I grew up reading comic books and was firmly in the Marvel camp, more specifically with the X-Men.
For the last couple years, I haven’t watched any Marvel movies (save for the X-Men movies, but they’re in their own bubble universe). It wasn’t for lack of desire. I just missed them at the theater, and then I missed them at home, and before I knew it, I was like seven movies behind. I wasn’t going to jump back in with the latest at that point, and the new ones kept coming out.
So the lady and I have been catching up, and we finally got to Thor: Ragnarok. I liked it. It was fun. Trouble is I feel like the filmmakers did everything they could to not make a Thor movie while making a Thor movie. I don’t think they were subtle about this (there is no other reason for them to cut Thor’s hair than for it to be symbolic).
The lady and I recently watched Netflix’s The Staircase, a docu-series about the novelist Michael Peterson who was charged with murdering his wife in 2001. Similar to Making a Murderer, it’s another fascinating investigation of the American justice system. I highly recommend both of them.
A bit of a disclaimer, though: these are not mystery stories. They are not about whether the suspects did or did not murder the victim (I realize the marketing image I chose to plop down to the right of these words poses that very question, but it’s the most compelling way Netflix could find to sell you on it).
These docu-series put the American justice system on full display, exposing its flaws. They will make you question your faith in the fundamental tenet of American justice that a defendant should be considered innocent until proven guilty, and they will make you question our very humanity, especially given the context of the cruel times in which we live. If you watch them, they will anger and sadden you because the reality they portray is not one we confront often, or maybe because it’s one which we are increasingly forced to come to terms with.
I saw The Last Jedi a couple weeks ago, and like most of you, I hrmph’d out of the movie theater, feeling an immediate need to reflect upon what I’d just seen. For those first 24 hours, I experienced strong emotional waffling as seemingly warring factions in my brain attempted to win out. I expected this tension would continue to evolve, but it didn’t really. I think both of my minds are right.
I’ve decided The Last Jedi is a really good Star Wars film in its own right, but in context of the series and its surrounding culture, it’s mediocre and even harmful.
This is less a review and more a reaction. That said, I spoil the hell out of the film because I found it really unsatisfying to discuss my points in general terms, which leads me to my first point [final spoiler warning].
Last night, I watched Passengers, the film starring Chris Pratt and Jennifer Lawrence whose characters wake up far too early on a colonial spaceship that’s en route to a new planet. I think it’s a film that certainly has its flaws but is ultimately worth a viewing for any fan of character-driven science-fiction. It’s a film that, given a fair shake, deserves attention for some solid storytelling and acting. But critics panned it.
With such an interesting premise and two of Hollywood’s biggest stars, you might think it was a solid bet. So what happened?
It’s conjecture, and a film’s failure and success is contingent on innumerable factors, but I think Passengers is another film where the critics got it wrong. What’s more, the film sufficiently and specifically addresses the most substantial problems in the second half, which makes me wonder if the critics who panned it checked out after a major development in the first half in which a character does something utterly, morally repugnant, something that is a huge risk in the realm of storytelling, something good stories have to do to be memorable and effective.
I spoil the hell out of the film below, so if you haven’t seen it and plan to, you may want to wait to read this until you do. But before you go, the bottom line is Passengers is a wonderful film, and you should watch it. If you’re interested, don’t be like me and let the critics dissuade you.
Generally speaking, whenever someone says, “the book was better,” about a book-to-film adaptation, I feel the need to punch them in the throat. I could go on a long digression here about my feelings of film adaptations, the different camps of people wanting them to be faithful, and creative freedoms of artists as well as the nature of truth, but I’m not going to do that. Suffice to say, The Girl With All The Gifts film adaptation gets it both wrong and right in really fascinating ways. Continue reading
In 2006, I left a Virginia Regal Cinemas mad as hell. The first X-Men movie wasn’t perfect, but it was a slam dunk for superhero films and a great beginning for the franchise. X-Men 2 was very good until the ending. X-Men 3 was a crushing defeat for fans and a prime example of how overbearing movie producers can ruin a film.
It has to be this. It has to do that. Demands like these lead to a story that is contrived. But what’s interesting to me is that X-Men 3 didn’t just feel contrived. It had such rippling effects to the series that it’s ruined every film since.
This is the measure of Brett Ratner’s failure in X-Men 3. If you’re not aware, the first two X-Men films were directed by Bryan Singer. But when Singer was unavailable to direct X-Men 3 because he was working on Superman Returns (which is underappreciated, in my opinion), the movie producers opted not to wait for him, and that decision ruined the franchise.
Just last week, Permuted Press announced a Kickstarter campaign for their first venture into film. The movie they want to make is called The OneStop Apocalypse Shop, based on the novel, The Apocalypse Shift, by Derek J. Goodman. It sounds awesome and exciting, but don’t take my word for it. Here’s what Derek has to say about the project:
Hi, my name is Derek J. Goodman, and I would like to talk about the Kickstarter for the movie The OneStop Apocalypse Shop, based on my novel The Apocalypse Shift.