Focus on a Franchise – The Lord of the Rings Trilogy

There have been some works of literature that have proved to be too daunting for filmmakers to adapt for the big screen.  The works of J.R.R. Tolkien for many years proved to be one of the most notoriously un-filmable projects in the history of film.  Tolkien himself let the film rights go almost for nothing during his lifetime, because he was confident that an adaptation could never be done.  His immensely detailed fantasy saga, complete with it’s own unique cultures, languages, and deep rooted history that spans over five published novels, just could not be contained within a mainstream Hollywood film.  That’s not to say there weren’t many tries.  One of the most interesting “what if?” scenarios in movie history was an attempt by the Beatles to adapt Tolkien’s magnum opus, the three volume Lord of the Rings, starring the Fab Four and directed by none other than Stanley Kubrick.  The still living at the time Tolkien dashed those hopes unfortunately.  After Tolkien’s passing in 1973, the animation duo of Arthur Rankin and Jules Bass took it upon themselves to adapt the first book in Tolkien’s Middle Earth saga, The Hobbit (1977), and it became a beloved classic for both long time fans and young audiences getting their first exposure to Tolkien’s imaginative world.  A year later, another independent animator, the provocative Ralph Bakshi, made his attempt at adapting The Lord of the Rings into a film, adapting all of the first book and half of the second into one ambitious film.  Unfortunately, this version had a mixed reception and Bakshi was never able to complete his second part.  Rankin/Bass instead closed out the saga with their adaptation of The Return of the King (1980), picking up more or less where Bakshi had left off.  Though the animated medium managed to bring Middle Earth off the page in a beautiful way, there were many people who still wanted to see Tolkien’s masterpiece fully brought to life in a live action fantasy epic.  Eventually, a bold group of filmmakers did finally pick up the torch for that dream and ran with it, finally giving us that grand big screen epic that we always wanted.  But, what shocked many people was the person who ended up being the one to deliver on that promise.

New Zealand director Peter Jackson was probably not on anyone’s radar as the man who would bring The Lord of the Rings to the big screen in a big way.  Jackson was up until that time known as a schlock horror filmmaker, with titles like Bad Taste (1987), Meet the Feebles (1989) and Dead Alive (1992) to his name.  A sudden shift to drama with the critically acclaimed Heavenly Creatures (1994) helped to give him some attention outside his native country, including earning a Oscar nomination for his screenplay, which he co-wrote with his wife Fran Walsh.  It was after the warm reception to Heavenly Creatures that Jackson decided to pitch his dream project of adapting The Lord of the Rings to all the Hollywood studios.  Eventually, he was granted a development greenlight with Miramax Studios, under the tyrannical eye of future disgraced producer Harvey Weinstein.  At the time, knowing that it would take several years to refine the final script and get all the effects up to the level that he needed, Peter Jackson worked on another film called The Frighteners (1996), using it as a test run of sorts for the CGI and practical effects that he would need for The Lord of the Rings.  Afterwards, it was full steam ahead.  But before the movie could enter it’s final stages of development, namely casting and location prep, Miramax decided to abandon their involvement in the film.  Though disheartened, Jackson nevertheless didn’t give up and he was allowed to shop the project somewhere else.  Eventually, it found a home at New Line Cinema, the studio behind Freddy Kruger and Austin Powers.  Initially, the movie was planned as a two picture deal, but New Line had a different idea.  The simply told Peter Jackson this: there are three books that make up The Lord of the Rings; why not make three movies?  It was music to Peter Jackson’s ears, and his dream project was now becoming a reality, with the creative freedom to devote an entire film to each of Tolkien’s books.  Three films filmed together over an 18 month period was unprecedented, and a huge gamble for both New Line and Peter Jackson.  But, as we would soon see, it would be a movie series that would change cinema forever, and is still regarded as a landmark 20 years later.

THE LORD OF THE RINGS: THE FELLOWSHIP OF THE RING (2001)

Looking over the trilogy as a whole, it’s important to examine how crucial the first chapter in the series was to everything that followed.  It should be noted that The Lord of the Rings is in fact a sequel to Tolkien’s The Hobbit; a sequel that is 5 times the length of it’s predecessor and took Tolkien 19 years to complete.  It’s a mammoth story, and one that needs the proper context.  Remarkably, Peter Jackson created his Lord of the Rings without the context of a Hobbit to support it (at least initially).  This was going to be our first foray into Middle Earth and for Peter Jackson, the crucial thing that he had to get right from the very first start was the world-building in his film.  One of the brilliant choices on Jackson’s part was to rethink the whole idea of how to film a fantasy narrative for the big screen.  Fantasy films were nothing new to cinema, but many of them were too cheesy and/or obtuse to ever be considered serious cinema.  Jackson on the other hand decided to do away with the camp that defined the genre and instead took inspiration from historical epics like Spartacus (1960), Lawrence of Arabia (1962), and Zulu (1964).  In his vision, they were filming The Lord of the Rings like they were recreating history, treating their fabricated sets and props like they were on real locations with real swords and armor.  That was the approach that he set out to uphold through all three films, and nowhere was it more important that with the first film in the series, The Fellowship of the Ring.  From the pivotal opening prologue that sets the stage and onward Peter Jackson takes the audience on a journey, putting them in the middle of a living, breathing Middle Earth.  Utilizing the amazing craftsmanship of his crew at the in-house Weta Workshop, Jackson was able to create everything he needed to give his Middle Earth a lived in feel.  And to capture the grandiose expanse of Tolkien’s world, he didn’t have to look any further than his own native soil, with New Zealand providing every picturesque location he needed.  The Lord of the RIngs would set a new high bar for world-building that would define the next 20 years of cinema.

But, on top of establishing it’s world in such a remarkable way, The Fellowship of the Ring also put the series on solid footing with it’s introduction to the cast of characters.  Just as crucial to the series as the work put into creating a believable Middle Earth was finding the right people to play these iconic characters from the novel.  And in this regard, the movie managed to aim high and still get the perfect choices for each role.  In particular, getting the titular Fellowship was pivotal for the movie’s overall success.  Former child actors Elijah Wood and Sean Astin, now in their twenties, landed the highly coveted parts of Frodo Baggins and Samwise Gamgee, the trilogy’s most pivotal set of companions.  Iconic Shakespearean actor Ian McKellan was a natural choice for Gandalf the Wizard.  Fresh faced character actors Dominic Monaghan and Billy Boyd were cast as the affable duo of hobbits, Merry and Pippin.  Soon to be heartthrob Orlando Bloom became the elf warrior Legolas.  Renowned character actors John Rhys-Davies and Sean Bean stepped into the parts of Gimli the Dwarf and Boromir the Gondorian knight.  Unfortunately, due to creative struggles, the crucial part of Aragorn, the exiled heir to the throne of Gondor, had to be recast at the last minute.  To the relief of everyone, actor Viggo Mortensen not only stepped in on short notice, but hit the ground running once he was there.  Couple this with a supporting cast that included heavyweights like Ian Holm, Liv Tyler, Hugo Weaving, Christopher Lee, and Cate Blanchett, and you have one of the most astonishing casts ever assembled.  Even with big names like these, the movie still puts the world of Middle Earth front and center, taking us from the simple beauty of the Shire, through the majesty of Rivendell, down the perilous passages of the mines of Moria, and onward to the dark realm of Mordor.  And at no point does the movie take you out of it’s firmly established world.  Peter Jackson succeeded immensely at his goal of making the audience believe that Middle Earth was real and that the characters that inhabit it were worthy enough to follow along on this journey.  And with the foundation firmly established in this first chapter, Jackson had to confidence to continue building more with the remainder of the story.

THE LORD OF THE RINGS: THE TWO TOWERS (2002)

The Fellowship of the Ring became an overwhelming success, even in the face of direct competition from another high profile fantasy series released only a few weeks earlier; Harry Potter and the Sorcerer’s Stone (2001).  It even earned an unexpected Best Picture nomination from the Oscars, while at the same time snagging a few technical award wins in the process.  But, it was only the first part of a three movie arc.  In some ways, the second film, The Two Towers, was going to always be the trickiest movie in the trilogy to get right.  Like most middle chapters, it’s a story without a beginning or an end.  It’s sole purpose is to keep the story moving while at the same time raising the stakes.  So, how does Peter Jackson make this middle chapter stand on it’s own?  For one thing, he had to find the core of what the story needed to be for this section overall narrative.  And not only that, he had to find it while cutting back and forth between two different parallel plot threads.  In one, we continue with Frodo and Sam, after they have broken away from the Fellowship to continue onto the realm of Mordor alone in order to destroy the “One Ring,” the ultimate evil weapon in all of Middle Earth.  The other, we follow Aragorn, Gimli and Legolas as they search for the kidnapped Merry and Pippin, and find themselves in the Kingdom of Rohan, a horse based society that roams vast open fields of prairie.  Within Rohan, we are introduced to a new set of pivotal characters, including the noble King Theoden (Bernard Hill), and his niece and nephew, Eowyn (Miranda Otto) and Eomer (Karl Urban), and a re-awakened purpose begins to bloom in Aragorn as he realizes that Rohan needs help to defend itself.  Saraman the White Wizard (Christopher Lee) is acting on the orders of the Dark Lord Sauron, the true owner of the One Ring, and is amassing an army of specially bred monsters known as Urak-hai.  With eyes set on Rohan, Saraman’s army pits our heroes in an almost unwinnable situation.

Here, Peter Jackson finds the conflict that defines the narrative of The Two Towers  and helps to set it apart.  The movie culminates in a grand, epic battle scene at the fortress of Helm’s Deep.  It’s here that we find the influence that Peter Jackson drew from historical epics of the past come to full fruition.  The Battle of Helm’s Deep is a master class of build-up and payoff in staging a cinematic battle scene.  It’s huge in scale, and yet we never feel lost or overwhelmed, as the human conflict remains primarily in focus.  And all the tricks of the trade that Jackson and his team refined over the years with practical and visual effects are fully utilized throughout the more than 40 minute battle sequence.  Creating the setting of Helm’s Deep itself, which was accomplished through a combination of full sized sets and scale models, is particularly impressive.  But, if the movie had an even more groundbreaking accomplishment than Helm’s Deep, it’s something (or someone) introduced in the Frodo and Sam story thread.  After being lost in the mountains, the two hobbits encounter another character out to capture the ring for himself; the miserable creature Gollum (played by Andy Serkis).  Gollum, an entirely CGI animated character, is a remarkable creation, and became a groundbreaking advancement in computer animation.  Never before had it been possible for an entirely computer animated character to coexist alongside live action actors and feel genuinely authentic and capable of delivering a dramatic performance.  But with Gollum, the team at Weta Digital managed to do the impossible and turn Gollum into a character that felt shockingly real.  It helped that Andy Serkis, who was initially just hired to do the voice, provided motion capture reference for the animators to work with, including several scenes where he was on set interacting directly with the other actors.  It’s a tour de force performance that carries through right into the final digital model.  One scene in particular, where the dual identities of Gollum and Smeagol carry on a back and forth conversation is an especially memorable highlight.  With the groundbreaking work on Gollum and the raised stakes established in the Battle of Helm’s Deep, Peter Jackson not only made The Two Towers stand on it’s own as a movie, but he possibly maybe even made the most impressive film in the entire trilogy, from an execution standpoint.

THE LORD OF THE RINGS: THE RETURN OF THE KING (2003)

Of course, the only reason why you make The Fellowship of the Ring and The Two Towers is so you can get to The Return of the King; the climatic finale to Tolkien’s monumental work.  And if you look at cinematic inspiration manifested through the trilogy so far, with Peter Jackson channeling David Lean a bit with Fellowship and John Ford a bit with Two Towers, it’s obvious that with Return of the King that he’s going full blown Cecil B. DeMille.  The Return of the King is biblical in it’s epic grandeur.  Here, Jackson knew that he had to bring everything to the table in his epic final chapter, and that meant utilizing every he and his crew learned up to this point.  Leaving the wildness of the Kingdom of Rohan behind, our characters journey forth into the mighty Kingdom of Gondor, and it’s great white seat of power, Minas Tirith, the city of Kings.  Minas Tirith was no doubt designed to be the grandest location in the entire trilogy, and most of the final film is set there, with an epic battle taking place outside it’s mighty walls.  The Battle of Helm’s Deep was a brutal intimate affair in comparison to the immensity of the Battle of Pelannor Fields.  And again, Peter Jackson masterfully never loses sight of the human story taking place amongst the mayhem of the battle.  In particular, like all great epic movies that have been building up to something, this movie has bucket loads of moments that make audiences stand up and cheer.  There’s the Riders of Rohan charging the battlefield; there’s Aragorn arriving with the army of the dead; there’s Legolas taking down a giant elephant (or Mumakil as they are known in Middle Earth) by himself; and of course Eowyn, who entered discreetly into the Rohan army, slaying the Witch King, who legends say “no man could kill.”  More than anything, this is what drove so many epic filmmakers to want to bring this story to the screen for so long; to create a scene of this scale and magnitude come to life.  Really, only the biggest possible screens available can do this segment of the movie justice.

But, the Battle of the Pelannor Fields sequence only matters if everything else around it still manages to be engaging.  And Peter Jackson manages to stick the landing for the most part.  The emotional core of Frodo and Sam’s journey into darkness as they head deep into Mordor and up the slopes of Mount Doom where the ring was originally forged.  Even though it’s a simple story thread in comparison to what’s happening on the outskirts, it probably packs the biggest emotional wallop of any part of the trilogy.  Elijah Wood in particular perfectly encapsulates the deteriorating state of Frodo both physically and mentally, as being the Ringbearer takes it’s toll on him.  Likewise, Sean Astin does a remarkable job of conveying the limitless sense of loyalty that Sam devotes to Frodo.  The scene where Sam lifts Frodo onto his back after they’ve reached a breaking point, declaring “I can’t carry the ring for you Mister Frodo, but I can carry you,” is one of those cinematic moments that’ll make grown men cry in a theater, along with most everyone else.  And it leads to the climatic end that we’ve waited two and a half films for; the destruction of the ring and the triumph over evil.  Even here, Peter Jackson keeps upping the ante of epic grandeur, with the destruction of Sauron and Mordor taking on Biblical proportions.  Beyond that, a protracted denouement concludes the trilogy.  Some have complained that it’s too many endings, but when you see it as finale to a three film narrative arc, the lengthy epilogue makes a lot more sense.  It is particularly refreshing to see Peter Jackson stick closely to Tolkien’s final chapters, including the very final words spoken, “Well, I’m home.”  It’s a simple, innocuous statement given the story that preceded it, but it’s a sentiment that mattered a lot to Tolkien himself.  J.R.R. Tolkien went through hell when he fought in the trenches of the First World War, losing friends along the way.  For him, the feeling of returning home through all that trauma was a very profound thing for him, and it’s something he carried throughout his life.  For him, home was life, and recognizing the value of what it meant to go back home is what propelled him to fight harder for the things he loves.  That, in essence is what the story of The Lord of the Rings is all about; finding the will to live, and fighting to make your way home.  For all of us, we must make our own ventures into Mordor if we are ever to come home to the Shire.  And that’s why Jackson knew it was the perfect note to close out his epic trilogy on.

There really is no other way to look at the entirety of The Lord of the Rings trilogy than to see it as one of the greatest cinematic success stories of all time.  Not since Star Wars had a movie franchise captured the imagination of audiences so immensely and changed the face of cinema as a result.  It removed the stigma that surrounded the fantasy genre in Hollywood; so much so that The Return of the King made history as the first fantasy film to ever win the Best Picture Academy Award, along with tying Ben-Hur (1959) and Titanic (1997) for the most awards won in a single night, with 11 in total.  Even twenty years after it first launched, The Lord of the Rings is still the high water mark for fantasy in Hollywood, and even a highly influential benchmark in epic filmmaking in general.  You can see it’s footprints even in something like Avengers: Endgame (2019), particularly with the staging of it’s battle scene.  There was even a brief proliferation of new fantasy franchises that sprung up in the wake of The Lord of the Rings, though few managed to make it past a single film.  Tolkien’s contemporary C.S. Lewis and his Narnia series almost came close to capturing the same success, but it unfortunately ran out of steam after three films in a planned seven story arc.  Though The Lord of the Rings stood spectacularly on it’s own, there was demand for many years for Peter Jackson to return to Middle Earth with an adaptation of The Hobbit, which did eventually happen, but that’s a story worthy of it’s own article.  Looking back on The Lord of the Rings trilogy as it marks 20 years since it’s beginning, I can tell you personally that this trilogy had a profound effect on me.  I had already begun to get interested in filmmaking at that point, as I was entering my college years at the time, and the trilogy became a flash point moment in re-affirming my dream to be a part of the movies.  The movies themselves were glorious experiences, but what I loved the most was the fact that Peter Jackson went out of his way to document the process with which he made these movies.  The Collectors Editions of the trilogy that were released on DVD are remarkable for the breadth of their behind the scenes supplements.  Many have commented that they are essentially a film school in a box, and it’s easy to see why.  From concept, to script, to principle photography, to final edit, every step of the films’ making are chronicled in these DVD box sets.  It makes you wonder how many filmmakers of this generation were inspired just by pouring through all the features on those sets.  Peter Jackson changed cinema forever by breaking down the conventions of genre, sparing no expense, and also by providing a compelling window into the process itself after we see the final films.  The Lord of the Rings not only does justice to Tolkien’s monumental work, but it also stands as a shining example of filmmaking at it’s absolute peak.  It’s a trilogy that really is worth going “there and back again.”

Cinematic Resurrection – The Remarkable Resilience of the Theater Experience in the Era of Covid

You rarely see it in a period of time where new advances in technology are rapidly having an affect on how we live our lives.  In the same way that streaming brought about an abrupt end to the video rental market, many entertainment analysts believed that the theatrical experience itself would also see a decline over time, as on demand entertainment would soon become the norm.  It sure looked like that was a possibility.  With Netflix and Amazon’s rapid rise over the last decade, and the soon to happen launch of streaming services by some of Hollywood’s top studios, the turn of the last decade seemed to mark a turning point for entertainment, where movie theaters no longer stood out as the primary place to premiere a new film.  And then of course came the perfect storm that nearly brought the theatrical industry to the brink of extinction.  The Covid-19 pandemic of 2020 forced the closures of movie theaters across the world, leading to an unprecedented halt on film exhibition.  Movies, including ones that were months away from their planned release, were moved off the calendar with no sign of when they might be able to finally be seen.  In the meantime, movie studios with their newly launched streaming platforms were finding it crucial to unload the burden onto these new services to provide entertainment for audiences who were now stuck at home.  With theaters unable to operate, and streaming now able to grow without competition, it looked as if this might be the nail in the coffin for a century old industry that had long faced competition only to see themselves evolve into something better and stronger.  But, as the shadow of Covid is beginning to finally fade, we are seeing something truly remarkable happening, and that’s a surprisingly resilient theater industry crawling ever so carefully out of it’s hole.  And it makes everyone wonder, are movie theaters really destined for irrelevance or are they a much stronger part of the culture than we ever thought.

The story of movie theaters enduring through it’s most trying challenge during this pandemic has taken a surprising turn in the last couple weeks.  Disney, with their popular brand Marvel, undertook what they considered an “experiment” to see if one of their movies could perform well enough without the help of a streaming option.  With the Delta Covid variant causing problems across the country, this seemed like a tricky gamble.  Also, the movie they were testing the waters on was based on a lesser known comic book character named Shang-Chi; not exactly a household name.  Sure, he’s part of the extensive Marvel family, but Shang-Chi has no where near the following that an Iron Man or Captain America has.  Essentially, he was going to have to perform solely based on the strength of the Marvel brand itself.  But, it’s a gamble that remarkably paid off in the end.  Shang-Chi and the Legend of the Ten Rings not only broke records for it’s Labor Day weekend premiere, it shattered them.  The movie pulled in $95 million over the four day weekend, and it’s three day total was only slightly behind that of Black Widow for the highest opening of the year; a movie that featured a pre-established Marvel icon with a strong following.  Surely, the Marvel branding helped to carry Shang-Chi to a strong opening, but at the same time, it also proved something else, especially in the weeks that followed.  After it’s strong opening, Shang-Chi continued to hold onto it’s audience, dropping only 50% in it’s second week, and is on track to out gross Black Widow by the end of it’s run.  This, more than anything, proves the inefficacy of the hybrid release model, as a pure exclusive theatrical window allows for a stronger audience hold over time.  This is also something that Disney observed with it’s 20th Century Studios release, Free Guy starring Ryan Reynolds.  Before Shang-Chi, Free Guy had been the box office champ 3 weeks running, and it managed to also cross the $100 million mark which is especially good for a movie made on a more modest budget than what Marvel is putting out.  As a result of both Shang-Chi’s and Free Guy’s remarkable success, Disney made the crucial choice of sticking with exclusive theatrical windows for the remainder of the year.

This news was a dream come true for the beleaguered theater industry.  The largest studio in Hollywood was abandoning the bet hedging practice of releasing day and date on streaming and in theaters, and was committing to an exclusive, albeit shortened, theatrical first strategy.  One can speculate that Disney’s premium Premiere Access was not performing as well as they had hoped, but as outsiders, there’s nothing we can prove with that being the case.  Disney’s keeping their internal numbers regarding streaming a very closely guarded secret, and they’ve only released total grosses from their $30 access fee publicly on opening weekends, with the hopes that it might help with the overall positive press with the movie.  But, after that, we don’t know exactly what the movie makes.  My educated guess is that even though the movie might do well on opening weekend, it’s following weekend grosses probably see a huge drop off.  And that’s probably because once someone buys the access to watch a movie like Black Widow, they basically own that movie after that point, so Disney no longer is making any more money on that single customer.  Movie theaters on the other hand has something that works well to their advantage and that’s repeat business.  Because people are paying for the experience of watching a movie in a theater and not just to own the movie outright, it opens the door for people to return again if they desire to view the movie again.  That repeat business helps to keep movies performing strong week after week.  What I imagine is that Disney saw that they weren’t making the same kind of long term money on their Premiere Access as they were keeping the movie in the theaters.  And a big sign of that is in how Black Widow lost 70% of it’s audience from week one to week two, while Shang-Chi managed to lose only 50%.  Yes, they do keep 100% of the profit from streaming, but they lose out on future gains that can accumulate through word of mouth.  That’s what they’ve observed over the last week, and it’s why Disney made the monumental choice to move away from that hybrid model.

With Disney committing to theatrical, it suddenly puts pressure on other studios to do the same, and some studios perhaps jumped the gun a little in response to the ongoing uncertainty in the theatrical market.  Only a couple weeks prior, Paramount made a bunch of drastic moves.  They took their family friendly comedy Clifford the Big Red Dog off it’s September release date and has not found a replacement date yet.  And after that, they moved two high profile Tom Cruise vehicles, Top Gun: Maverick and the next Mission: Impossible sequel and moved them months away from their intended dates; a big blow for Top Gun: Maverick as it already saw a year long delay from 2020.  Universal likewise changed it’s release strategy for the upcoming Halloween Kills release in October, choosing to put it on both it’s streaming service Peacock and in theaters at the same time.  And Warner Brothers, like they have all year, are continuing to release their entire 2021 slate of movies in theaters and on their streaming service HBO Max for no extra charge; a move that has irked many of their stable of filmmakers like Christopher Nolan and Denis Villenueve.  The only other major studio to follow Disney’s theatrical only lead has been Sony (the only major studio without a streaming platform).  In fact, they doubled down on theatrical after the other studios began to hedge their bets.  Both of their big upcoming franchise films, Venom: Let There Be Carnage and Ghostbusters: Afterlife moved up their release instead of delaying them, and most tellingly, they did so after the successful launch of Shang-Chi.  Clearly Sony saw the same promising numbers that Disney saw, and they decided that it was better to give theaters the exclusive window for the first month, instead of selling off their titles to Netflix like they have been doing.  So at this point, the movie studios are suddenly seeing their worst fears about the theatrical market not coming to fruition, and it’s leading to some second guessing.  This in particular is leading to some flare up confrontations between studios and talent, as these drastic, panicky moves have negatively affected already pre-standing contracts.  Christopher Nolan in fact has parted ways with Warner Brothers after a 20 year relationship, as he’s now setting up his next film at Universal instead.  It’s really interesting to see the dynamic flip so much on the industry in such a short amount of time, with movie theaters now back in a more dynamic power position, while the studios are struggling to figure out their next moves.

That being said, movie theaters themselves are not entirely out of the woods yet.  The pandemic is still going on, with some parts of the United States seeing the worst flare up they’ve experienced so far.  What’s helping keep the movie theaters from reaching the point of worry now is the fact that the two biggest markets (New York and Los Angeles) are experiencing a relative low rate of spread of the virus compared to other parts of the country, and that’s due to higher vaccination rates in those areas.  Certainly, there is still a lot of worry in those large cities, and they are taking drastic measures like mask mandates and proof of vaccine requirements, but overall it’s allowing businesses to function as close to normal as they possibly can.  Movie theaters in particular are following the guidelines set, and they have been able to operate throughout the summer without leading to any significant outbreaks.  I can say from first hand, even the packed out screenings of big films has all of the audiences members respecting the mandates here in the Los Angeles area where I live, and that has been a big contributor in seeing the confidence build back up for the theatrical industry.  If Los Angeles and New York manage to keep another disastrous spike happen again, the threat of another shutdown is almost assuredly behind us.  Even still, closures anywhere are still a lingering threat, especially in the parts of the country that are really hurting right now.  There’s also concerns about what effect vaccine mandates might have on future theater attendance.  In the coming weeks, Los Angeles County will soon be requiring proof of vaccination upon entry into many indoor establishments, including theaters.  Some see this as a bad thing because of how it might turn away audiences who refuse to be vaccinated.  On the other hand, some argue that requiring proof of vaccination may help bring more people back to the theater who have been hesitant before, because it will make them feel safe knowing that everyone around them has also been vaccinated.  So, even though movie theaters have seen promising developments over the last few weeks, the storm hasn’t cleared out of the way just yet.

Even still, with movie theaters doing the kind of business they’ve seen at all this summer is something pretty miraculous.  Going into the new year, it seemed like Armageddon was on the horizon for the theatrical industry.  Many chains, including the biggest of them all (AMC) was too far into debt to recoup, and in many cases, a few of them closed for good.  AMC still operates today solely due to the intervention of meme stocks forced higher through Reddit.  But even in the face of that, it took a lot of hope to believe that audiences would come back after having to rely on streaming for their entertainment over the last year.  Did streaming claim a foothold too strong for theaters to overcome in order to return to normal?  As evidenced by what we’ve seen in the last month, streaming in fact did not kill the theatrical market for good.  As some of us already know, and what more are probably realizing more and more each day, there really is no substitute for the theater experience.  No matter how big and impressive your home theater set up is, it can not replicate the experience of watching a movie in an actual movie theater.  What I’ve really noticed in the difference is the way a movie sounds in a theater.  A home theater 7.1 system just does not have the same oomph that a nearly 25 speaker set up in a cinema has.  It’s the immersion that makes all the difference.  Movie theater sound just puts you in the middle of the movie better than it does at home.  And of course, the bigger the screen the better.  I’m sure there is not a single home theater that captures the immensity of an IMAX image.  Big movies need to be seen in a big way.  I for one have always known that and during the past year I went to great lengths to enjoy movies the way they were meant to be enjoyed.  I sought out the only operating Drive-In theaters in the Los Angeles area and drove back and forth almost weekly to these venues that were well outside of town.  I even drove 120 miles to San Diego just so I could see Christopher Nolan’s Tenet in a theater, because it was the closest one open that was playing it in IMAX.  These are the lengths one will go to for that theater experience, and I know my case is on the exceptional side.  But, what I am pleased to see is that more and more people who don’t typically go to the theaters are also realizing that special connection too.

What people are beginning to realize now is just how much they took the theater experience for granted.  For a lot of people, returning to the movies has in some way become an almost healing experience.  The psychological effect of the past year has created an appetite for many people to have something in their lives that helps remind them of life before things began falling apart.  In a way, movie theaters are the beneficiaries of that effect.  After being holed up in their homes for months and in some cases over a year, people want to be outdoors again, as well as return to activities that require them to leave their homes.  With the vaccines and mask mandates helping to slow the spread, and making the weary feel more safe as they exit their homes, we are seeing more vigorous enthusiasm for wanting to get back to the things that we’ve missed out on in the last year.  This is why movie theaters might have a bright future, at least for a while.  It reminds audiences of better times, when it didn’t seem like the world was falling apart.  The act of going out to a movie theater, or any establishment outside the home, has a therapeutic effect now; like it’s a reward for having to endure the hardships that it took to get to this moment.  One thing I wonder is how streaming will be viewed in the years to come post-pandemic.  I’m sure that it will still be robust, but the rapid growth they saw during the pandemic will likely never be seen again, and in some ways, people might turn away from streaming viewership because it will remind them of the worst days of their life as they endured the uncertainty of the year 2020.  It’s probably going to be a small effect, but I think the psychological impact of how we endured through the pandemic year will in some ways be reflected in the way we chose to experience film in the years ahead.  One thing that I do believe is driving the renewed love of going back to the theaters is the realization for many people that a shared communal experience with an audience is an indispensable part of watching a movie.  The joys of cinema are in being able to laugh, cry, and cheer together with other people, including strangers, because we are a social species, and going out to the movies is one of the best ways we can experience that joy together.  This pandemic forced us apart; it’s cinema that is helping us to come back together and in turn, helping us to heal.

A lot of these positive signs are, of course, just an immediate observation.  It’s hard to say what lasting effect it will have on the long term future of cinema.  We certainly are no where near where we were pre-pandemic, as 2019 was a record breaking year for the box office.  We’ll probably never in our lifetimes see something like the fall off that box office took in the year 2020; going from an all time high in the year before to a near flatline thereafter.  2021’s box office is still stunted, but it is heading in the right direction, with Shang-Chi becoming the first movie in over a year in a half being able to perform like a movie without roadblocks, even in the face of a lingering pandemic.  One thing that the pandemic gave us in the meantime was perspective.  We began to realize just how valuable the theatrical experience was to us in our culture.  We don’t just watch the movies, we experience them, and that experience shouldn’t be done alone.  I think that after a hundred years of the silver screen, the need to go out to the movies is just embedded in our DNA now.  Sure, it’s going to take time for many people to feel safe and confident in a theater again, and streaming will undoubtedly be an ever present force in entertainment from here out.  But, movie theaters, through all the hardship, are still open and they are still seeing healthy amounts of business.  In time, we may actually see a theatrical market that looks almost normal and back to it’s pre-pandemic levels again.  Movie theaters have had to face many calamities over time; the Depression, the War, civil unrest, the aftermath of the 9/11 terror attacks, not to mention the existential threat television, home video and ultimately streaming.  And yet, despite all these obstacles thrown their way, they’ve managed to survive and thrive.  Covid was it’s greatest challenge yet; a force so destructive  it that prevented any business from happening, and nearly forced the complete disintegration of the industry as a whole.  So, if it could survive that, it might be able to survive any calamity.  Like I said before, people are a social species, and our desire is to share a collective experience as a group.  Movie theaters, with their abundance in neighborhoods across the globe and relatively economical entry fee compared to other forms of entertainment, are the best places for communities to gather together and enjoy the bonds of joy that entertainment brings to us.  And after an experience like the Covid-19 pandemic, it something that we need more than ever to help heal the wounded world that was broken apart over the last year.

Never Forget – Processing the Legacy of 9/11 Through 20 Years of Cinema

There are points in history where the world looks back and recalls where they were exactly when it happened.  As time goes on, the memory of those days recede into legend as past generations begin to leave us, and the only connection that we have left are the stories left behind.  Even still, the one thing that these moments in time have in common is the suddenness in which they occurred and the scars that result from the aftermath.  One such day was September 11, 2001.  It’s a day that still is etched deeply in the collective trauma of those who experienced it, either first hand or through the nationwide shock of what occurred.  Like many other days like it, it seemed like a normal, everyday morning.  It was a beautiful, quiet day for most of us.  But in the early morning, that all began to change.  At 8:46am on the southern tip of the island of Manhattan, an American Airlines flight bound for Los Angeles crashed into the upper floors of the North tower of the World Trade Center.  Believed to be a tragic accident at first, the response from first responders was swift but routine.  Then, at 9:03am, the unthinkable happened.  Another plane bound for Los Angeles flew right into the middle of the neighboring South tower.  A mere 34 minutes later, another jet crashed into the south end of the Pentagon.  And at this point, the world knew this was no accident.  America was under attack.  Only a few minutes later, New Yorkers witnessed the unthinkable as the South Tower buckled and collapsed, bringing all 110 floors crashing to the streets below.  The North Tower followed soon after, only 100 minutes after the plane hit.  News also broke that a fourth hijacked plane, United 93, had plummeted out of the sky in rural Pennsylvania, with it’s intended target (the US Capitol) never being reached.  And as many Americans began waking up that morning, they would soon learn that the world they knew would never be the same.

That was the reality of September 11, 2001.  An efficiently coordinated act of terrorism conducted by the terror group Al-Qaeda and it’s mastermind Osama Bin Laden.  And as we would learn, it was only the beginning of massive changes for not just the United States but also for the entire world.  For New Yorkers, they were left with unimaginable trauma after witnessing the iconic Twin Towers be erased from the Manhattan skyline forever.  As the smoke cloud receded, the true scope of the damage was revealed.  A gaping hole where the towers once stood mightily over the Financial District of Lower Manhattan now was a mangled pile of debris.  It would take many months for all of the debris to be cleared in what effectively became the largest crime scene in world history.  After the shock of the event, the question soon became what do we do now.  Mourning soon gave way to retribution, as our leaders promised to bring down those who committed this terrible act.  Sadly, the sense of unity that the tragedy brought in it’s immediate aftermath soon gave way to division, as the run-up to war soon became a political hot button issue.  This likewise led to a widespread rise in Islamophobia across the country and the world, as everyday Muslim Americans, who have no connection whatsoever to the terrorist groups that actually committed the attack, were suddenly viewed as suspect.  And that is a scar that still lives with us today, even as we are now almost a generation removed from the events.  People with their own agendas likewise began spreading disinformation about what they believe really happened on 9/11, and this led to a rise in a conspiracy theory culture, which in turn has evolved into a monster of it’s own that caused a bungled response to a global pandemic.  The mantra after the events of 9/11 would soon become “Never Forget,” and though we still honor the lives that were lost on that sad day, 20 years out we must look back and wonder what lessons we exactly took from 9/11, and whether or not we lost a part of ourselves in the process of coping with the tragedy, as political division, distrust in institutions, diminished global presence after costly wars, and a rise in nationalism and bigotry have come as a result of the tragedy.

Like many other earth-shattering events that have marked to progression of human history, a large part of how we process the impact of those events is through storytelling.  Because 9/11 is still so fresh in people’s minds, and was so widely covered by the media as it happened, we have an endless supply of first hand accounts of what that day was like for everyone.  And as we move further away in time, these artifacts of first hand accounts will tell the story of 9/11 for future generations.  But the interesting thing that will likely define the decades ahead is what stories are we going to be telling about that day as more and more of us who remember it are no longer around.  Specifically, what will it be like as we dramatize 9/11 in future media.  Because so many Americans still live with the memory of living through that day, it becomes hard to distill 9/11 into a narrative that effectively puts it into perspective.  That’s why we have so few movies that address the events head on.  It’s hard to put people in the middle of the events again because for many, it’s a wound that still hurts.  That’s not to say that there haven’t been attempts at it.  The range of media related to 9/11 in the last twenty years have included documentaries (lots of those), narrative films, stage plays and even a Broadway musical (Come From Away), and the way that they address the events either falls into direct confrontation or periphery side stories.  Overall, it’s interesting to see just how different we have processed the trauma of 9/11 in different forms of media, and how that has been contrary to other earth-shattering events like it.  In particular, the movies of the 9/11 era have been an interesting assemblage over these last 20 years, and depending on who is making them and for what reason, you begin to see just how complicated the lasting discussion over the events of 9/11 has been.

For perspective, 9/11 is not the first tragedy to have been dramatized by Hollywood over the years.  If it’s a headlines grabbing tragedy, there will almost certainly be a movie in it’s future.  Two tragedies in particular over the last century of film have been especially impactful.  First, there is the sinking of the Titanic in 1912.  Even with cinema in it’s infancy, the trauma of that colossal tragedy was encapsulated on film, with filmmakers using the tools of their trade at the time (including early animation and models) to recreate what happened that fateful night.  In the years that followed, movies began to look at the events of the Titanic’s sinking as a backdrop for their own original stories.  This included a fateful reveal in the Oscar-winning Cavalcade (1933), as well as an epic scale recreations in A Night to Remember (1947) and Titanic (1953).  As the generations that followed began to grow more distant from the sinking of the Titanic, the connection to that trauma also disappeared.  Upon the discovery of the wreckage of the Titanic as the bottom of the ocean, the tragedy took on a new phase, as legend etched in our collective history.  This inevitably led to James Cameron’s behemoth Titanic (1997) which redefined cinema itself.  And within it, we saw the interesting transformation of a tragedy turned into a backdrop for a epic romance.  There’s nothing wrong with that angle in storytelling, but it’s something that probably would only have been acceptable after so much time has passed in-between.  The same progression also has followed the aftermath of the attack on Pearl Harbor.  Unlike the Titanic, there were plenty of cameras rolling on that day, capturing the horrors of that day for everyone to see.  But, it too also saw many film dramatizations in the decades that followed.  It inspired it’s own epic romance with From Here to Eternity (1953), though the attack is used mostly as a starting point for the story.  There were other interesting film adaptations that tried to put the attack on Pearl Harbor into perspective, like In Harm’s Way (1963) and Tora, Tora, Tora (1970) which took a both side dramatization of the events from both the American perspective and the Japanese.  But, as Hollywood would learn, not all tragedies can be mined for entertainment so easily.  Made in response to the success of Titanic, Michael Bay’s Pearl Harbor (2001) tried and failed to inject the events of that fateful day into an epic romance narrative.  It’s interesting to see how the passage of time changes the way that we observe these tragic events and how real life trauma eventually molds into popular entertainment the further away we are from the immediate impact.

The same thing may hold true for the events of 9/11, but even 20 years out, we have yet to actually reach that point.  Most movies made over the last two decades in relation to 9/11 have been more geared to the fallout of the tragedy and less towards actually recreating the day itself.  There were a couple attempts though to do so, which surprisingly happened very early on.  Upon marking the 5th anniversary of the events in 2006, two major movie studios had 9/11 themed films that centered around the actual events that took place.  From Universal Studios, we got the movie United 93 (2006), directed by Paul Greengrass, and from Paramount we got World Trade Center (2006), directed by Oliver Stone.  Both films attempted to tell the story of two different occurrences that happened that day.  United 93 of course tells the story of the fateful flight that didn’t reach it’s ultimate target.  Through his cinema verite style, Greengrass puts the viewer there inside the plane itself as the events unfold.  We watch as the terrorists take over the plane and we see the way that the heroic passengers took it upon themselves to fight back and ultimately sacrifice themselves to thwart the terrorists from reaching their goal.  In addition, Greengrass also details the goings-on from ground control, with some FAA officials even cast as themselves, recreating their own experiences from that day.  It’s actually a really interesting dramatization of the event that does the best it can to put the viewer into the mindset of those who lived through the tragedy.  Oliver Stone’s World Trade Center, by contrast, is a bit more conventional Hollywood with a more substantial budget for visual effects and movie stars.  Even still, the story it does tell is a fascinating one of survival, as it’s about two first responder firefighters (played by Nicholas Cage and Michael Pena) who managed to survive the collapse of the towers and were pulled out of the rubble days later, broken but still living.  It’s interesting that Stone chose to tell this kind of story, given his proclivity for conspiracy theories, but my guess is that it was more about honoring those heroes on that day and less about defining one’s own agenda in the narrative.  To date, apart from multiple TV movies (including ones that lionize then President Bush and New York Mayor Rudy Giuliani that have not aged well in retrospect) these are the only films from Hollywood that actually puts the viewer into the middle of the events of that day.  Apart from that, 9/11 has largely been addressed through indirect reflection.

Perhaps it’s because the trauma of that day is still too raw for some people that we haven’t seen too many movies recreating the events of 9/11.  One interesting outcome that came about in the aftermath of 9/11 was how Hollywood quickly had to adjust in the aftermath.  A movie trailer for the then upcoming Spider-Man (2002) had to be pulled from theaters because it included a moment where a helicopter was dangling in a web strung in between the Twin Towers; which of course was no where to be seen in the final film as well.  Other movies released during that time, like Ben Stiller’s Zoolander (2001), had to quickly scrub out any image of the World Trade Center in the background, in some cases digitally.  The events also created a disruption in the world of entertainment that saw a halt in production for weeks across the industry, and even the shut down of theaters on Broadway for a few months.  But, as time went on, the healing began and before we knew it, life was mostly back to normal.  But, as we processed the way that the world changed in the days after 9/11, it began to manifest itself in the stories that we were telling about society in general.  Spike Lee for instance addressed the impact of the terror attack on his beloved New York City in a protracted rant delivered by Edward Norton in the movie 25th Hour (2002), which really spells out the indignant rage that many people in the city felt about the senselessness of what happened.  The war on terror that followed the attacks also have contributed a cinematic documentation of a post-9/11 world.  In particular, the films of Kathryn Bigelow really delved into the effect of a world changed by terrorism in the last 20 years, with her Oscar-winning The Hurt Locker (2009) and Zero Dark Thirty (2012) which dramatized the long in the making manhunt for Osama Bin Laden, with his eventual execution at the hands of Seal Team Six, ten years after the attacks.  While these movies don’t tackle the events head-on, they nevertheless tell us how the country and the world began to cope with the pain of those events in the years that followed.  You can honestly find many other movies that address the trauma directly or indirectly with regards to 9/11, because it’s a moment in time that changed the world forever.  It’s in our collective societal identity now, whether thorough culture, politics, or how we live our lives.  9/11 changed everything, so most movies made within the 20 years since that speak to our contemporary society is in some way or another influenced by those events.

What I find really fascinating about movies made in the wake of the tragedy of 9/11 is how they are evolving with every new passive generation.  We are now approaching a point where those who were born during or after September 11, 2001 are now reaching adulthood.  For them, 9/11 has just always been a part of their history.  They have no concept of what life was like before, and so their response to the events is taken from a second degree perspective.  In many ways, they are the audience that is going to be more influenced by the way we portray the events of 9/11 through the prism of film.  And it’s in that regard that we’ll see a very different view of the events unfold over time as we get further and further away from the actual day, much like what happened to the Titanic and Pearl Harbor.  There are no more survivors of the Titanic left to differentiate fact from fiction, and there are only a handful left who remember the events of Pearl Harbor with clarity.  So will be the case with 9/11 as well.  The best we can do as a society is to remind ourselves of the magnitude of what happened and treat the tragedy with a sense of dignified solace.  We lose that, we lose perspective on what matters as a direct result of that tragedy.  That’s why we remind ourselves, “Never Forget,” because the memory of 9/11 can be so easily manipulated to suit some external agenda that in turn can lead to many other tragedies.  Hollywood itself is not above beyond using the tragedy of 9/11 for it’s own benefit.  Take the case of the movie Extremely Loud and Incredibly Close (2011) which was a shameless attempt to use 9/11 trauma as a means of Oscar baiting.  In the years ahead, we need to make sure that those indirectly impacted by 9/11 aren’t misinformed by sensationalized accounts of the tragedy that are more fiction than fact.  One of the most interesting explorations of the legacy of 9/11 in cinema that I’ve recently seen on film is stories of those who have grown up in the shadow of the events.  Last year, Judd Apatow brought to the screen the movie The King of Staten Island (2020), which is a semi-autobiographical story based on the life of the film’s star, comedian Pete Davidson.  In the movie, an aimless 20-something slacker deals with coming into adulthood after living most of his life without his father, who died tragically when he was young while heroically fighting a fire.  Though 9/11 is never mentioned, the story does reflect the real life story of Davidson, whose father was one of the first responders lost at the World Trade Center that day.  It’s a perspective, the generation raised in the aftermath of 9/11, that we have yet to see and with many more young Americans like Pete Davidson coming of age in the next few years, and being able to express themselves through film too, it’s going to take the conversation about the impact of 9/11 into a whole different direction.

For those of us who were old enough to be aware of what was going on, and to remember where we were on that day, each one of us has our own story to tell in remembrance of 9/11 on that day.  Strangely enough, my own is even movie related.  I was at home watching The Adventures of Robin Hood (1939) on Turner Classic Movies that morning when I changed the channel after finishing the movie to find the South tower already collapsed and the North tower still smoking before it’s eventual demise.  In retrospect, I can remember both the shock and the disbelief.  For me, it immediately called to mind the larger than life disaster movies of the past that so casually depicted the destruction of national icons like the Empire State building or the White House.  Now, after seeing the real Twin Towers utterly destroyed before our eyes, those kinds of movies in retrospect appear trivial and even reckless.  This kind of destruction made us rethink the value of human life that succumbs to such a tragedy and helped us reconsider how we approach mass destruction as an element in our storytelling.  At least that was the hope at the time, as many films since, particularly those of directors like Roland Emmerich and Zack Snyder have gone right back to creating mass destruction as a back drop for popcorn entertainment.  The worry over time is that the lessons of 9/11, particularly the humanitarian side, will be pushed aside in favor of spectacle.  With so many voices out there who still remember sharing their personal stories, that human perspective still remains, but as successive generations begin to add their own narratives to the mix, more becoming further attached from the events of the day, who knows how we as a society may reflect on the importance of 9/11.  One thing that makes this 20th anniversary so impactful is that it is occurring in the middle of another worldwide tragedy, the Covid-19 pandemic, which is helping to remind everyone of what shared trauma really feels like.  The pandemic itself is likely going to see it’s own evolution in media over the years, especially as future generations learn from our first hand accounts of these tragic days.  There are plenty perspectives to take away from the way cinema has dramatized the post-9/11 era, but as we have learned thus far, the most potent stories are the ones that come from those who actually lived through those events, and the best thing we can do is to preserve those memories as best we can.  On this day, if you aren’t anywhere near a memorial where you can pay your respects, look up an documentary that includes the harrowing recollections of first responders, victims, and people who were there that day, and listen to the grief, anger, hope that they feel and live with everyday since.  That is the real story of 9/11 and the reason that even 20 years on we must never forget.

Shang-Chi and the Legend of the Ten Rings – Review

If you can count on one studio to push forward on it’s plans even in the midst of a global pandemic affecting worldwide box office, it would definitely be Marvel.  After a year off due to the pandemic related shutdowns, Marvel returned with a vengeance in 2021.  In addition to their big screen releases, Marvel was also making a statement in the streaming wars, with shows like WandavisionThe Falcon and the Winter Soldier, and Loki making a statement on Disney+, with their own narratives tied in with those of the larger Marvel Cinematic Universe.  But, even with that offshoot on streaming, Marvel and Disney still had big plans for their mega-franchise on the big screen, which unfortunately was dealt with increased challenges due to an ongoing pandemic.  Theaters having finally reaching a point where they could operate again at near full capacity still was not enough assurance for studios to gamble on releasing their movies over the course of the last summer.  Some still did, and the result was mixed.  Some movies prospered while others floundered, and the overall numbers are still underwater from where they had been pre-pandemic.  One of the movies that did manage to do better than others was Marvel’s Black Widow, which Disney put out in theaters in a hybrid release with Disney+ Premiere Access.  Overall, Black Widow did win the Summer of 2021 with the highest domestic box office, but even still, it was on the low end for the MCU as a whole.  Some wonder if the hybrid theatrical/ streaming release may have in some way undercut Black Widow‘s long term box office grosses.  For Disney, Marvel’s parent studio, that seems to be a theory taking hold, as they decided to take a different route with their next film in the line-up by granting it a theatrical only window of 45 days.   And that film is the bold “experiment” known as Shang-Chi and the Legend of the Ten Rings.

Shang-Chi is certainly not one of the more well known heroes from the Marvel comics, though he has enjoyed his fair share of devoted fans.  First introduced in 1975 by creators Steve Englehart and Jim Starlin of Marvel Comics, Shang-Chi was heavily inspired by the popularity of martial arts legend Bruce Lee.  Utilizing mastery of Wushu style martial arts, he developed into one of the more noteworthy heroes within the Marvel canon who did not rely upon any supernatural power.  That’s not to say that he hasn’t at times has had to rely on help from the supernatural world within Marvel Comics, but for the most part he is a self-made, self-reliant hero.  Though his presence in the Marvel universe is noteworthy for it’s Asian representation, it hasn’t been without controversy either.  For one thing, part of Shng-Chi’s backstory is that he is the song of supervillain Fu Manchu, a character (not originally created by Marvel) who has been used in movies and comic books often as a racist trope to slander Asian people in various media.  Over time, Marvel lost the rights to use Fu Manchu as a character in their comics, and Shang-Chi’s backstory has been altered to separate itself from the racism of it’s past.  Even still, the same backstory remains of Shang-Chi having this dark past of being the son of a criminal overlord; first in the comics with a newly created character named Zheng Zu, and in this movie, it’s changed again to reintroduce an already established villain from a different franchise, namely Wenwu: The Mandarin.  It’s interesting that not only has Marvel seen Shang-Chi as a worthy addition to their MCU family, but they are even betting on his movie to perform solely on it’s own theatrically.  The question remains, is Shang-Chi a character strong enough to warrant a risky challenge at the box office at this time, or is he a sacrificial experiment to reinforce a studio’s push towards more streaming options.

Shang-Chi and the Legend of the Ten Rings wastes no time in getting the adventures started.  We are introduced to a young Asian man living in San Francisco named Shaun (Simu Liu) who when not working Valet with his best friend Katy (Awkwafina) is out late partying  and singing karaoke.  But on one day when they are taking the bus to work, the duo of Shaun and Katy are accosted by sinister looking thugs intent of grabbing a pendant that Shaun wears everywhere he goes.  To the amazement of all those on the bus, including Katy, Shaun not only holds his own in the fight against the thugs, but he also displays almost inhuman martial arts skills.  Even still, one of the thugs named Razor Fist (Florian Munteanu) manages to steal the pendant away.  This prompts Shaun to leave town in search of the pendant.  He of course now comes clean to his friend Katy about his past and reveals that his real name is Shang-Chi.  He tells her that the men were a part of the Ten Rings terrorist organization, which is run by the Wenwu (Tony Leung) his father.  Wenwu, aka The Mandarin, is a centuries old war lord who wields the power of the mystical Ten Rings, which gives him super powers as well as eternal life.  He created the Ten Rings as a multinational ring of anarchic terrorists who among other things have toppled governments and kidnapped high profile targets (such as Tony Stark in the original Iron Man) for ransom, with Wenwu becoming increasingly powerful and wealthy along the way, as well as more ruthless.  Upon her insistence, Katy accompanies Shang-Chi to China, where he seeks out his estranged sister Xialing (Meng’er Zhang), who keeps a similar pendant to his.  Both were gifts from their deceased mother Li (Fala Chen), who Wenwu believes left them keys to finding the mystical land of her origin known as Ta Lo, where Wenwu still mistakenly believes she still lives.  Upon learning of their father’s dangerous plans, Shang-Chi and Xialing set out to find Ta Lo before their father can, with Katy and her expert driving skills helping along the way.  And as we soon learn, there is more at the end of the road in Ta Lo than they initially realize, including an even more sinister force that could be unleashed by their father if he is not stopped.

The premiere of Shang-Chi and the Legend of the Ten Rings comes at an interesting crossroads for Marvel.  After the mixed results of Black Widow’s premiere in the Summer, Disney is now seeing Shang-Chi as testing ground for the strength of the theatrical market in the face of an ongoing pandemic crisis.  This led to a bit of controversy as current Disney CEO Bob Chapek referred Shang-Chi to an “experiment,” which is wording that the movie’s star Simu Liu took issue with.  It’s unfortunate that the studio is treating this less like an exciting  new chapter in their mega-franchise, and more like a guinea pig in their test of the current state of the theatrical market.  It’s unfortunate that this movie is releasing under these circumstances, because had it not, this would have likely been a real game-changing movie for Marvel.  For one thing, it marks a significant moment for the MCU as it introduces an Asian superhero into the Avengers line-up for the first time.  There have been Asian characters in the MCU before, but none have been the headliner like Shang-Chi, and for Marvel, they are hoping that this movie does for the Asian community what Black Panther did for black audiences.  This is reflected by the fact that the movie is top to bottom representative of the Asian community, both in front and behind the camera.  Director Destin Daniel Cretton tapped into his own Asian heritage, particularly when it comes to cinematic influences, when making this movie and it shows.  People who are familiar with Wushu martial arts films such as those by filmmaker Zhang Yimou (Hero, House of Flying Daggers) will see a lot of that same style present in Shang-Chi.  And while that style does set it apart from other Marvel movies, it’s still distinctively an MCU film, with several notable Easter eggs throughout.  I also like that the movie takes time to make a pseudo-apology for the Mandarin fake-out in Iron Man 3 (2013) which is still one of the low points of the MCU.  As a stand alone feature in the MCU, it works well enough to establish our hero and where he will fit in this world, while at the same time doing some incredible world building along the way.

Unfortunately, there are some glaring flaws with the movie as well.  For one thing, it falls into the unfortunate trap of following the Marvel formula a little too stringently.  In particular, the movie loses focus as it heads towards it’s end, a “third act”-itis that is sadly becoming more and more of a problem for more Marvel properties.  Seen likewise in other properties that succumbed to underwhelming climaxes as of late in the MCU, like Black Widow and Wandavision, Shang-Chi unfortunately breaks away from the more interesting character building that happens earlier in the film to raise the stakes higher as it enters the home stretch.  And this unfortunately drowns out what made the movie interesting in the first place with a lot of CGI-enhances mayhem thrown at us on screen.  Though this movie still remains more visually interesting than say Black Widow, which really turned generic in it’s final climax, Shang-Chi still feels a bit hollow in it’s closing minutes.  The movie works a lot better when it departs from formula rather than steering into it.  I especially found the earlier fight scenes, like the one on the bus, to be far more engaging than what essentially turns into a kaiju fight in the film’s climax.  And one of the biggest victims of the movie loosing it’s focus as it adheres to formula is Shang-Chi himself.  We really don’t get much character development from him throughout the movie as he remains so of a passive traveler through all the different points in the plot.  The only thing that saves him as a character is the natural charisma of Simu Liu, who really has to do some heavy lifting here to bring out more character than what is on the page.  Still, overall his development into a hero feels more generic than say what we’ve seen from Spider-Man, or Black Panther, and even the early Avengers.  It’s overall a problem of the movie trying to do way too many different things instead of focusing on where the real intrigue of the story lies, which is Shang-Chi’s relationship with his father.

Though the story is a bit on the weak side, the same can’t be said about the cast.  They are definitely the highlight of this movie.  Chinese-Canadian Simu Liu, who was introduced to the world on the Comic Con stage in 2019 only days after being officially cast, is immediately magnetic on screen, and though he’s let down a bit by the screenplay he’s given, he nevertheless shines through with infectious charisma that absolutely certifies him as a perfect choice for this role.  And being already proficient in martial arts before hand also lends some authenticity to the fight scenes in this movie, which requires Simu to do some incredible moves in front of the camera without the aid of visual effects.  He also has incredible chemistry with Awkwafina as Katy.  Her presence in the film is primarily to provide comic relief, but she also works well as that connection to a normal life that Shang-Chi values so much.  I really appreciate the fact that the movie does break a bit from formula and doesn’t immediately turn their relationship in the movie into a romantic one.  Shang-Chi and Katy pretty much remain platonic friends right up to the end, though it’s a relationship that is certainly stronger than just casual.  A lot of the movie’s best moments belong to the two of them together, and you really get the sense that it’s a friendship that drives Shang-Chi to be a better person overall.  Though they both make strong leads, it’s almost certainly going to be the case that the most talked about performance in this movie is Tony Leung as Wenwu.  In a very interesting reimagining of the famed Marvel supervillain, Leung commands the screen, portraying Wenwu in this quiet intensity like an Asian Michael Corleone.  Long considered one of the greatest actors of his generation, both in his native China and worldwide, Leung’s presence here is a real blessing for Marvel.  He brings a gravitas to the role that really affirms Wenwu as a top tier Marvel villain; and really helps to make up for the disappointing Mandarin fake-out in Iron Man 3.  It’s also significant that pretty much the entire cast (with only a couple exceptions) is made up of Asian actors.  Even a previously established Asian character in the MCU, Wong (played by Benedict Wong) from Doctor Strange (2016) gets to participate briefly in this movie; which is not a spoiler because he appears in the trailer.  That thorough Asian representation throughout the movie alone is pretty significant, not just for a Marvel movie, but for any studio movie.

And while I do nitpick Destin Daniel Cretton’s handling of the story itself, I do commend his staging of the fight scenes in this movie.  Working for the first time on a large scale film like this, Cretton is not a director you would first think of to take on a Wushu style martial arts epic.  Up until now, he’s been more known for small, intimate dramas like Short Term 12 (2013) or Just Mercy (2019).  But, Marvel certainly sees potential in rising talents and believed Cretton was up to the task of bringing Shang-Chi to the big screen.  In particular, Cretton shows quite a bit of creativity in staging the fight scenes in this movie.  The previously mentioned bus fight in particular is a noteworthy standout, because of it’s combination of close quarters fighting and the fact that it’s also on a moving vehicle in the middle of San Francisco traffic.  Another fight on bamboo scaffolding also presents another stand-out moment, with specific nods to the crazy stunt work of Jackie Chan being spotlighted in that scene.  And while the CGI fest that makes for a messy climax in the movie’s final act loses some of the movie’s more intimate charm, it still makes the finale showdown between Shang-Chi and Wenwu worthy of what’s come before.  Considering that both actors, Liu and Leung, are experienced in martial arts, it makes it all the more satisfying watching them fight each other on screen, especially knowing that one of them came from the John Woo school of action movies.  I especially like the way that the Ten Rings themselves come into play as part of the fight, both as a superweapon and as something more integral to the story that brings these characters together.  It’s also interesting how Destin Daniel Cretton mixes his Asian cinema influences, bringing in the grittiness of a John  Woo action film and mixing it with the ethereal fantasy of a Zhang Yimou epic, and even injecting a bit of the intimate personal drama of Wong Kar-Wai.  It’s a movie deeply entrenched in the cinematic traditions of past Asian masters, but brings a great amount of it’s own voice to the mix and likewise also manages to fit perfectly within the grander Marvel Cinematic Universe.  I have no doubt that the one thing this movie will undoubtedly accomplish is bringing more eyes to past Asian cinema, which would be an especially good outcome because many of those classics from these great Asian auteurs are due for rediscovery.

So, on it’s own, it’s a perfectly suitable introduction for a character that has really yet to emerge as an important player in the Marvel canon.  If anything, this movie will do a lot to raise Shang-Chi‘s stock as a comic book character, and more importantly, raise up an Asian presence in the ongoing narrative that is the MCU.  Already, the movie is being proclaimed as an Asian Black Panther, but I think that it’s unfair to have to stack this film up against another groundbreaking film in the Marvel universe.  Shang-Chi is piece of a grander puzzle, but it has to stand on it’s own as it’s own story.  There are quite a few things that I wish were a bit better about the movie, namely it’s unfocused screenplay, but overall it does the job of making us like it’s central hero.  Shang-Chi really had a lot of hurdles to clear, especially with the fact that he is a mostly unknown character in comparison to say Iron Man, Captain America, Spider-Man and Black Panther.  In some respects, a better comparison for Shang-Chi would be what Marvel accomplished with Guardians of the Galaxy.  Guardians also started off as a very obscure title that was elevated to new heights thanks to it’s placement in the MCU.  Now the whole world knows the team of the Guardians of the Galaxy and speaks of them in the same breath as the Avengers.  All it took was a well crafted movie that appealed to a broad audience, and the hope is that Shang-Chi can achieve the same outcome and move beyond just his own small but devoted fanbase.  It’s too early to tell if it will work, but if it does, a lot of good things will come of it.  Not only will it give Asian representation in Hollywood a big boost, but it will also help turn Shang-Chi into more than just a novelty character and instead put him in the same league as Marvel’s A-team.  Not only that, but it will also likely boost Simu Liu into another level of stardom, which he already seems to have deftly accomplished since being cast in the first place.  In addition, it will hopefully bring new eyes to a long history of Asian cinema, especially if it helps people rediscover the spectacular body of work that Tony Leung has amassed over the years.  So, even though I have some misgivings about the movie as a whole, I will certainly be extremely happy if this movie becomes a big hit for Marvel, not just for the sake of survival of the theatrical industry, but for all the good things it will do for Asian cinema in general, past and present.  In the end, that will be Shang-Chi’s most heroic accomplishment, and it’s something we should certainly be rooting for.

Rating: 7.75/10