between the original family and the counterparts continues, Adelaide must face the dark secrets of her past and uncover the truth behind why the doppelgangers are attacking.

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Lupita Nyong’o steals the show as Adelaide Wilson 

Us is an extremely well-directed, exciting, and suspenseful film that unfortunately has a confusing resolution that doesn’t give the satisfying final “oomph” moment that the rest of the film was building up to. I won’t be going into spoilers in this review until the very end. First, the good things in the movie start with the absolutely breathtaking performance of Lupita Nyong’o. She conveys vulnerability and then strength as Adelaide Wilson, and manages to elicit a steady dose of fear as her malicious doppelganger. There is already early Oscar buzz for her, and after seeing her incredibly compelling performance I am not one to argue. Winston Duke plays the part of the comical and blundering father of the family, with Shahadi Wright Joseph and Evan Alex as the two children. The interplay between the family, especially thanks to Winston Duke’s comedy, helps to build empathy for them and allows us to root for them when things go sideways. After an initial slow build that creates intrigue, the second act of the film is easily its best, as the family is confronted by their doppelgangers and have to frantically grapple with their counterparts. This is where the scares and horror stylings are their best. Peele litters this film with references to Jaws, A Nightmare on Elm Street, and The Shining. The directing is expertly executed, as Peele can go from expansive shots of devastation to small and claustrophobic moments dripping with suspense. There is a particularly important reason for cutaways in the film that leads up to the big revelation at the end. The music is also well done, with the sharp staccato notes of the violin as the film’s main theme creating terror with its shrill sound. There are quite a few twists and turns that are sure to surprise audiences. Some of them are welcome, however as I said, some of the twists at the end are a little head scratching. Specifically, the reason behind how the doppelgangers came to be and are doing what they are doing is disappointing and unfulfilled. It seems there was a lot more that could have been filled in and the end product creates a major suspension of disbelief that hampers the quality of the film slightly.Image result for Us jordan peele family

The build-up to the end is incredible, everything from the comedy to the drama, suspense, and horror, however, considering that the film is predicated upon the fact that the secrets of these doppelgangers would be a groundbreaking revelation that puts the story into perspective, there just isn’t enough to leave the kind of impact that I expected. The ending of the film isn’t bad or terrible per se, but the meaning of the narrative could have certainly felt much more powerful had the end not been so filled with needless exposition and inconsistencies that were created despite all of the exposition. For example, there is a scene between Lupita Nyong’o’s character and her doppelganger where the doppelganger is explaining certain things that she shouldn’t have been able to explain given the fact that she was a doppelganger. It seems that in order to sell the twist in the film, certain glaring inconsistencies were left open, especially when exposition is being given by characters that can’t be giving that exposition since they were never in the position that they are describing, as confusing as that all sounds. In the end, I enjoyed the film, but Peele is asking me to ignore too many inconstancies and plot points that don’t make sense in order to feel the weight of the narrative. Us delivers a powerful message that is unfortunately kept short of tying up a brilliant first two acts due to several irregularities with the film’s final act. It ends up being too contrived and focused on selling a big twist rather than finding a natural resolution to such an interesting premise.

Warning: The rest of this review contains spoilers so read no further unless you’ve already seen the movie or just don’t care.

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So, going into spoilers, it’s revealed in the end that Adelaide’s encounter with her doppelganger back when she was a child turned out quite differently than we were led to believe. It turns out that on that night, the doppelganger attacked her original, crushing her throat and dragging her back to the underground facility where the doppelganger trapped the original. Thus, the doppelganger Adelaide, known as Red, actually switched lives with Adelaide and lived her life on the surface world while the real original Adelaide was forced to live her entire life underground with the rest of the Tethered. This suggests that nurture reigns over nature, as with enough connection to society and family, the Tethered Red was able to develop into a fully functioning person with a family whereas the imprisoned Adelaide became a menacing psychopath. While this is certainly a good reveal, it doesn’t make sense why the real Adelaide who we thought was the doppelganger the whole time should be explaining what the Tethered are to Red, since Red already knew what was down there as she had grown up in it until she switched lives with the real Adelaide. It seems that the closer someone is to their tethered counterpart, the more likely they are of encountering each other, or at least that’s the case with Adelaide. So why didn’t any of the other Tethered wander up to the surface? How was Red able to go up there in the first place? And if Red was able to go up and escape, then why wasn’t Adelaide also able to go up the escalator and find the surface. Another confusing element is how the Tethered seem to mirror the movements of their surface world counterparts, so how come Red wasn’t controlled by Adelaide’s movements. The implication perhaps is that when Red went to the surface world the power struggle shifted in her favor, but that still doesn’t explain how Adelaide was able to just escape after all that time. Once the switch is revealed, it strengthens the beginning of the film since it makes sense that Red would be scared of going back to the place where she left Adelaide, but then why would she go at all and risk the chance of her counterpart resurfacing for revenge? There is also no explanation for how Adelaide was able to organize and communicate with millions of grunting vapid Tethered and convince them to organize the “Hands Across America” movement. The facility seemed to be one of many, so how was she able to get across to the millions of Tethered how to escape their facilities and link up? It’s also not explained why the Tethered exist in the first place. It’s simply stated that “The government started cloning people to try and control us but couldn’t replicate the spirit so they just let millions of zombies wander underneath the surface of America”. What exactly were they trying to control in people? Why couldn’t they replicate the spirit through education and nurture? There are so many leaps in logic and suspensions of disbelief that it is simply too much, in my opinion, to truly drive the film home. The answer to all of these questions seems to be, unfortunately, “because, it just works so that we can have a movie”, which doesn’t quite cut it for me. What I believe Peele is trying to do is force us to reflect on the nature of our situation, and the status and comforts that we have as a result of other people suffering and doing the difficult work that keeps our luxuries belonging to us. The Tethered making a statement is reminiscent of protests from unions and blue-collar workers. The underground facilities and scissors are potential mirroring’s to sweatshop labor and the mistreatment of sweatshop workers, especially children. It reminds the viewer that the clothes on their backs and the ground that they walk on have been shaped by people, some of whom do not have the prosperous lives that we have. Unfortunately, in regards to the film, there is too much left in the air, and too little explained for the dramatic effect of the ending to be truly resonant

Solo: A Star Wars Story Review

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So, if you’ve read one of my earlier blogs on Star Wars, you’ll know how I feel about the new Star Wars movies. I haven’t experienced what I would call a real Star Wars movie since Star Wars Episode III: Revenge of the Sith. I mean, obviously the prequels were terrible for the most part. Revenge of the Sith had its fair share of awful moments too, but it made it up for it with some awesome moments (Anakin vs. Obi-Wan). However, I would still prefer some creativity and new direction rather than the corporatization of the new movies including the carbon copy of A New Hope that is Star Wars Episode VII: The Force Awakens, and the blandness that was Rogue One: A Star Wars Story. I didn’t have very high expectations going into Solo: A Star Wars Story, especially when I heard about all of the behind-the-scenes mess that was going on. Directors Phil Lord and Christopher Miller, who previously worked on films like 21 Jump Street and The Lego Movie, were both fired and replaced with veteran director Ron Howard. Both Lord and Miller, were great directors in my opinion, whereas I have not been a big fan of Ron Howard. I loved one of his films called Rush, but his other projects including Angels and Demons, The Da Vinci Code, Inferno, and Cowboys and Aliens were all atrocious and even worse…boring. To me, Ron Howard is a director with a lot more stinkers than good films, and most of his films are very, very (I’ll say it again) boring, I’m talking full on snooze fest (I’ve tried to watch The Da Vinci Code 3 times and fell asleep each time). Boring, is unfortunately what I got with Solo: A Star Wars Story. As I said, I wasn’t very excited for this film, and wasn’t impressed by any of the trailers. In fact, no one wanted to see this movie. I remember that when it was announced, the internet was full of discussions on how unnecessary a film this was. The early buzz around the film’s reception also wasn’t too good, so I really didn’t expect much going in, but, it is a Star Wars movie. Though I was skeptical about Rogue One after The Force Awakens (Episode VII), I entertained the possibility that it would be good, that it would be the film that would do something different. Unfortunately, I was let down, and I went into The Last Jedi the same way, not excited by the trailers but hopeful that it would bring about the change in Star Wars that I wanted to see. Right before the opening of Solo, I still kept a lingering notion that this would be the one that I would truly enjoy, that wouldn’t feel contrived or like a forced Star Wars nostalgia-fest. But alas, I was wrong again.

Solo: A Star Wars Story is a film that explores the story of legendary Star Wars character Han Solo. To the film’s credit, it starts off well enough. We are introduced to Han in a great action scene, and the opening moments begin to establish some dramatic conflict and stakes within the story. The first third of the movie shows promise, with a handful of neat action set pieces and some new insights into the Star Wars world that hadn’t been seen before on film. However, once all of the pieces are on the board, the film doesn’t know where to go. Yes, it is a smaller story and so there doesn’t have to be a larger overarching epic storyline with a compelling villain, but even smaller scale stories have to be told the right way and have to be paced correctly. The pacing in this movie is off-putting, since there is a considerable amount of time dedicated to one particular event in the second act, and that’s where the film’s dullness begins to show through. Though the actors are charismatic enough, the writing and interactions don’t give them the proper development to shine. Alden Ehrenreich actually does a good job as Han Solo, and the film’s inadequacies don’t in any way fall on his shoulders. Woody Harrelson is Woody Harrelson, Donald Glover as Lando Calrissian is charming as expected, and Emilia Clarke is acceptable. No particular cast member steals the show, aside from Paul Bettany who displays a real tenacity for playing a more villainous role in the few scenes that he is in. The droid L3 is initially shown to be fierce and fiery, but most of, if not nearly all of her lines were pushing a “free the droids” agenda which was unnecessary and felt very forced. It’s definitely an area that Star Wars could explore, but it would need a much heavier spotlight instead of being used for a couple jokes and then getting tossed aside. Furthermore, since L3’s dialogue primarily consisted of these lines, her character essentially became a conduit for the agenda, leading many viewers to call her the “SJW bot”. There is certainly nothing wrong with identifying agendas in film, because what is art if not agenda-setting, but the way it was done was actually insulting since the character of L3 was less of a character and more of a talking punchline for an agenda, effectively displaying tokenism. Only Woody Harrelson and Alden Ehrenreich had truly memorable chemistry. Han and Chewbacca’s interactions were fine, but they could have been a lot better. In fact, the buddy comedy movie that was pitched by Lord and Miller seems like it could have been a better prospect in terms of creativity and interaction between Han and Chewbacca. Alden and Emilia also had acceptable chemistry but there wasn’t any really great connection between the cast members. The film’s few attempts at humor severely miss the mark. I laughed maybe once the entire movie, and the theatre audience I was with was silent throughout the movie. Again, I keep thinking what the proven comedic geniuses of Lord and Miller would have done with the movie (then again it may not have worked either but you never know, I think they at least would have done something bold). The cinematography was another disappointing aspect of the film. There were a lot of muted colors and dull backgrounds. The beginning of the movie has a few scenes that are filmed through a blue filter, and the result is a very hazy quality to many of the shots. The music is completely unmemorable aside from the nods to John William’s original score. The third act may seem like it has good twists, but really the twists are redundant and can be summed up as “this person double-crossed this person and this person double-crossed this person and this person double-crossed this person”. The film just kind of ends without any true character growth for Han. The Han Solo we see in A New Hope is narcissistic, distrusting, snarky, and has shades of a very negative attitude. The Han Solo in this movie is consistently a little too happy-go-lucky and it doesn’t seem like he learned too much or developed his personality to align with the Han we see in the original trilogy. All of these lackluster elements point to what the film really is, painfully generic. The character interactions are generic, the plot is generic, the dialogue is generic and downright terrible at times. It’s a safe, marketable film that is hollow. There are so many elements of fan service that I’m almost convinced that fanservice is all the movie has to truly offer. There are constant in-your-face references to older movies that come off as “See! Look at this! This was in the original movies!”. It seems that Disney opted to tell a story that nobody asked for because they thought the same nostalgia goggled fans would keep coming back to said same story and characters every time. Part of this falls upon members of the Star Wars community that continuously demanded something like this. Members of fan bases like Star Wars and Call of Duty are divided to where half the fans want to see something new, and the other fans are completely averse to change and just want the same thing over and over again to keep their nostalgia hunger fulfilled. These change-resistant fans make a massive fuss over any innovations made by studios to the point where these studios are afraid to alter anything that fans would deem sacred. The onus nevertheless falls upon Disney and LucasFilm for ignoring the warning signs and pushing forward with unoriginal and uninspired content.

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Alden Ehrenreich as Han Solo
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Donald Glover as Lando Calrissian

To sum up, I honestly must ask was this necessary? Solo: A Star Wars Story doesn’t even depict a young Han Solo, but rather a Han Solo as he is set to appear in A New Hope. It features the same Imperial environment that we have seen for the past 40 years in Star Wars, and provides a subpar story and direction that will numb the senses. It’s all downhill from the first act, and it didn’t seem like the studio knew where they wanted to take this story. It’s also a sign of franchise fatigue for me, since it is incontestably clear at this point that these movies are not going in any new and creative directions, and are instead opting for the same tired, corporatized, rinse and repeat, cost-effective, risk-averse methods that have become the model for so many franchises. I’d say that this is more of a video game problem with companies like Activision and EA, but it seems that the LucasFilm under Disney is falling prey to the same issues. When I first heard they were making Star Wars spinoff movies, I was excited at the prospect for new stories that we’ve never seen before, but this is all the same. We’ve seen Han Solo and Chewbacca before; we’ve seen the Millennium Falcon far too many times in the new movies to the point where it might be called the flagship for nostalgia. I keep thinking about all the amazing things in the Star Wars universe that aren’t being told. Instead of pursuing stories that many fans want, like Mandalorians, The Old Republic, Obi-Wan Kenobi (Yes we’ve seen it before but Ewan McGregor deserves a second shot at playing the character without the weight of the prequels), Disney is confining itself to the nostalgia prison of the Empire saga. Look, I do love Star Wars, and I did see flashes of what I loved from the franchise, but it cannot go on like this. I think that Star Wars needs to go back to the pre-Empire era. That includes the new trilogy, which I think needs to DIE. The new trilogy in my opinion has been nothing but an unoriginal massive cash grab by Disney to tell the same stories disguised as different ones. It’s all the same, the First Order is the same as the Empire, etc. The episodic trilogy should finish up and end, but the Star Wars stories movies can be good if done right. The early results are already coming in that Solo will not do as well as expected at the box office. If Star Wars doesn’t innovate and do something truly groundbreaking next, it will grow stale with everyone. I know a Boba Fett film has already been greenlit, which I think will be more of the same, and there has been little more than rumors of anything else. I know this may be contentious, but Star Wars needs to explore more of the world introduced in the prequels. The only successful moment of fan service in this film, the only moment that had the rather unreactive audience collectively gasp in my theatre, was a nod to the prequels. I myself, got chills hearing the Duel of Fates music slowly stir in the background. I’ll finish this off by saying Solo was an exercise in corporate blandness, and I could not be less excited for a Star Wars movie then I was for this, but I may prove myself wrong when Episode 9 arrives. Please skip this and contribute to the box office of the excellent and hilarious Deadpool 2.

 

2.5/5 Stars

Deadpool 2 Review

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When the first Deadpool came out in February of 2016, it came out of nowhere and took the world by storm. Boasting a $132 million opening weekend, Deadpool officially became the highest grossing R-rated film globally of all time. It was also a massive hit with the critics and fans, with heaps of praise piled upon Ryan Reynold’s portrayal of the titular character, and the scripts boldness in pushing the envelope with its humor and content. I had been a fan of Deadpool long before news of his feature debut. I loved his meta humor and morbid yet funny defilements in the comics, and I, like many others, was extremely disappointed in how Deadpool was depicted in X-Men Origins: Wolverine. By 2014, I had long given up on the idea of a Deadpool movie, and I didn’t even think it would be possible to replicate such a character on the silver screen. Luckily, after some leaked test footage, Deadpool was greenlit and the best marketing campaign of any film in history convinced me that it would be awesome, and it was. The original Deadpool is one of my favorite comic book movies of all time, so naturally, I’ve been anticipating the sequel along with the rest of the millions of people that saw and loved the first movie.

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I can say without a doubt that Deadpool 2 is the most entertaining film that I have seen in theaters all year. This movie had me hooked from beginning to end with its lightning fast jokes, dizzying action, and surprisingly dark and emotional moments. While the first Deadpool did feature lots of violence and humor inappropriate for many, it was a surprisingly light-hearted film. The sequel has some heavier themes, dealing with abuse, death, and family. In every way, it feels much bigger in scale than the first, with a plethora of new characters and additions to the Deadpool universe. Ryan Reynolds once again steals the show, effectively cementing himself as an actor that will have a hard time being separated from the character he plays. Alongside Deadpool are some fan favorite returning characters including Colossus, Dopindar, and Blind Al. Even T.J Miller, who despite having faced some recent controversy, was funny (he did have most of the same jokes as he did in the first movie, but just like Drax doing the same thing over again in Infinity War, it was still funny to me somehow). Some notable new additions include Domino, played by Zazie Beats, and Cable, played by Josh Brolin. There was a lot of anticipation for Cable since he and Deadpool had a very established relationship in the comics. Unfortunately, the relationship between Cable and Deadpool isn’t explored as much in this movie, and Cable isn’t in the movie enough to make a massive Thanos-level impact or to stand out particularly amongst the other side characters. The point is, this is still entirely Deadpool and Ryan Reynold’s show. To that end, the movie is filled with more pop culture references, meta humor, and celebrity cameos than ever before. Everything feels consistent with Deadpool’s character, he feels more alive and relevant than ever before. As I said, Director David Leitch, who was one half of the directing pair responsible for John Wick, did a fantastic job with the action scenes in the movie. The action is bigger and better than the original. This combination of humor and thrills creates a complete package of an excellent action comedy that deserves to be seen.

Though not without some weird moments and the occasionally overdone joke, I couldn’t find much wrong with Deadpool 2. It was exactly the movie that I was hoping for, and I left with a smile on my face. This film is even more unafraid to take the humor and violence of the Deadpool character to greater lengths. Though I would say the story is slightly convoluted compared to the simplistic and easily understood love story/revenge plot of the first film, the charisma of the characters and the combination of humor and action will most definitely keep viewers engaged throughout. Along with one of the best end credit scenes in any movie, Deadpool 2 is a major success. It’s a dark and twisted, yet hilarious and thrilling romp that continues the tradition of an unkillable anti-hero in a red suit continuously satirizing the comic book and comic book movie genres as well as society in general. Whereas the Deadpool of the comics pokes fun mostly at the Marvel comic book universe, this version of Deadpool is able to draw upon and target the collection of comic book movies and the cinematic universes of DC and Marvel that have amassed over the past 10 years or so.

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So getting into spoiler territory, the first big surprise of the film comes before the opening credits with the death of Vanessa, Deadpool’s wife/girlfriend/it’s never revealed or not if they married. The opening credits capitalize on the moment with title cards like “Did They Really Just Kill Her?”, “Presented by What the Fuck?”, and “In Association With I Don’t Understand?”. The opening credits are all set to an original song by Céline Dion just for this movie called “Ashes” and all done in a James Bond style of opening sequence. Regardless, this opening surprise death forces Deadpool into a depressed state of longing for his own death. It’s surprisingly fatalistic coming from such a boisterous character, and the emotional tones conveyed during the dream sequences with Deadpool seeing visions of Vanessa are surprisingly heartfelt and bereft of jokes that would undercut said emotional tones. The changes that they made to Cable’s backstory were also appropriate for the film, as his motivation for going back in time and killing the mutant that would kill Cable’s family gives him a solid motivation. The mutant kid, Russel AKA Firefist, played by Julian Dennison, is a serviceable character, though I didn’t think there was anything extraordinary involved in either his portrayal or his character arc. Julian Dennison does give a good performance, and there was always the possibility of the movie going down the common path of the child actor/character being annoying. Luckily this wasn’t the case, although Firefist as a character could have been more compelling. The surprise villain of Juggernaut was a fun reveal also, and the moment he rips Deadpool in half is one that can’t be missed, however, he was primarily used for a third act CGI fight with Colossus. There wasn’t really a single villain to follow, which wasn’t as effective as the first film in terms of antagonistic quality. I for one was a big fan of Ed Skrien as Ajax in the first movie.

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The other big twist is that the X-Force team that was teased in the trailers was just a big lead up to a joke where all of them except Domino end up dead. For fans looking forward to seeing characters like Terry Cruises’ Bedlam or Bill Skarsgard’s Zeitgeist, it may be disappointing since Bedlam is hit by a bus and Zeitgeist lands into a wood chipper when the H.A.L.O jump sends the team all over the place due to high winds. Even Rob Delaney’s Peter, who was hilariously advertised in the trailers as an average joe looking to excite his life, gets dissolved by acid vomit. Though I was looking forward to seeing members of this team, I was pleasantly surprised and just as thrilled to see the end result of the team being the spontaneous deaths of each member.

There are several fourth-wall breaking moments that stand out, like the movie opening with a wind-up doll of a dead Wolverine from the events of the movie Logan. There is the scene where Deadpool autographs a Wolverine cereal box with Ryan Reynold’s signature. Some external non-comic book references that had me laughing were “Jared Kushner” and “Mission accomplished? Well, in a George W. kind of way”. The end credit scene is particularly funny, as Deadpool borrows Cable’s time traveling device to kill the Deadpool from X-Men Origins: Wolverine and to kill Ryan Reynolds as he is reading the script for the 2011 Green Lantern.

Avengers: Infinity War Spoiler Discussion

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I’m going to break this discussion down by moving chronologically through the events of the film and addressing each noteworthy moment when I get to it.

I’d like to first point out that the film really is from Thanos’s perspective. He has the most development, depth, and screen time. The film begins immediately after the Thor: Ragnorak end credits scene, where a mysterious ship has assailed the Asgardian refugee vessel. By the way, if you haven’t seen any of the previous Marvel movies, odds are you’ll be pretty lost in Infinity War since it builds heavily off of the previous films. It depends on the audience knowing who these characters are since they don’t really get any introductions here. As I said, the film is Thanos’s story, so all of the other Avengers characters are really just supporting cast that are the instruments upon which our protagonist (Thanos in this case) must act upon. The first shot of the film is the wreckage of the assailed ship. The first character we see is actually Ebony Maw, one of Thanos’s servants. We first hear his voice, then watch as the camera pans up from his feet and to his full grotesque features. We then see the rest of Thanos’s Black Order. They serve as “hype-men” as they introduce the audience to Thanos who is finally revealed to us in a full body shot. Thanos’s first words aren’t, in fact, evil villain clichés, but rather statements of empathy and inevitably. He states that he understands “what it’s like to lose”. He talks about desperation, failure, the inability to escape from destiny. What’s effective here is that when Thanos compares himself to destiny, it establishes his viewpoint. He is not doing this out of a quest for power and dominance over the universe (so he thinks at this moment). He sees himself as an agent of the universe, sent to balance the scales and do the necessary evil that only he can do (or so he thinks). It’s a great way to introduce a powerful, unflinchingly rational villain with shades of empathy (or so we think…never mind).

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The battle in New York is pretty neat. We get reintroduced to Dr. Strange, Spider-Man, Iron-Man, etc. The banter between some of the characters that have never met, like Strange and Tony Stark is pretty good. Dr. Strange and Tony have a somewhat antagonistic relationship and its funny to see the verbal jousts of two characters that are so similar (both were arrogant rich guys who after a traumatic incident became superheroes with new perspectives and new priorities of protecting something). The opening action scenes are pretty entertaining. The Black Order, led by Ebony Maw confront our characters and try to take the Time Stone. The Black Order, though not developed in any way (though they don’t need to), serve their purpose as intimidating henchmen of Thanos. They look great and match their comic book counterparts especially well. Ebony Maw is a formidable second-in-command. His Lovecraftian features, slender frame, upright posture, and telekinetic powers conducted by the wave of his bony fingers all create a unique sense of might and terror that poses a serious threat to the superheroes. The New York set piece ends with Dr. Strange captured and Spider-Man and Iron Man stowing away on the Black Order ship to save Strange.

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We’re then reacquainted with the Guardians of the Galaxy as they run into a space-stranded Thor. The good thing about so many characters being integrated from so many different films is that the aesthetics of these films are somewhat translated here, as I’ve said in my spoiler-free review. Anyway, since the Guardians are characters played with more comedy within their respective films, this is where the comedy really starts to amp up. Some of the humor hits, like Drax calling Thor a “handsome, muscular man”, until it devolves into several fat jokes about Starlord aka actor Chris Pratt. Regardless, Thor wakes up and goes with Rocket and Groot to forge a new hammer while Drax, Mantis, and Gamora head to the Collector’s domain to stop Thanos from getting the Reality Stone. We then cut to the next storyline, which starts with Vision and Scarlett Witch hiding out in Scotland. It’s shown here that they’ve been in a romantic relationship for at least two years. We’ve never really seen this relationship develop in the rest of the busy Marvel movies, but we’re supposed to just go with it now. This wouldn’t be so much of an issue if later on in their film the emotional weight of their relationship is supposed to impact the audience but obviously can’t if we never saw the relationship develop. What we do feel the impact of is Captain America arriving to save them from the Black Order. It’s a great moment too, seeing a silhouette between the gaps of a speeding train, Alan Silvestri’s epic score kicking in as the familiar face of Steve Rodgers enters the light. It’s also good to know that Captain America has been secretly operating with a small group of Avengers for the past two years. Unfortunately, Cap doesn’t get too much screen time or character development in this movie. It is hard to fit in so many characters in such a big movie in such little time, but I could have used a few more Cap scenes to flesh out his convictions. Nonetheless, it’s great seeing my favorite Avenger and I look forward to seeing his development in the next movie. Also, we have two stellar Captain America movies that have already fleshed out his awesome character. His awesomeness only heightens when he refuses to give up Vision’s life for the Mind Stone, stating that “we don’t trade lives”. This statement ultimately becomes the film’s main message and counterargument to Thanos’s utilitarian perspective but we’ll get more into that later. What it does is further cement Captain America’s position as the ultimate moral center and voice of reason within the Marvel Universe.

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Meanwhile, the Guardians try and sneak up on Thanos as he visits the Collector. Gamora attempts to kill him but is tricked by the Reality Stone. Thanos kidnaps Gamora, and in a nice nod to the Infinity Gauntlet comic, uses the Reality Stone to dispatch Mantis and Drax in clever ways (Drax is diced into cubes, Mantis is turned into paper cutouts). While all of this is happening, Spider-Man and Iron Man are able to save Dr. Strange and kill Ebony Maw, which it’s sad to see him go so soon. They then head over to Thanos’s homeworld, Titan, to confront him. The only real character development that we get to see during this time is between Thanos and Gamora, and with Thor. Despite there never having been a time where Thanos and Gamora are on screen together, the time they share in this movie is well spent. We do get to see Thanos’s love for Gamora, his admiration of her fierce spirit, and his hope that she can maybe understand that what he is doing will save the Universe. On the opposite end, we also see Gamora’s conflicted feelings. She hates Thanos but still considers him family, and her breakdown into tears when she thought she had killed him earlier signifies that she too still harbors love for her adopted father. Thanos’s feelings of love, however, only extend to one daughter, as he tortures his other daughter, Nebula, so that Gamora can reveal the location of the Soul Stone.

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Thor gets development too, as this movie effectively builds upon the character revamping that he got in Thor: Ragnorak but focuses on the tragic aspect of his character rather than the comedic. In a brilliant scene with Rocket, Thor recounts to his “rabbit” friend all the loved ones he’s lost (mother, father, brother, best friend). It also shows that Thor tries to use humor to counter and mask his sorrows. We realize that Thor’s overly boisterous and heroic personality compensates for the tragedy he’s suffered in his long life. His grief-masking doesn’t work so well at this moment, however, and he tries to give Rocket a trembling smile while he fights back tears. It’s a sad moment, and it strengthens Thor’s motivations for going after Thanos. Chris Hemsworth is also fantastic as Thor, capturing his conviction and his rage. He owns the character. So, Thor, Rocket, and Groot travel to the dying star that forged Thor’s original hammer in order to forge a new hammer. One Game of Thrones cameo later (Peter Dinklage as Eitri), Stormbreaker is made.

The drama continues to hype up as Thanos and Gamora travel to Vormir, the planet where the Soul Stone is located. Upon arrival, they are greeted by the Stonekeeper who is in fact, surprise surprise…. Red Skull! It’s revealed that Red Skull survived the events of Captain America: The First Avenger and was transported to Vormir to guard the Soul Stone. In a shocking moment, Thanos must give a soul in order to have the soul stone. The moment when Thanos drags a screaming Gamora and throws her off a cliff really earns its drama. The music kicks up, symbols clash and an adagio of strings play over a wide-eyed Thanos. His expression appears to show disbelief at his own actions, yet because of his actions, he now has the Soul Stone.

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Cap and the rest of the Avengers head over to Wakanda to meet up with Black Panther and mount a defense against the Black Order. We see Cap reunite with Bucky, some of our favorite Black Panthers like Okoye and M’Baku, and Bruce Banner get outsmarted by Shuri. The battle of Wakanda begins and the Avengers fight off against an army of faceless, nameless alien beasts. My main gripe about this battle is the lack of build-up to it. It doesn’t feel like something from Lord of the Rings or Star Wars because it just kind of happens all of a sudden without fully establishing both sides. The Black Order kind of just shows up with an army of disposable creatures to fight the Avengers, it doesn’t feel as weighty as what is going on elsewhere. At the other end of the solar system, the rest of the Guardians excluding Groot and Rocket meet up with Iron Man’s group and come up with a plan to take out Thanos. Dr. Strange runs through millions of possibilities and determines that there is only one in which they can win. Thanos arrives and relays his strategy of dealing with overpopulation through random genocide. Again I’ll get more into that at the end. He engages Iron Man’s group and is surprisingly overpowered for a brief period of time, allowing Spider-Man and Iron Man to try and pry the Infinity Gauntlet off of him. This is where the controversial moment happens when Starlord, angered after discovering Gamora’s death, aggressively attacks Thanos in the middle of his incapacitation at the hands of Mantis, causing Thanos to regain control and keep the Gauntlet. I have to say, the entire time Starlord felt somewhat inconsistent with his character. He was either too humorous or too aggressive. I get it, he’s displayed these characteristics in the past, and his girlfriend was kidnapped and later killed. Nevertheless, I feel like it discredits him as a character since he definitely has been more level-headed than this. It definitely could have been better handled, and I feel like Starlord would have been able to bounce back from these events and respond to that situation much better than he did. I know technically this is the way things are supposed to happen because Dr. Strange predicted the timeline but does it really excuse Star Lord from being an overly confrontational douche? His actions lead to Thanos dispatching the rest of the team before only Iron Man is left to battle Thanos. The fight between them is another great moment and it ends with Tony at Thanos’s mercy. Thanos gives his respect to Stark but spares his life when Dr. Strange offers up the Time Stone.

On Wakanda, Caps forces are being overwhelmed by the generic alien monsters, so it’s a great time for Thor to show up with his epic new hammer. Again, the Avengers theme is awesome, and Thor arriving and absolutely obliterating the enemies to Silvestri’s score is my favorite moment in the movie. It also shows that Thor really is one of the most powerful characters in the MCU. It’s especially true since Hulk has been refusing to come out all this time in a neat character moment since it’s the first time we’ve seen Hulk afraid. The battle ends with the Avengers victorious, but unluckily for them, Thanos arrives with one stone left to obtain. In a slow-motion moment, we see Thanos easily overpower the other Avengers while Vision appeals to Scarlett Witch to destroy the stone. This moment didn’t hit as much for me since as I’ve said before, I didn’t really get to see the relationship between these two characters develop so I wasn’t as emotionally invested in Vision’s destruction at the hands of Scarlett Witch. It matters even less when Thanos rewinds time to reconstruct Vision and take the stone. With the Infinity Gauntlet complete, Thanos snaps his fingers and wipes out half the life in the Universe. Having read the Infinity Gauntlet story before seeing the movie, I was giddy with excitement when he snapped his fingers. We first see Bucky fade away in front of Cap. At this point, I was surprised, but once Black Panther faded away, I knew this wasn’t permanent. The other characters to fade include Falcon, Scarlett Witch, Starlord, Mantis, Drax, Spider-Man, Dr. Strange, and several Wakandan soldiers. Spider-Man’s farewell does pull at the heartstrings, and it is a shocking moment to see some fan-favorites fade away, but I was more intrigued than disheartened. I’m interested to see how these characters return, and what happens to Thanos in the sequel. I’m also looking forward to Tony’s decisions moving forward, as the deaths of everyone around him will surely leave him devastated. I did love the way the film ended, with Thanos looking over a beautiful landscape with a half-smile half-smirk on his face. We also get treated to an end credit scene of Nick Fury contacting Captain Marvel before fading away.

So I’ve said it multiple times and I’ll say it again, Avengers: Infinity War delivers. It feels like the Empire Strikes back of the MCU, and the MCU feels like the Star Wars of this generation, even more than the actual Star Wars of this generation. Whereas the Star Wars movies today are repeating the same stories over again, the Marvel universe is managing to keep me excited for new stories. The Marvel comics are rich in creativity and storytelling, and the heads at Marvel are masterfully drawing from and adapting the cavalcade of source materials. The Russo Brothers dedicated time to crafting Thanos’s motivations and ideology. From a grand scheme, universal utilitarian view of how the universe should work, there are elements of Thanos’s ideology that make sense. Overpopulation is a thing, and lots of people suffer from the tragedy of the commons. It’s an identifiable perspective for a villain, but like Killmonger, Thanos takes it too far and his willingness to stomp out life makes him more of a monster than a savior. The film doesn’t qualify Thanos’s perspective, there is a clear line. When Thanos completes his quest, he says to a vision of a young Gamora that the crusade cost him “everything”. Thanos’s tears for Gamora are an outlier to his emotional detachment from killing the rest of the Universe. He fails to understand the sanctity of life. The decisions that our heroes make, including Scarlett Witch and Starlord’s decisions to try and kill their respective partners at their requests, were made out of love. Thanos’s love for Gamora wasn’t enough to sway him from his beliefs of what he thinks is the right thing. However, as Captain America said, “we don’t trade lives”. No matter the suffering, what makes life special is that everything has the opportunity grow, to become something important, something vital. If we go along with Thanos’s plan and wiped out half the life in the Universe randomly, what if the next Albert Einstein, Gandhi, or Martin Luther King Jr. was killed? What if people who were or will make major contributions to existence are wiped out? The Avengers understand this idea of all life being sacred. It is possible that Thanos may too. Perhaps in the next movie, Thanos will ponder on his decision, and realize that the value of life is far too important. He may come to miss Gamora, understand that the cost of his vision of peace would be too dear, regret his decision, and try and turn back time. I’m just speculating at this point, but the fact that the film has provided me the opportunity to speculate is a triumph of its own.

There’s lots of setup for the next film, so I see this as a part one of a two-parter. I’m glad that Marvel left us in this moment of despair and anguish, because obviously, in these kinds of stories, good triumphs over evil, but being able to have that darkness, let us sit and dwell in it for a little bit, consider its implications, and think it might actually be there to stay, only then for the good guys to triumph is how these kinds of stories should be told. Much like Lord of the Rings, Avatar: The Last Airbender, or Halo, everything seems hopeless at a certain point. We wonder how possibly the overwhelming odds can tip in the good guys’ favor and when they do, we feel relief and satisfaction.

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In conclusion, I did in fact love this movie. It’s in my top five favorite Marvel movies and definitely one of the coolest superhero movies ever made. I don’t think it transcends the genre like The Dark Knight or Logan, but it does represent the best that the genre has to offer. It isn’t perfect. There are so many different arcs and no moments where all the characters come together. Characters like Black Panther, Black Widow, Falcon, and Captain America are underutilized. Still, the film is wildly entertaining, pushes the MCU in an even more promising direction, and finally gives the MCU the stakes it needs. I’m very excited for Avengers 4 and I can’t wait to see what the MCU does next.

 

 

Justice League Review

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This is going to be a personal, informal review for a very personal topic. I have not been a fan of the DC Extended Universe movies. Don’t get me wrong, I’m a massive fan of DC Comics. Batman is my favorite superhero; Superman is a close second. I grew up watching the Justice League cartoon and Batman: The Animated Series. Not to mention, I’ve read basically everything when it comes to comic books featuring the Justice League. I’ve been reading everything from the Golden Age Comics, to the Grant Morrison Era, to the New 52. I’ve read Death of Superman, All-Star Superman, Golden Age Superman, Birthright, For All Seasons. I’ve read Golden Age Batman, The Dark Knight Returns, Death in the Family, Knightfall, No Man’s Land, Court of Owls, and a bunch of other comics that nobody’s ever heard of. I dedicated most of my early teen years scrubbing through the comic book histories of each character of the Justice League. DC comics were vital to my defining years, and I attribute them to defining much of my moral center. They taught me the importance of virtue and compassion, they were everything to me. Then the movies came.

I was actually very excited for Man of Steel. I was right in the middle of binge-watching all ten seasons of Smallville leading up to its release. At the time when I watched Man of Steel, I loved it but now after reflection and further viewings, it’s not bad but not great. Then Batman V. Superman: Dawn of Justice came and well…I hated it. It featured a mopey underutilized Superman, a psychotic murderous Batman, and an inconsistent and uneven plot. It was an overall mess of a movie. Then Suicide Squad was right around the corner, so that had to be good right? It was even worse. In my opinion Suicide Squad is garbage. I can understand if others enjoy it for its entertaining moments but for me, it’s a disaster. Then Wonder Women followed a little while later, and it got rave reviews from the whole world so I was hyped. It was decent, but in my opinion, it wasn’t as good as everyone claimed. I enjoyed the movie but I wouldn’t consider it to be in the upper echelon of top 10 superhero movies. So finally, the moment everyone was waiting for…Justice League was coming, and I wasn’t all that hyped. I had been fooled too many times to get excited, and even though Wonder Woman was good, I couldn’t trust the trailers or the fact that Zack Snyder had picked up right where he left off from Batman V. Superman. I didn’t see Justice League when it opened, and when I heard about its lackluster box office I thought “Good, their failures finally caught up with them”. It wasn’t until today that I actually decided to sit down and check out the movie.

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After finally watching Justice League, which I viewed with low expectations, I can say this: Justice League has awful CGI, some really bad dialogue, bad editing, its characters don’t feel established in their world, the humor doesn’t always work, the story is derivative, and…… it’s actually not that bad of a movie. Yeah, I actually really liked Justice League.  It was wildly entertaining and for the first time, I recognized some of the DC universe that I grew up with.

Since I went into this film with a negative view (being honest, I wasn’t objective), I started finding faults early. The dialogue was sooooooo bad. None of the jokes were funny early on, and there was a constant usage of generic superhero catchphrases and dialogue (“together we can save the world” “I’m putting together a team”). I’m not actually quoting dialogue from the movie, I’m just giving my representation of what it was. The special effects were literally horrendous. When the villain Steppenwolf first appears, a CGI fight scene happens that looks about as real as a 17th-century stage play. Steppenwolf himself looks ridiculously fake, and I’ve seen World of Warcraft cutscenes from 2013 that had better effects than the fight scene. The only recognizable superhero characters from previous films are Batman and Wonder Woman, and they feel disconnected in their effect on the outside world. The majority of the superheroes are introduced for the first time in this film, meaning without many characters to latch on to, the world doesn’t feel identifiable or established. The story is straightforward and borrows a few elements here and there from The Avengers and The Lord of the Rings.

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The turning point for me was when all of the characters came together. First off, I want to say that Cyborg, played by Ray Fisher, is awesome. He has this great intensity, and whatever origin he should have been given is summed up by his penetrating stare that indicates he suffered an unwanted accident that made him the way he is. Ezra Miller is also surprisingly relatable as The Flash. There is a standout scene early in the film where he is reluctant to fight, admitting that he’s never done battle before and in the moment is scared. Gal Gadot, in my opinion, is better in Justice League than she was in her own feature film (in which I thought she was serviceable but not remarkable). As Wonder Woman, she conveys a certain strength that holds the group together. I also finally got behind Ben Affleck as Batman. His murderous escapades in Batman V. Superman really deterred me from seeing what I see now, which is a great Batman. Batman and Wonder Woman play off of each other really well and serve as motivators for the rest of the group. The chemistry between the entire cast is a total success. Jason Momoa as Aquaman, though he is the least developed character in the league, has some of the best moments.

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Gal Gadot as Wonder Woman

Now, minor spoiler warning, I’m going to talk about Superman. I hesitate to call this a spoiler though, since, unless you’ve never heard of the Justice League or have been living in a cave, you’ll know that Superman is bound to show up. When he does, it’s great, but he’s not in the movie all too much. Poor Henry Cavill always gets the short end of the stick as Superman. In Justice League, he yet again gets pushed aside when he should have had a much bigger role.  There’s also been some controversy about Cavill’s CGI face since his real-life mustache had to be digitally removed. Honestly, it’s one of the least relevant criticisms I’ve heard and it’s really not that bad. I’m surprised that critics had a hard time getting over Superman’s fake upper lip more than they did getting over half of the other ridiculously bad CGI (I’m looking at you Steppenwolf). The upper lip was a little wonky at times but it was something I could easily get over.

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Ciarán Hinds as the villain Steppenwolf

The height of the film, as most people would expect, was the climax, and it was glorious. The action throughout the film but particularly in the climactic battle was fantastic. It’s everything you would want to see in a blockbuster superhero movie. The league functions as a unit, strategically approaching Steppenwolf and talking down his Parademons. The only real issue with the end is Steppenwolf himself, who is simply a weak villain. He isn’t terrible, but he doesn’t offer anything other than the usual bad guy dialogue and agenda. It’s a shame that he was chosen as the villain instead of Darkseid. He did the exact same things that Darkseid would have been doing, so why didn’t they just have Darkseid instead? The final battle could have also been on a larger scale and could have shown a larger impact on the global population.

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Darkseid, ruler of the planet Apokolips

The ending of the film was actually kind of touching, having finally set up the potential for a larger DC universe. The film itself does feel like a righting of the ship. Keep in mind, I went in with an already negative perspective and was instead won over by the movie. The team works well together, and there’s even a decent end message about returning to the world and taking initiative. None of the characters fell flat, and despite there not being a lot of humor that works, the scenes in which it does is a nice touch. Though some of the early dialogue is bad, it greatly improves as the film progress until the dialogue is great in the end. There are some cool Easter eggs and it might just feature the two best end credits scenes ever. It makes me kind of sad that we may not see a continuation of this universe due to its low box office. I wouldn’t have minded if the DC movie universe kept going from Justice League. I finally saw flashes of the DC that I loved and wanted. It does feel like The Avengers in some sense, which can’t be avoided because, in the end, it’s a fun and generic blockbuster action film. Justice League gave me the DC feeling that Batman V. Superman, Suicide Squad, and even Wonder Woman couldn’t give. Wonder Woman is still a better overall film, but Justice League, in my opinion, is more entertaining, and my personal favorite DCEU film.

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The first comic book appearance of the Justice League in The Brave and the Bold Issue No. 28

 

 

Black Panther Review

Marvel Studios has been on somewhat of a hot streak as of late. In 2017, Guardians of the Galaxy Vol. 2, Spider-Man: Homecoming, and Thor: Ragnorak all grossed over $800 million at the box office. Thor and Spider-man both had over 90% fresh ratings on Rotten Tomatoes, with Guardians being over 80% fresh. Despite the critical and commercial success, Marvel has been associated with using a derivative formula.  Complex narratives and serious drama are not a topic of conversation. Cinemagoers usually expect a fun, joke-filled, low-stakes comedy-action film with competent direction and acting. It is rare for a Marvel film to break this mold. Thankfully Black Panther, directed by Ryan Coogler, is a breathtakingly dramatic, wonderfully acted and directed, and thematically rich film that stands out among the 18 MCU movies. It is a film that dares to take itself seriously where other Marvel films have embraced the camp.

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Where Black Panther truly succeeds is in its ability to be self-contained. There are very few references to the larger Marvel universe, and the film begins by delving right into the Black Panther lore. The opening fifteen minutes are immersive, the beautiful culture and landscape of Wakanda feel established and lived-in. It’s obvious that the architects behind the movie put a lot of effort into crafting an authentic representation of African culture in a technological landscape. The vibrant scenery reflects the vibrant characters. Chadwick Boseman as T’Challa/Black Panther is as captivating as ever. He builds upon the taste of his performance that was given in Captain America: Civil War. Alongside T’Challa are several other great side characters played by great actors. A few standouts include T’Challa’s sister, Shuri, played by Letitia Wright, T’Challa’s ex and a Wakandan spy, Nakia, played by Lupita Nyong’o, and the general of the elite Wakandan bodyguard known as the Dora Milaje, Okoye, played by Danai Gurira. The full cast of Wakandan’s includes esteemed actors such as Forest Whitaker, Angela Bassett, and Daniel Kaluya. Winston Duke is particularly stellar as M’Baku, the powerful leader of the Jabari people, and Martin Freeman returns to the role of Everett Ross to provide some levity.

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Left to Right: Zuri (Forest Whitaker), Wakabi (Daniel Kaluya), Eric Killmonger (Michael B. Jordan), Nakia (Lupita Nyong’o), T’Challah/Black Panther (Chadwick Boseman), Ramonda (Angela Bassett), Okoye (Danai Gurira), Shuri (Letitia Wright)

Black-Panther-Trailer-Breakdown-4The music is another excellent aspect of the film. It features a unique composition of cinematic score and contemporary soundtrack. Ludwig Göransson’s African rhythms and Kendrick Lamar’s hip-hop beats blend into the film’s sequences and don’t intrude upon the important moments. The film knows when to use the contemporary soundtrack and when to use the cinematic score. The costume design features bright complementary colors and rich patterns without having off-putting or outlandish designs.

Black_Panther_Wakanda_TravelCoogler’s style of direction leaves little to the imagination, as breathtaking shots of sweeping landscapes and cityscapes are prominently displayed throughout the film. The overhead shots and upward tilts highlight the true scope of Wakanda’s advanced world. Where the consistency stops is during the action scenes. The first action sequence takes place at night and features jerky camera movements and bright machine gun flashes that detract from the fighting. The second action sequence features intense cuts and effective tracking shots. The rest of the action in the film is either bright and well-choreographed or dimly lit and jumpy. Black Panther also lacks the same physical prowess and swiftness that he had in Civil War. It doesn’t help that the special effects, at some times, can be very distracting and even lackluster. A few of the digital backgrounds are not fully rendered and can look fake. The CGI in some of the action scenes make the characters’ movements seem uncanny and clearly computerized. Some of the visually stunning camerawork can be hampered by the poor background effects. However, it is possible that Marvel Studios could be saving their budget for the extravagant bonanza that is Avengers: Infinity War. Aside from the unsatisfactory CGI, the visual and auditory elements of Black Panther are fantastic. Coogler has developed a fully fleshed-out world that has its own distinctive aesthetic.

As for the narrative, the subtle but socially relevant commentary and the Shakespearean levels of family drama and tragedy elevate the film above the average superhero movie. There is humor, but it is natural and not overused. The story is serious, and intent on making an actual statement. The true heart of the conflict is in the ethical dilemmas facing T’Challa. As an advanced nation with vastly superior resources, Wakanda has the capacity to dramatically affect the world. It can provide aid to other countries, bring in refugees, and do it all better than any other country ever could. The tradition that previous Black Panthers have followed is to hide Wakanda from the rest of the world, preserving its culture and sheltering its people. The choice that T’Challa has is to either take initiative and help the world or prioritize his own people above others. If T’Challa reveals Wakanda, it could result in the endangerment of his people and the potential loss of cultural identity. If T’Challa stands firm with tradition, then the world will continue to struggle and vulnerable populations would remain vulnerable. The film does provide an answer, and it relates to the message of globalization and the need for humanity to stand together as one group of people rather than a series of divided tribes. T’Challa has to make the hard choices and adapt as a leader. He acknowledges the sins of the past and makes new developments that even go against tradition. Every film has its derivative moments though, and Black Panther is no different. It occasionally follows a few story beats from other superhero films, and the superhero clichés relating to the hero’s journey are akin to what you would see in The Dark Knight Rises or an episode of Arrow.

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Michael B. Jordan as Eric Killmonger

The best part of the film by far, is its villains, specifically Michael B. Jordan as Eric Killmonger. While Ulysses Klaue is deliciously maniacal as a villain and actor Andy Serkis steals every scene he is in, he is not a major motivator of the plot. Eric Killmonger, on the other hand, is central to the plot and his entire story parallels T’Challa’s. Moreover, much of the story is about what happened to Killmonger and why he is the way he is. Killmonger is identifiable and garners a lot of sympathy. He is a monster born out of his environment and his own family tragedy. The circumstances of Killmonger’s upbringing qualify his views. His motives can actually be seen as reasonable; his viewpoint even makes sense. Only through his ruthless methods can he be identified as the villain, and again, his actions are only a result of the hand he’s been dealt. Killmonger was an outcast, not born in the privileged wealth of Wakanda. Because of this, he doesn’t identify with Wakanda, but instead with the marginalized black communities of the world that exists outside of Wakanda. He sees the world as a chaotic nightmare that Wakanda has turned its back on, and only by taking aggressive action can Wakanda right the wrongs of ignoring the rest of the marginalized communities in the world. Michael B. Jordan brings an intensity and gravitas to the role that rivals some of the best comic book villain performances ever. He can play the sympathetic victim and then turn on a dime to become an intimidating and coldblooded monster with a pure intent to kill in his eyes. Killmonger has a commanding presence on screen, and his brilliance as a villain is also accentuated by how effective he is in causing problems and outmaneuvering the heroes. He’s a great villain because he thinks he is the hero of the story.

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Nakia (Lupita Nyong’o) and Shuri (Letitia Wright)
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Left: Okoye, played by Danai Gurira, leading the Dora Milaje

While the overall plot structure isn’t radically different from other superhero movies, Black Panther takes a few unexpected turns in how it manages to resolve its story. It isn’t over-reliant on the hero. It isn’t just on T’Challa to save Wakanda, it’s on his friends too. Okoye, Nakia, Shuri, and others are all superheroes in their own way as they fight together against the enemy. They are all the warriors of Wakanda, dedicated to protecting their king and country. Chadwick Boseman shines, but it is an ensemble film with an ensemble cast. Everyone brings their all to their roles.

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Ultimately, Black Panther is a film about culture. It questions whether cultural identity should be preserved and protected to the point of hostility, or whether peoples all over the world should unite under a banner of shared experience and humanity. The dynamic realm of Wakanda represents the ever-changing landscape of a globalizing world. Black Panther is important, not only because it features diversity and representation on new levels that haven’t been seen in major blockbuster films, but also because it’s a very good film with socially relevant themes. It has a focus; it tries to evoke thought from the audience. It builds and takes its time with the story, it features some of the best performances in any superhero films, and it does this all while being a part of a shared cinematic universe that’s about talking raccoons and Norse gods fighting against a giant purple alien with a power glove. It is a refreshing change of pace for a franchise that is becoming derivative in recent memory.

4.5/5 

Miniblog: The Cloverfield Paradox Spoiler Review

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Before I go into the review, I want to say that I didn’t see the ad for The Cloverfield Paradox during the Super Bowl.  I watched the trailer afterward on YouTube and only then saw the big marketing ploy: it was airing that very night on Netflix. The last Cloverfield movie, Ten Cloverfield Lane, was advertised maybe a month or a few weeks before its theatrical release. The Cloverfield movies have had unique marketing campaigns that draw attention to the strange concepts and seemingly different genres of each film. In this case, the marketing campaign succeeded again. I was totally surprised when I saw the release date and immediately wanted to watch it. It was Sunday night though and I had class in the morning, so I watched it Monday and…
The Cloverfield Paradox is an otherwise straightforward isolated space thriller with interesting elements of mystery and visual appeal, however, in regards to its story, characters, and the answers to questions it sets up, it simply falls flat.
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Let’s start with the fact that we don’t get any interaction or development for the majority of the crew members. The only identifying feature is that they come from different nations. Given the incredibly talented cast including Daniel Bruhl and David Oyelowo, it’s unfortunate that a film with such good performances provided such little detail to its characters. The only character with a backstory is the protagonist, Ava Hamilton, played by Gugu Mbatha-Raw. I know that in typical space thrillers the crew ends up dying anyway, but at least one moment of comradery between them establishes that what is happening to them is tragic. In Alien the crew is laughing and joking around right before the alien rips out of Kane’s chest. In this movie, the crew members are at each other’s throats in the very first interaction they have on-screen.

 

Once the story gets going and the crew fires a particle accelerator, it’s obvious when we see a flash from the earth that the will be transferred to a different dimension. This leads me to my second point about the film, it’s incredibly predictable. The fact that they were transported to an alternate Earth was predictable, the fact that the gyro compass was inside the Russian character was predictable, the fact that Elizabeth Debicki’s character (the one from the alternate Earth) had sinister intentions was predictable, and the fact the Cloverfield monster had ended up on their Earth as a result of the firing was predictable. Elements of the film come out of nowhere, the plot point of the main character’s children burning down in a fire because of her decisions is expositioned out towards the end of the film for dramatic effect. The entire sub plot with the main character’s husband where he finds a little girl is entirely pointless and boring. The sci-fi elements, once they get going, are interesting enough. There are exploding bodies full of worms, sentient hands, and gruesome mutilations. However, none of these incidents are ever explained, they are simply chalked up to “quantum entanglement”, the two worlds are messing with each other because they are close. That doesn’t explain how an arm can just gain sentience and start writing instructions, or someone could collapse and die then explode worms. Once the movie ends with the giant Cloverfield monster attacking the ship, there is no context to the situation. Is it the same Cloverfield monster from New York but grown up? Is this the same world as Ten Cloverfield Lane with the alien mothership? None of this is explained, and the ending just feels tacked on for thrills.

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As a film, it has narrative problems and its characters are thin. As a space thriller it has enjoyable moments and pretty good visual effects. It contains some sci-fi movie clichés like the dumb scientists, in this case the comic relief character is so enamored by an incident of magnetic interference that he stares at it and lets the metal material he was using behind him swallow him up. Elements of the film are very derivative of other sci-fi films like Alien, Life, and Event Horizon (although really all of these films derive from Alien).

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It is definitely the weakest of the Cloverfield movies but I enjoyed watching it. Maybe I’m just desperate for semi-decent science fiction films by major studios, a topic that will be explored in an upcoming blog.

Review: Three Billboards Outside Ebbing, Missouri (Spoiler Heavy!!!!) A Lesson in Moral Complexity

 

 

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Mildred Hayes, played by Francis McDormand, standing with the billboards

 

Three Billboards Outside Ebbing, Missouri is Martin McDonagh’s latest home run film. It follows up the masterpiece that is In Bruges by deftly blending dark comedy and dark drama. Featuring one of the most outstanding ensemble casts in recent memory, Three Billboards educates the viewer on how hate can affect one’s life.

The story follows Mildred Hayes, a mother who is dead-set on finding the men who raped and killed her daughter, Angela Hayes. To rile up attention for the case, which has gone on for seven months, Mildred rents three billboards on an unfrequented road and prints the messages: “How Come, Chief Willoughby?”, “And Still No Arrests?”, and “Raped While Dying”. The billboards serve as powerful iconography, especially since they’re really all the information we have about what happened to Mildred’s daughter. We never see the violent act of her death actually happen, and her presence is rarely felt throughout the film. McDonagh conveys the horrific nature of the crime through the ominous presence of the billboards. The camera pans out of order to show the first billboard “Raped While Dying” last in order to create a bigger shock value amongst the audience. Though the boards aren’t very high or very large, they are first seen through low angle shots which gives them a monumental perspective. The backgrounds of the boards are bright red with black text, which are not only eye-catching but also splash the film early with the color of blood. And so, the limited information combined with a showcase of how determined she is to find her daughter’s killer creates an immediate understanding and sympathy for Mildred. Despite all of the harsh or misguided actions she carries out in the film, there is always an element of forgiveness at play for the audience in knowing her pain and suffering. In fact, pain and suffering are factors associated with many of the characters in the film.

 

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Woody Harrelson’s Chief Willoughby has a conversation with Mildred

 

The billboards draw negative attention toward Chief Willoughby, played by Woody Harrelson, who is a respected officer within the community. Willoughby happens to also be dying of cancer. His relationship with Mildred isn’t antagonistic, and the viewer is made aware that he hasn’t been intentionally neglecting the case, however, Mildred is unflinching in her decision to keep the billboards. In a conversation with Willoughby, Mildred claims that all the men in the country should be put in a database and investigated whenever they’ve committed a crime. It’s clearly preposterous, yet you understand that Mildred wants to see more action from the police department. Her position stands unaltered even with Willoughby’s condition in consideration. To add another piece to the puzzle, Willoughby’s fellow officer, Jason Dixon, played by Sam Rockwell, is an apparent racist and all-around douchebag. He consistently tries to find ways to pressure Mildred into taking down the billboards. The first half of the film serves as an effective look at conflict where both sides have sympathy. There is sympathy for Mildred, played wonderfully by Francis McDormand, as she stands her ground on her daughter’s case. There is also sympathy for Chief Willoughby, who is conscious that his time with his wife and kids is dwindling. Woody Harrelson captures the pain, compassion, and love that embodies Chief Willoughby. In fact, as he appears to be the only one of the three central characters living without hate, his role transitions from an active character to more of an arbiter of wisdom. In a shocking twist, Chief Willoughby shoots himself in the head after spending one last day with his wife and children. In a letter, he explains that he would rather avoid his family having to see him slowly suffer and wither away in a hospital bed. His suicide is advocated by him as an act of bravery, and it shifts the film’s focus towards the redemption arc of Sam Rockwell’s character.

 

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Dixon, played by Sam Rockwell, confronts Mildred

 

Upon Willoughby’s death, Dixon initially reacts by senselessly beating Red Welby-who rented Mildred the billboards-and throwing him out of a window. When Dixon gets fired for his actions by the new chief, his character seems to be headed towards a downward spiral of potential villainy. When the billboards are burned down, he seems to be a likely suspect. However, when Mildred retaliates by burning down the police station with, Dixon unbeknownst to her, still inside, it creates a symbolic moment where Dixon reads a letter from Willoughby while oblivious of the fires burning behind him. Willoughby’s letter urges him to let go of his anger and the pain in his past and instead work towards becoming a good police officer. When Dixon plunges through the flames with Angela Hayes’s case file, it’s as if the singes and burns on his body become a literal embodiment of his bad self, which he will always carry with him. In one of the best moments of the film, Dixon ends up in the same hospital room as Red Welby, the same guy he threw out of a window. He apologizes, and in a poignant scene, the initially upset Welby pours a glass of orange juice for Dixon, providing him with a token of forgiveness. From then on, Dixon tracks down a suspected rapist, gets beaten within an inch of his life in order to get the suspect’s DNA, and notifies Mildred that the suspect may be “the guy”.  When word comes in that the suspect, though a rapist, is not the same man as Angela’s killer, Mildred assures Dixon that the hope that he had given her was more than she had had in a month. She concludes that it was better to have that feeling of hope-however fleeting it is-than have nothing. The efforts that Dixon had made to find her daughter’s killer were the kind of efforts that she wanted out of the police. In the film’s resolution, when Dixon and Mildred decide to go after the confirmed racist, they debate whether it is worth it to take his life and ultimately agree to decide on the way to confront him.

 

The film ends ambiguously as to whether Dixon and Mildred decide to kill the rapist. In the end, it’s not about justice, or vengeance, or even finding the killer. It’s not even a story about learning to let go of hate and embrace love.  It’s learning to live with hate, learning to temper it and not let it consume you. Mildred will always carry hate in her heart, what happened to her daughter will always stay with her and keep the coals burning in the furnace of her heart. She’s unhinged, aggressive, and a danger to everyone around her. Dixon is still that racist asshole, just a more focused asshole, with a clear perspective on his goals of being a detective. Feelings of racism don’t just magically go away. Neither of them are heroes, neither of them are villains. They simply have more clarity in their goals, they are aware of their hatred, aware that they will always carry it with them. They’ve developed moral codes. Keep in mind, moral codes don’t necessarily mean righteous codes, they mean codes that a character follows and doesn’t break, good or bad. Their codes are also still developing much like everyone’s are, as they haven’t decided whether to take the life of the scapegoat racist. Even characters like Willoughby aren’t necessarily martyrs, since the act of suicide is generally considered a coward’s way out rather than the brave act that Willoughby feels it is.

 

The morals of each character are identified by the actions they undertake in the film: Willoughby’s suicide, Mildred’s arson, Dixon’s “redemption” (All Oscar-worthy performances by the way). Each character no matter how small has a moment of sympathy or relatability. Red Welby, played by Caleb Landry Jones has his moment when he hands Dixon the orange juice, and Peter Dinklage has a small surprise role as James, a car salesman attracted to Mildred. When Mildred botches the dinner with James, he goes into a rant of how he knows his position as a dwarf and how he’ll never be a “huge catch”, yet his stature and demeanor still outshine Mildred’s rage and foul temperament. Three Billboards, like In Bruges, is a character study. It doesn’t focus on finding mysteries or on Mildred finding inner peace. Three Billboards is about the effect of an unforgettable tragedy, and one mother’s response to that tragedy, on the lives of our characters. The story teaches that people are not perfect, and no matter how righteous the cause or effort, everyone has a point of darkness in their heart, or a different perspective that goes against the generally expected code of society. Even after being burnt down, the billboards are put up again. They stand just as the hatred in Mildred’s heart still stands.

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Director Martin McDonagh

 

When asked by Variety about the character of Dixon, McDonagh claims, “At the end he’s still the asshole he was at the start of the film, but hopefully by the end of it he’s seen that he needs to change. But the film isn’t about simple heroes and villains, and in no way does he become a hero in it. Part of the whole idea of the story is, ‘Who are the heroes and who are the villains and is anyone really that heroic?’ I wanted to explore the idea of a strong woman going against the police in the South, and I think the racial angle is one of the weapons she would throw at them. But the idea that there’s hope in a story like this, even with characters as despicable as Sam’s, I thought that was an interesting thing to explore.”

 

 

 

 

 

 

 

 

Kong: Skull Island-What Makes A Better Movie, Visual Elements or Literary Elements?

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I just saw Kong: Skull Island, a very entertaining and interesting movie. The action scenes are on point. The visual style is attention-grabbing and the cinematography is splendid. Director Jordan Vogt-Roberts does an admirable job of recreating the 70’s Vietnam Era aesthetic, and he exceeds in his ability to depict human characters in sweeping long shots that indicate their vulnerability. However, where the visual elements of the film soar, the literary elements fall flat. The characters are almost nonexistent, the narrative is kind of all over the place and the dialogue is just TERRIBLE in some scenes. Now, keep in mind, this is a monster movie. We came to see King Kong fight a bunch of dinosaurs and attack some soldiers, so why should the film’s success be measured by a good story and characters? Furthermore, is a film with superior visuals, sound, and direction a better film; or is a film with superior writing, story, and characters better?

To go back to Kong, the story is straightforward, a team of scientists and soldiers go to Skull Island, damage the ecosystem, get attacked by Kong, and have to survive a rough landscape of monsters and dinosaurs. The characters are either one dimensional like Samuel L Jackson (a hardened veteran), Tom Hiddleston(a generic badass), and Brie Larson(a photographer…that’s basically all there is to her character); or the characters are plot points used to move along the story like John Goodman, Toby Kebbell, and Cory Hawkins. By the way, I’m using the actors’ names because of course, I don’t remember any of the names of the characters. I’m even good with names so it’s not like I wasn’t trying (I know literally every character’s name in Game of Thrones just try me).  In fact, what happens with these characters is something that I wrote about recently where the actors are so good they make you think the characters are better than they are. When John Goodman and Samuel L Jackson are talking to each other, the dialogue isn’t good, there’s little insight into their characters, yet it still sounds intense. That’s because the actors are intense, and they can make terrible dialogue like “I am the cavalry” sound somewhat plausible. If you just look at the cast for the film: Brie Larson recently won an Oscar, John Goodman should win an Oscar, and Samuel L Jackson is…well, Samuel L Jackson. These are all amazing actors, and the only reason I wasn’t falling asleep watching these characters is because of who they were played by.

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But again, we don’t need the characters to be Shakespearean good, it’s a monster movie, so why be overly critical? Well, just because a film’s purpose is to scare people with monsters, it doesn’t mean it’s a good movie even if it succeeds in its purpose. I’d like to compare this film to the 2005 Peter Jackson directed King Kong movie. In my opinion, Jackson made a better film, with a better story. You actually cared about Kong as the film did its best to establish a true connection between Kong and the female lead. However, to the film’s detriment, the third act isn’t as good as the rest of the movie and it often becomes too slow and sappy. The action is good, but the film tends to drag and is overly long. With Kong: Skull Island, the action is unrelenting. It seems like every few minutes there’s a new scary creature leaping out at its victims. The story is barebones but the pace is intense and focuses on the visual creativity and scope of the creatures rather than the struggles of the characters. Kong is an unstoppable, overpowered death machine and it’s awesome. Rather than get bogged down in the third act, we get treated to an awesome action scene between Kong and a giant dinosaur-lizard thing. With the Peter Jackson Kong movie, you have a thoughtful, more character driven film that wants to shed light on the gentle nature of the giant ape. With the new movie, you have a pretty straightforward monster movie with epic action scenes.

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So what does make a better film? Is it the visual elements, or the literary elements (story and screenwriting, etc.)? I think it varies from person to person. If you’re like me, and you can’t appreciate a film as much if it doesn’t have a strong narrative and well-written relatable characters, then you probably swing more towards literary elements defining films. If you’re more interested in the art and the crafting of a scene, the cinematography, the visual effects, the music, the production design (I love all these elements too, don’t get me wrong), but you might then define a film through that lens rather than overanalyzing the story and narrative. This would also apply to Kong: Skull Island, which I wouldn’t even consider a bad film. I would consider Kong an ok film from a story point-of-view and a very enjoyable one from a visual point of view. The purpose of many films is to entertain, and if that is the case, then Kong: Skull Island passes with flying colors. If you as an audience member are looking for something more in a monster movie, I would suggest looking elsewhere; but for all you monster movie lovers, Kong: Skull Island is another good addition to the pantheon of monster films, and I can’t wait for this version of Kong to fight Godzilla.

The Disaster Artist Review (Spoilers!): An Unconventional Inspiration

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The Disaster Artist, directed by James Franco is a funny, dramatic, and oddly inspiring film about the legend behind the greatest worst movie of all time. It manages to strike a balance between an objective retelling of one individual’s crazy life while also managing to be relatable. Based on the making of the 2003 film, The Room, The Disaster Artist follows Greg Sestero, a young actor, as he meets the enigmatic Tommy Wiseau. Wiseau, played brilliantly by James Franco himself, is a cornucopia of mystery. Though he claims to be from New Orleans, he is very clearly of European descent; though he appears to be in his 20’s during the making of the film, he is clearly at least in his 40’s; and to top it all off, he has a “bottomless pit” of cash which was used to fund The Room ($6 million estimated) though no one knows how he got it.

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The film begins with Greg, played by Dave Franco, meeting Tommy at a comedy class where the two strike up an unlikely friendship. Greg asks to “do a scene” with Tommy, leading to a particularly memorable diner scene where Greg shares his fear of getting laughed at by audiences. Tommy bursts Greg’s bubble by having the two of them shout lines from a play in front of the customers in the diner. It’s a hilarious moment that also highlights the necessity to be bold and forthright. Tommy even tells Greg, “Don’t worry about these people! There only you and there only me! “.

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Eventually, Greg moves to Los Angeles with Tommy and they both start their acting careers, which unfortunately doesn’t go well for them. Tommy has a particularly hard time when he confronts a Hollywood producer played by Judd Apatow. The genius of Franco’s performance is that Tommy is portrayed as both sympathetic and unhinged. He acts brazenly and loud in front of the producer, however, you still feel for him when he is insulted and told he will never be successful. When Greg and Tommy decide to make their own movie, it comes off as a statement of resolve and perseverance. Despite what everyone tells Tommy, his determination to express his weird creative persona to the world overpowers the Hollywood system that is rejecting him, and he wouldn’t have been able to do it had he not had Greg along to motivate him. As an audience member, you truly understand the shift in Tommy’s life as he goes from isolated weirdo to aspiring artist with Greg at his side. It should strike a chord with any ambitious artists when Tommy is writing the script for The Room. Despite the fact that you know the end result will be terrible, you can see the determination and hope as he partakes in the creative process.

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Once the filming of The Room begins, the film adjusts to a more objective, behind the scenes, point-of-view second act. It’s clear that Tommy truly doesn’t know what he is doing as he makes ridiculous and costly decisions like shooting the movie in both digital and film, installing his own director’s bathroom on the set, and even recreating a fake alleyway set right next to an actual alleyway in order to have “real Hollywood movie”. Not only is he shown as irresponsible, he is also neurotic and downright vicious at times. He films the cast members secretly and tells the actress playing the female lead role of Lisa that her body is “disgusting”. There are fights with the cast, people passing out from heat exhaustion because Tommy doesn’t pay for A/C, and Greg being forced to pass on career building roles. Eventually, Tommy fires everyone and hires a low budget crew which leads to a falling out between Tommy and Greg. This entire second act reveals a different side of Tommy as the sociopathic, ill-mannered director. You still understand that he is ignorant of the true nature of his actions. You know that he has good intentions yet you are horrified at his behavior. Though this should conflict with the film’s overall message of following your dreams no matter what, it somehow works as a necessary observation on the struggles of trying to execute your vision to perfection, which is yet another part of the creative process.

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The film’s final act culminates in the premiere of The Room at Los Angeles’s Laemmle Theatre. Greg reluctantly agrees to go with Tommy and they arrive in a white limo, greeted by the film’s cast and crew. The reenacted scenes of The Room are uncanny, even though they have been recreated by the new actors, a few scenes feel as if they’ve come straight from the DVD of the original. It’s also heartbreaking to see Tommy realize that everyone is laughing at the film rather than praising it as the dramatic masterpiece that he sees. We get another poignant moment when he leaves the theatre and is convinced by Greg that despite the fact that people didn’t see what he saw in the film, there is no doubt that they have found enjoyment in it and that Tommy has accomplished his goal of making his own movie. The epilogue of the movie describes the continued partnership of Tommy Wiseau and Greg Sestero and the perpetual success of The Room since its inception.

 

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HOLLYWOOD, CA – NOVEMBER 12: Tommy Wiseau attends the screening of “The Disaster Artist” at AFI FEST 2017 Presented By Audi at TCL Chinese Theatre on November 12, 2017 in Hollywood, California. (Photo by Neilson Barnard/Getty Images)

One of the main reasons The Disaster Artist works so well as a biographical comedy is the simplicity of its message. Everyone has probably heard the motivational phrases: always following your dreams, don’t worry about what anyone else thinks. The way The Disaster Artist stands out from the rest of the pack is by showing you a real-life example of how these lessons allowed a socially maladjusted person like Tommy Wiseau to become a world-renowned icon. It’s an unconventional story, but you can see how Wiseau was fearless in his pursuit of his goal. The absurdity of Tommy and Greg’s success ignites a spark of hope in all who view this film as a reminder that no matter how bad or how good your own creative ideas are, if you are willing to go the distance and put yourself out there, there is always a chance that your vision will catch on and offer something unique to the world even if the world doesn’t see your vision the same way you do.