It can’t be underestimated the impact that has been left by the X-Men characters in the super hero genre of film.  The powerful team of mutant beings that have long been a favorite of comic book fans across the world finally made their way to the big screen for the first time in 2000 to wide critical praise.  The Bryan Singer directed film came at a crucial time for the genre, which had fallen on hard times largely due to the failure of DC’s Batman and Robin (1997), which turned the genre into a laughing stock.  Not only did X-Men bring back respectability to the genre, but it also gave it greater purpose than just entertainment.  For the first time, we saw a super hero film tackle heavy issues like social prejudice and personal identity in a serious fashion, while at the same time never loosing track of it’s comic book roots.  In many ways, this was the movie that laid the groundwork for the super hero genre to mature into a leading force within Hollywood as both a dynamic box office powerhouse, but also as a platform for dramatic social commentary.  Without the X-Men, we probably wouldn’t have seen the mature takes on other super hero mythos that have come to define the genre like Christopher Nolan’s Dark Knight trilogy, or Captain America: The Winter Soldier (2014), or even the Oscar worthy themes of Black Panther (2018).  In addition, the movie also did a number of other things.  It made an A-list star out of Hugh Jackman, and turned his character Wolverine into an instant icon.   It was also Marvel Comic’s first serious foray into film-making, which has created massive dividends to this day for the brand.  But, what is most remarkable about the X-Men movie is that it ended up spawning a franchise that has remarkably remained unbroken for nearly twenty years; more or less.  Sure the timelines are ludicrously held together, but the narrative of the series that started with the 2000 film has managed to continue on up to today, which is an enviable run for any franchise, especially in the super hero genre.  But, as it happens with all things, this too has come to an end.

For the majority of it’s time on the big screen, the X-Men franchise has been under the banner of 20th Century Fox, and not by Marvel itself.  Marvel, in it’s earliest days in Hollywood, licensed their characters out to multiple studios, hoping to fast track their brand presence in the industry at a time when it was mostly the characters from their competitor, DC Comics, that dominated the box office.  Multiple studios over time had their hands on at least one Marvel character, but no singular studio had them all.  For Fox, they came into possession of the X-Men, as well as the Fantastic Four and Deadpool.  Out of these, the X-Men looked to be the most viable choice to build a strong franchise around, and Fox for a time did very well with the characters.  The franchise spawned two successful sequels, but as the genre began to change during the mid-2000’s, the franchise began to show signs of fatigue.  At the same time, Marvel, which had began to take more charge with how their characters were portrayed on screen, launched their own studio and soon after were bought by Disney, who were intent on consolidating all the Marvel characters back under one roof.  Many studios relinquished their control over the characters, like Paramount and Universal, but Fox was less compliant.  As Marvel Studios began to rise, the X-Men franchise began a bit of a Renaissance as they successfully relaunched the franchise with X-Men: First Class (2011).  Followed up with acclaimed films like X-Men: Days of Future Past (2014) and Deadpool (2016) and Fox believed they could form a cinematic universe with their own X-Men characters that they still owned the rights to.  However, the disappointing returns for X-Men: Apocalypse (2017) dampened those expectations, and soon after, Disney ended up buying Fox completely in a landmark acquisition, further spelling out the end of the line for the X-Men franchise.  Only one movie was left over in development that could give closure to this long running franchise, and the question remains; does Dark Phoenix send off these X-Men with a bang or a whimper?

The movie carries over the consistent gimmick of the past three X-Men movies, in that it jumps ahead ten years to use another decade as it’s setting.  First Class started of in the psychedelic 60’s, then Days of Future Past jumped to the turbulent 70’s, and Apocalypse brought us up to the colorful 80’s.  Dark Phoenix now sets the story in the early 90’s, with the X-Men firmly established as a beloved crime fighting force, using their powers for a good purpose.  Led by Charles Xavier (James McAvoy), the headmaster at a special school for mutant children, the X-Men are sent on a special mission to space to save a stranded crew of astronauts who were attacked in orbit by an unknown, alien force.  The recovery team, led by team leaders Mystique (Jennifer Lawrence) and Hank “Beast” McCoy (Nicholas Hoult), take the X-Men’s jet to orbit and have the teleportation powered Nightcrawler (Kodi Smit-McPhee) bring the astronauts safely out of the damaged ship.  Meanwhile, telekinetic Jean Grey (Sophie Turner) tries to buy time, using her powers to hold the ship together, but while the astronauts are saved, it ends up being too late for her.  The mysterious cloud that attacked the ship suddenly rushes to her and absorbs itself completely into her body.  Worried that she’s been killed the other X-Men retrieve her from space, and to their surprise, she is not only alive but seemingly unharmed.  Back on earth, Jean starts to experience strange changes to her body.  Her powers are enhanced and uncontrollable, turning her into a menace wherever she goes.  She leaves the X-Men, seeking refuge with former X-Men foe Magneto (Michael Fassbender), who also casts her out when her new powers begin to wreck havoc.  Xavier and Jean’s boyfriend Scott Summers aka Cyclops (Tye Sheridan) hope to find and comfort the troubled Jean, but things are complicated once an alien race of shape-shifters, led by the power hungry Vuk (Jessica Chastain) have their eye on gaining Jean’s Phoenix force for themselves.

If you have been following the X-Men franchise up to this point, you are probably already familiar with the Phoenix Force story-line, as it also provided the plot inspiration for the problematic X-Men: The Last Stand (2006), the not so loved third film in the series.  Last Stand was rightly condemned for it’s mishandling of the beloved story-line from the comics, both in straying too far from the actual origins of Jean Grey’s transformation and for mishandling all the careful character development that had gone into establishing the X-Men over the last two films.  Knowing fully well that fans were upset with how this was handled before, Fox planted the seeds for a do-over in their relaunch of the X-Men franchise with their new cast, especially with the obvious hints shown in the movie X-Men: Apocalypse.  However, with the off-set turmoil going on behind the scenes, with director Bryan Singer no longer acceptable to helm the picture because of his alleged sexual misconduct and the upcoming Disney/Fox merger further complicating matters, Dark Phoenix’s road to the big screen was very troubled.  Delayed multiple times, this film has finally made it to theaters, and the off screen problems are very apparent.  Not only did Fox not get the Phoenix saga right the second time around, they somehow made it even worse.  I’m sorry to say that this is not the ideal closing chapter for this long-running series, and in fact, it may be one of the worst super hero movies ever made period.  This is nearly Fant4stic (2015) bad, and is worse in some ways to that rightfully malinged cinematic travesty.  While Fant4stic was a horribly made movie for a franchise that never was going to exist at all anyway, Dark Phoenix is sadly built upon a franchise that has created some of the best super hero movies of all time.  It’s tragic in a way that a franchise like this, which did a lot of stuff right up to now, especially with the characters, fails so badly at the end, with no way of redeeming itself, now that this is the end of the line for good.

Here’s where the problem lies.  Because original helmer Bryan Singer is out of the question, and standby director Brett Ratner who took over for The Last Stand is finding himself in a near similar situation, Fox left the entire project into to the hands of series writer Simon Kinberg.  Kinberg is a fine screenwriter, having penned most of the films in the series, as well as acting as a producer for the franchise as a whole.  It’s clear that he loves the characters, but he also sadly lacks any cinematic vision.  This movie is clearly directed by someone who doesn’t feel comfortable behind the camera, and that becomes apparent in the pacing, the blocking of shots, and most sad of all, in the performances of the actors.  I watched this movie just absolutely baffled at how amateurish it felt.  I know that much of the blame for movies like these fall on the director, but at the same time, I feel bad for Kinberg, because he only acted as director because nobody else would step up.  And to me, it became less of a cinematic exercise over time and more of a studio mandate, as Fox was forcing more and more out of this franchise just so they could hold onto the rights and spite Marvel.  Those circumstances don’t always translate into a cohesive film, and that’s apparent with Dark Phoenix.  The strange thing is that Kinberg, who has set up the arrival of the Phoenix Force in previous movies, completely disposes of it, instead taking his cue from the comic books, which in this version of the story, makes no sense.  In the cinematic timeline for Dark Phoenix, which remember is still connected to The Last Stand, it should’ve been shown that the Phoenix Force was always a part of Jean Grey this whole time, fueling her telekinetic powers.  But even despite that already having been established before in Last Stand, the movie dismisses this right away and explains that the Phoenix came from outer space, which yes is closer to the comic, but is completely contradictory to what’s been established up to now in the films.  Maybe Kinberg was told to change course, but if not, this is yet another example of the movie just becoming careless about what it wants to be.

Kinberg’s severe lack of experience in the director’s chair is most apparent when it comes to the actors performances.  The thing that will stand out to most people who watch the movie is just how out of it the actors are in this movie.  Their performances feel emotionless and inconsistent, like their just reading off their line for the camera, which is pretty much exactly what’s going on onscreen.  An experienced director’s job includes helping the actors find their right head space, in order to make them feel the moment they are in and think like the character they are portraying.  The right kind of director can do this with just about anybody, no matter what their experience is, and the great thing about the super hero genre is that the choice of performer and the quality of their performance has helped to bring these super heroes triumphantly off the page.  In Dark Phoenix, you have this incredibly talented cast of performers who are just lost, because they are clearly just not being directed, leaving them to rely upon their own instincts, which are sadly not all aligned together.  It’s also apparent that some of them are already checked out, having moved on to bigger and better things and are just here as an obligation as part of their contract.  Jennifer Lawrence clearly wanted to have this over and done with quickly, which is apparent based on the reduced make-up job done to turn her into Mystique.  I don’t blame any of the bad performances here on the actors, because I’ve seen them all do better in other films as these characters; some of which were powerfully delivered.  But, when they have nothing to work with, you can see just how much that hurts the actors’ abilities to perform.  Sophie Turner, who has to do much of the heavy lifting of this movie, is sadly reduced to repeating the same character beats throughout the movie as Jean Grey, mainly just being reduced to “I’m scared.  I can’t control it.”  Jessica Chastain is especially wasted, playing one of the blandest villainesses in recent memory, which is profoundly disappointing for an actress of her talent and prestige.  James McAvoy’s image obsessed Charles Xavier is especially out of character, and more than anything represents how these characters became less important as individuals and more as functions of a plot.

An even bigger problem arises from the film’s peculiar adherence to the convoluted rules of the franchise.  I still don’t know why the movies continue to leap ahead in time, just so that it can represent another decade.  The rule worked out for First Class and Days of Future Past, which were narratively very much tied to the years that they were set.  But, with Apocalypse and Dark Phoenix, you begin to encounter more problems.  One, those movies don’t really need the time period to give flavor to the story they’re telling.  Dark Phoenix in fact treats it’s setting as so inconsequential that you wouldn’t even realize it’s set in the 90’s unless you were told.  Second, the leap forwards run into the problem of having actors who look too young to play the same parts.  Remember, 10 years have passed between Apocalypse and Dark Phoenix, and yet all the actors look about the same age.  Jennifer Lawrence and Nicolas Hoult haven’t even turned 30 yet as of this writing, and yet their characters should be pushing 50 in the timeline of this movie; yet they still look like they haven’t aged a day.  At least McAvoy’s Charles Xavier has gone bald over the course of the movies.  It all makes the decade changing motif feel like it’s working against the progression of these characters; especially when characters like Jean, Cyclops, and Nightcrawler should all be in their mid-20’s at this point, and yet are still acting like teenagers.  And third, skipping 10 years at a time also robs the story of significant character development.  What has exactly been going on over 10 years, because the movie still treats these characters like nothing has changed since Apocalypse.  I would think that some major things would have happened to these characters during that time, but none of it is ever addressed.  So for all the things that Dark Phoenix sought to do differently in the story-line, namely the origin of the Phoenix Force, why did they still feel like they needed to jump ahead in time like the previous films had.  It’s another baffling choice that ultimately contributes to the laundry list of problems that this movie has.

The one good thing that I can say about this movie is that they wisely left Wolverine out of it.  Hugh Jackman thankfully got to hang up the claws in the far superior Logan (2017), leaving the character he played for over 17 years on a graceful note.  Sadly, for the actors involved here, some of whom have played these roles for the last 8 years, this is a less than ideal exit.  Dark Phoenix is a depressing end to a franchise that, while not always perfect, still managed to leave a positive impact on the genre as a whole.  For the most part, it’s most disappointing in the way that it once again squanders the opportunity to do the Phoenix Saga story-line once again, making it feel small and inconsequential.  But what I hated most about it was the amateurish way that it was constructed, failing in almost every department of film-making.  The camera work is uninspired, the musical score (surprisingly from the usually reliable Hans Zimmer) is a dreary bore, the visual effects are incomprehensible, and the actors performances are lazy and completely out of character.  The movie isn’t even bad in an entertaining way; it’s just a sad waste of very talented people.  Dark Phoenix, more than anything shows why this version of the series needed to come to an end.  It just became a tool of the ever defiant Fox studio to deny rival Disney a chance to take ownership of these once powerful franchise characters; a tact that also resulted in the disastrous Fant4stic.  Now that Disney and Fox have merged into one, Marvel Studios now has creative control once again of the X-Men, and no one doubts that we’ll see these characters once again.  The sad part is that the failure of Dark Phoenix all but ensures that none of the same team will carry over into the future X-Men movies, which is a shame because some of these actors have been quite good in the roles.  But, just like the ancient legend of the Phoenix bird, it has to die in order to be reborn, and that is what ultimately has to happen to this version of the X-Men.  The original X-Men deserved better closure than what we got with Dark Phoenix, but their legacy as a part of the super hero genre will always be remembered, especially when it was at it’s height.  And hopefully, what ends up being reborn after this will be the best we’ve seen yet.

Rating: 3.5/10

The action movie genre goes through peaks and valleys quite constantly every few years.  Often times, audiences are treated to a whole bunch of movies that are standard generic fare that grows tiresome after a while.  And then you have those new fresh take features that act like a breath of fresh air and completely change the game, and sometimes end up changing the genre as a whole as a result.  Think of something like Die Hard (1988), which completely revolutionized the action movie genre, which up to that time in the 80’s had been dominated by muscle-bound types like Arnold Schwarzenegger and Sylvester Stallone.  In their place we got Bruce Willis, who looks more like the average man and was also portrayed as vulnerable as less bulletproof as his predecessors.  Audiences gravitated to this new type of action hero, because he was more grounded, funny, and relatable, and this example helped to set the standard for years to come.  Of course, as tastes have changed among audiences, so have the ideal of the action movie hero.  Today, we have in a way returned to the larger than life trope of heroes, with Super Heroes of course now dominating worldwide box office.   But, not every hero wears a cape, and some of the most successful action movie stars have been the ones who have shown an incredible ability to transition perfectly based on the changing ideals of the time.  Strangely, whenever the action movie suddenly shifts gears, actor Keanu Reeves always seems to be there at the right time when it does.  He made his own debut into the action genre with his own take on the Die Hard formula with Speed (1995), and then a few short years later, he made a huge impact by appearing in the groundbreaking sci-fi action flick, The Matrix (1999).  Keanu, to everyone’s surprise, has found his niche in the action movie genre, and continues to remain a popular fixture there, which he has further solidified with his recent involvement in the John Wick series.

Up until the first John Wick in 2014, Keanu Reeves was in a bit of a box office slump, struggling to find that follow up after the end of the Matrix trilogy.  His salvation, however, didn’t come from a golden opportunity that fell into his lap, but rather it came from a collaborative venture from two of his friends from the Matrix set who had a daring movie idea they wanted to pitch as a possible starring vehicle for Mr. Reeves.  That movie would of course be John Wick, which is a story about the world’s greatest assassin, with a legendary history, who tries to get out of the business only to be forced back in once a few thug do the unthinkable; they kill the puppy that his deceased wife gifted to him.  The movie was the brainchild of David Leitch (who was a stunt coordinator on The Matrix films) and Chad Stahelski (who was Keanu’s stunt double for many years, including on The Matrix), and their idea was to do an action thriller with the complex fight choreography of The Matrix, but with only minimal CGI manipulation.  It was essentially supposed to be a showcase for pure, physical stunt work on a level we haven’t seen before, and they clearly had no one else in mind for the role other than Keanu Reeves.  It should be noted that Keanu is 54 years old as of this writing, and even though he’s in good physical shape for someone of that age, it’s still a risky thing to ask someone in those advanced years to do the heavy stunt work required without a double that a movie like John Wick requires.  But, remarkably enough, Keanu managed to pull it off and Wick became his first breakthrough hit in years.  It proved so effective that it’s since spawned two sequels, and has introduced something that you would have never expected in a movie series like this; world building.  Chapter 2 (2017) revealed to audiences a whole underworld that Mr. Wick is a part of, and the layers go even deeper in the recent Chapter 3.  The only question is, have the filmmakers strayed too far away from the formula that the series is starting to fall apart, or did they manage to build an even more fascinating mythos that further illuminates the legend of John Wick; the boogeyman you call to kill the boogeyman.

The subtitle of John Wick: Chapter 3 is Parabellum, which is Latin for “Prepare for War.”  And that’s exactly where the movie picks up in it’s opening minutes.  The film picks up immediately after the events of Chapter 2, with John Wick on the run, trying to beat the clock before all hell breaks loose.  At the end of the last movie, John Wick (Keanu Reeve) broke a cardinal law in the underworld society that he serves; he shed blood within the walls of the Continental Hotel of New York City, which is a protected neutral safe haven where absolutely no killing must take place.  Because he committed this taboo, by shooting the film’s villain in cold blood while he was under the protection of the Continental, Wick must be labeled Excommunicado by the governing body of this assassin society known only as the High Table.  Now, John Wick is fair game for all the undercover assassins all over the world, with an enormous bounty placed on his head.  The Continental’s manager, Winston (Ian McShane), who considers John a friend, gives him a one hour head start before dropping the hammer, and then John is on his own.  He does, however, have a couple cards still to play.  One is to call upon the help of a figure from his past, a person known as The Director (Angelica Huston) who can grant him passage, and the other is to call in his one final favor with a former colleague named Sofia (Halle Berry) who runs the Continental in Casablanca, Morocco.  With Sofia’s help, John gets his audience with someone connected with the High Table, who he hopes can lift his Excommunicado, for a price of course.  Meanwhile, the High Table has sent an Adjudicator (Asia Kate Dillon) to clean up the mess John Wick has left behind, and that includes removing Winston from his position of power at the Continental, as well as punishing the Bowery King (Laurence Fishburne), the leader of an army of underworld spies dressed as homeless transients, who also sold the bullets to John Wick that he used to kill his target at the Continental.  And so, John and his associates prepare for an inevitable confrontation with the ultimate power in their world, and because this is John Wick we’re talking about, a lot of bodies are about to hit the floor.

The first two John Wick movies are prime examples of how to perfectly balance action with dark comedy as well as an incredible eye for style and precision for the stunt work.  It’s clear that the filmmakers put effort into making every set piece in their movies feel fresh and free from repetition.  But, it’s also interesting how over the course of three movies that they’ve managed to add new layers to this narrative; almost creating a world that exists on it’s own, tied by it’s own set of rules.  The first John Wick gave no indication of what was to come next, as it was just a straightforward action flick where John goes to war with a Russian mafia boss (played by the late Michael Nyqvist).  Chapter 2 is where the world building really started to manifest, showing a whole network that operates behind the scenes, governing the world in which John Wick lives and operates.  It really helps to have seen the first two movies before watching Chapter 3, because they all blend together, and if like me you already have done the homework beforehand, this will be an enormously enjoyable sit.  The movie wastes no time in ramping up the mayhem, as it goes from one action set piece right into another.  The first 20 minutes or so of this movie, where the Excommunicado goes into effect, are some of the most insane and hilariously violent action scenes that I have ever seen.  Remember, John Wick killed a man in Chapter 2 with nothing but a pencil, just showing how lethal he could be.  There’s no pencil deaths in this movie, but John makes use of weapons just as ridiculous.  And by continuing the momentum carried over from the other movies, Chapter 3 manages to retain the sense of character that the movie clearly knows it has.  The filmmakers know exactly what the audience wants and it sees no reason not to deliver on that promise.  In a sense, the answer that the film gives you is that more is better, and with this film, we get everything we’ve seen before, just more so.

I do have to say that the opening act of this movie is almost too good, in a way that it kind of takes away from the rest of the movie.  By immediately plunging the audience right in the middle of the mayhem, you’ve primed them for an expectation of all the crazy things that might happen next.  However, once the movie gets into it’s second act, when John makes his way to Morocco, the movie begins to deflate a little bit, slowing down in order to progress the plot ahead.  None of it is bad per-say, it’s just that the opening came on so strong that it’s hard to come back from that and not have the movie feel uneven.  Chapter 2 had a similar problem where things also dipped a little in the second act, but in both cases, they never ruin the experience as a whole.  But, given that this is the longest John Wick movie to date, you do feel the run-time a bit more due to this lull in the middle.  Thankfully, things ramp up again towards the end, with more satisfying action providing a satisfying climax for this movie.  The only other nitpick that I have with this movie is that by expanding the world building over the course of these movies, it almost kind of takes away from John Wick’s own personal story.  We don’t see much character building for John this time around, as he remains the same all the way throughout.  It’s something that’s been steadily lost over time in these movies, as the first film gave us the best window so far into the psyche of the character.  The first John Wick showed a whole lot more of the cloud of pain and anquish that defined his character, which manifested because of the loss of his wife and his puppy.  As he states constantly, it was more than just about the puppy, but we see less of that understanding as this series goes along.  Even still, everything else has been uniformly consistent in this series, including it’s sense of humor and it’s focus on trying to one-up itself at every turn.

It cannot be understated how crucial Keanu Reeves is to the success of these movies.  John Wick is, in my opinion, the greatest character that he’s ever played, and that’s largely because it’s the only character that has best played to his strengths.  Keanu is an actor of extremes, meaning that he only works best when taken to the opposite ends of performance.  His best work is found in him playing the part either very broadly (like Ted from Bill and Ted’s Excellent Adventure) or very stoically (like with John Wick or Neo from The Matrix).  He never works well in between, which is probably why he never worked out well in other genres like romance or historical drama.  With John Wick, you get the combination of all his talents; stoicism and humor, all rolled into one.  He’s a man of few words, but even still those few words can be hilariously delivered and oftentimes pretty badass.  It’s also astounding how much he throws himself physically into the roll too.  Of course the movie gives him stunt doubles for the most dangerous moments, but for most of the movie’s run time, you can see that it is clearly him on screen, since most of the fights have to done in camera and with little editing in between.  It’s almost like Keanu is trying to compete with Tom Cruise in the category of 50-plus year old actors still doing the majority of their own stunts on screen, and he’s doing an admirable job of it.  The stunt team as well should be commended.  Just like with the Mission Impossible series, John Wick is turning stunts into an art-form, and it really reinforces the case that there should be an Oscar category for stunts.  The casting for these movies is also getting more and more impressive, with heavy hitters like Angelica Huston and Halle Berry joining the fray.  Returning cast like Ian McShane and Laurence Fishburne (who also followed him here from the Matrix series) are also great to see again, especially with the latter really chewing the scenery in his brief scenes.  But the real scene-stealer is an actor named Mark Dacascos, who plays a ninja named Zero, sent to kill John Wick by the Adjudicator.  His character is not only an interesting foil for John Wick, but it’s later revealed that he’s also a fan, which makes for a real interesting character interaction.  A great movie character is only as strong as the ones he shares the screen with, and this film gives you plenty to enjoy.

The one thing that I will say this movie improves over it’s predecessors is it’s visuals.  This is a gorgeous looking movie, with some often stunning cinematography.  The opening scenes of this movie, which take place at night and in the rain feels especially inspired by the look of Ridley Scott’s Blade Runner (1982), with this beautiful neon glow casting itself over the action.  The movie also makes incredible use of it’s locations as well.  It’s clear that over the years, the filmmakers have been given more substantial budgets to work with, and that is apparent on screen.  When John Wick goes to Morocco, the movie actually shoots on location in Morocco.  We see him walking on the sand dunes like he’s Lawrence of Arabia, and it’s clear that there was no green screen involved.  I also have to praise the production design of this movie as well.  We see a lot more of the Continental Hotel this time around, and the architecture of the place has it’s own character that really stands out.  It’s here where we see the underground society start to take shape fully, as it seems to retain an old-fashioned aesthetic that exists alongside our modern amenities.  The Continental also has it’s modern touch too, with a stunning room made of glass becoming a central setting for the film’s climax.  It’s amazing to see the filmmakers refining and improving on their craft over the course of these movies, as the visuals are becoming bolder and more ambitious.  The first John Wick, though still visually inventive, was constrained by it’s smaller budget.  Thankfully, these guys do not waste the extra resources they’ve been allowed to use, as Chapter 3 represents their boldest artistic statement yet.  It’ll be interesting to see how much more refined they continue to get in the future, because with this movie, they have set the bar even higher.

It’s pretty amazing that we are here celebrating an action movie series with the name of John Wick.  It’s such a bland sounding name that you would think it’d be impossible to find anyone with that name intimidating.  But, as these movies have shown, it’s not the name itself that makes the man a legend, but rather the man and what he does that brings legend to a name.  That’s true in all things really; we’ve managed to make a movie star out of someone named Benedict Cumberbatch after all.  John Wick is a action hero that stands shoulder to shoulder with the John McLanes and Rambos of the world, and maybe even puts them to shame.  It’s also just incredible how resilient Keanu Reeves is as an action movie star.  Just when you thought he was done, he managed find a way back to the top, and with John Wick, he may have just found his peak as a performer.  The one thing I will say is that you must watch this movie with an audience.  Just like with Avengers: Endgame, part of the entertainment is just in experiencing the audience reactions while watching this movie.  The audience I saw it with were wincing, laughing and cheering all throughout the movie, and it felt very good to join along with them.  I had a smile on my face throughout most of the movie, and I laughed out loud more than once.  John Wick: Chapter 3 – Parabellum is not an absolutely perfect film, but it is an enormously satisfying bit of escapist entertainment.  Anyone who has been eagerly anticipating the next chapter of this series will not be disappointed.  The only question is how many more foolish assassins will have to die before the message becomes clear; don’t mess with John Wick, or his dog.

Rating: 8/10

If there is ever going to be something that the 2010’s will be known for, it’ll be the years that the Avengers ruled Hollywood.  The super hero team from Marvel Comics took the industry by storm over the last decade, breaking everything from box office records to previous held conventions and boundaries.  Marvel showed us, among other things, that Iron Man, Thor, and Captain America were indeed bankable characters; that a comic book movie could touch upon sensitive cultural issues like racism, gender equality, and corruption in government, and still be fun along the way; that a movie with a strong and proud black identity could break box office records; and it also showed that a movie of this genre could be nominated for a Best Picture Academy Award.  But, the even more impressive feat that Marvel has pulled through it all is that they’ve connected all of it together into one single narrative.  The cornerstones of the Marvel Cinematic Universe, the Avengers series, has been where all the hard work in building worlds and characters culminates together and gives us, without question, the most ambitious movies ever put together for the cinema.  Marvel Studios chief Kevin Feige has stated that while every movie is given it’s due attention, there has always been this ultimate goal in mind to get to; an end game if you will.  Every film adds a piece of the puzzle to a narrative that runs through nearly every one, even though each one stands on it’s own separated from the rest.  Essentially, whether we’ve been aware of it or not, we’ve been following along with the greatest serial drama that has ever been created; bigger than any Star Trek, or Sopranos, or Game of Thrones.  But, just like any of those TV series, all narrative threads have to be resolved eventually, either by the end of the season or or the end of a series.  And Marvel is now in the position of delivering a finale of some kind for it’s audience, and for some it will be only the closing of a chapter while for others it will be the end of the book for good.

A lot of things had to go right for Marvel to be in this position.  First off, they had to enact their ambitious plan in a time when audiences were ready to take the journey along with these characters.  Thankfully, the MCU was launched during a Renaissance period for comic book movies and serialized story telling in general.  Sam Raimi’s Spider-Man (2002) and Christopher Nolan’s Batman Begins (2005) brought respectability back to the genre after it’s near death in the late 90’s following Batman and Robin (1997).  Likewise, serial narratives on television saw a comeback in the mid 2000’s, with shows like Lost gaining devoted cult followings, with fans eager to see complex stories unfold over entire seasons.  In that same, Marvel Studios formed and plans were put into motion to create a similar serialized narrative for their own cinematic universe.  The only thing is that though crossovers and linked narratives were commonplace before on the comic book page and on television, it had never been achieved before on film; at least not to this kind of level.  For this to work, there needed to be cooperation across all production levels the likes of which have never been seen before.  This meant, they needed to find actors willing to appear across multiple films, even if it meant a reduced salary; they needed filmmakers who were willing to compromise their instincts in order to follow the playbook; and they needed to put the trust in the audience to keep up with all the various plot threads across all the movies.  And then there was the crucial aspect of getting it started on the right footing.  This fell upon director Jon Favreau, who was given the reigns of Iron Man (2008), and he took the risky (but in the end brilliant) move of casting long disgraced actor Robert Downey Jr. in the role, more than anything because he was the perfect man for the job.  Iron Man of course was a hit and the rest we say is history.  And given the incredible track record that we’ve seen in the 21 films since Iron Man, the closing of this third phase of the MCU takes on a whole new significance.  At this point we are now reaching the goal that Kevin Feige and his team had hoped to reach when they launched this universe.  The only question now is, with 22 movies under their belt, an unimaginably complex narrative having been built up, and fan anticipation at an all time high, can Marvel stick the landing with Avengers: Endgame.

This is usually the point in the review that I provide a condensed plot summary for you.  However, given the enormous cliffhanger that the previous movie, Avengers: Infinity War, left us on, even providing the smallest plot detail would spoil something major; and I’m going to try my hardest not to make this a spoiler heavy review.  So, instead, I’m going to sum up where each character arc was left off with the ending of Infinity War.  The mad Titan Thanos (Josh Brolin) succeeded in collecting the Infinity Stones, the single most powerful artifacts in the universe.  In the final stages of his plan, he had already secured the purple Power Stone, the blue Space Stone, the red Reality Stone, and the orange Soul Stone, which he had to sacrifice the life of his daughter Gamora (Zoe Saldana) for.  Lured to his home planet by Doctor Strange (Benedict Cumberbatch), the guardian of the green Time Stone,  Thanos is ambushed by an alliance of Strange, Iron Man (Robert Downey Jr.), Spider-Man (Tom Holland), and half of the Guardians of the Galaxy.  They nearly subdue the powerful foe, but Star-Lord (Chris Pratt) loses his cool when he learns that Thanos has already killed Gamora, whom he was in love with, and his careless rage cause Thanos to be free.  After another skirmish, Thanos nearly slays Iron Man, which causes Dr. Strange to relent and hand over the stone.  With one left to go, Thanos heads to Earth to claim the last stone, the yellow Mind Stone, which is housed in the forehead of fellow Avenger Vision (Paul Bettany).  The Avengers make one last stand in Wakanda, kingdom of Black Panther (Chadwick Boseman), but are unsuccessful.  Thanos slays Vision, claims the Mind stone, and adds it to his Infinity Gauntlet.  Though Thor (Chris Hemsworth) make one last attempt to stop Thanos, he misses the kill shot and Thanos snaps his fingers, using the combined power of the stones to wipe out half of all life in the universe.  The Avengers watch in horror as friends and loved ones suddenly fade away, and the only survivors left standing are Iron Man, Thor, Captain America (Chris Evans), Rocket Raccoon (Bradley Cooper), Nebula (Karen Gillan), War Machine (Don Cheadle), Wakanda general Okoje (Danai Guira), Black Widow (Scarlett Johansson) and Bruce Banner (Mark Ruffalo).  Despite being wounded by the immense power he unleashed, Thanos retreats to a secluded farm where he sits relieved that his plan was fulfilled.  But two other survivors remain who could change all that; the immensely powerful Captain Marvel (Brie Larson), and Ant-Man (Paul Rudd) who’s been trapped in the microscopic Quantum Realm.

There’s no doubt that Infinity War set the table for Endgame with one of the most shocking cliffhangers in movie history.  It’s a testament to how well Marvel pulled off their ambitious plan to build a cinematic universe that the finale of Infinity War hit so many fans hard.  Especially considering how many of the victims of “The Snap” included beloved favorites like Black Panther and Spider-Man, the reaction to the event almost felt like a loss in the family.  When I saw the movie in the theater last year, there were people openly weeping around me.  Now, I knew that this kind of thing wasn’t going to stay finite for long, because one, characters always come back in the comics, and two, sequels for some of the lost characters had already been put into development; so I knew that they would all be coming back.  The only question is how, and could Marvel pull it off without it feeling like a cheat.  Well, ten years and 22 movies of planning clearly got Marvel to the narrative conclusion that they needed because I’m happy to say that Avengers: Endgame sticks the landing and delivers a beautiful conclusion to this epic story.  Without going into plot details, I can safely say that the movie doesn’t spoil the emotional impact of it’s predecessor and in fact compliments the story very well, helping to resolve the story in a way that is ultimately satisfying.  It’s clear that Kevin Feige and screenwriters Christopher Markus and Stephen McFeely spent years working this story out before they got it right, and thank god they did.  I don’t know if in any other circumstances this movie would have come together as well as it did, but Endgame benefited from the all the dominoes falling exactly as they should.  What’s especially impressive about Endgame is that it both succeeds as the conclusion of this two film story arc with Infinity War, as well as a culmination of all the Marvel movies up to now.  It took a decade to get to this point, but it was all worth it by the end, even if it’s not the end completely.

To separate the film from it’s place in the MCU for a moment, how does it function as a film on it’s own.  For the most part, it stands very well by itself, with minor nitpicks here or there.  Is it the best movie in the MCU; I’ll have to contemplate that for a while.  If the movie has a flaw it’s that the narrative flow is a bit shakier than some of the best Marvel movies; even compared to Infinity War.  Infinity War had the benefit of the race against the clock battle against Thanos, with much of the tension being built around whether he was going to get all the stones or not, with all threads leading to the terrifying conclusion.  That tension is replaced with something else in Endgame, that while still engaging, doesn’t quite have the narrative focus of it’s predecessor.  Endgame is also far more dependent on previously built narrative elements than past Marvel movies.  To be as vague and spoiler free as I possibly can, I’ll just say that if you haven’t seen most of the other Marvel Cinematic Universe movies beforehand, you might be a little lost.  This is a very lore dependent movie, and it does become distracting at times when it calls on the audience to remember things in order for the plot to make sense.  Even still, there are some beautifully constructed payoffs that do make it worth it, but it also makes Endgame also feel a tad less structurally sound as a result.  Also, the movie does have a couple tonal issues that undermine a moment here and there, especially when humor is injected.  Now, there are a lot of hilarious moments strung throughout, but I found that some gags perhaps didn’t land as well as in previous Marvel films.  Even still, despite these nitpicks, it’s without a doubt one of the most satisfying movies ever to come from Marvel Studios, with a finale that is likely going to stand as one of the talked about in movie history.

I for one need to single out the incredible job accomplished by the Russo Brothers; Joe and Anthony.  This duo of filmmakers refined their craft for years working on television shows like Arrested Development and Community before they landed over at Marvel.  Since their debut with Captain America: The Winter Soldier (2014), they proved very quickly that they were indeed the ones who would carry the MCU to to the “promised land.”  With Captain America: Civil War, they showed that they could balance a movie with multiple characters and their continuing story-lines with great care, and with Avengers: Infinity War, they proved that they could accomplish the epic sweep that the story required.  Endgame had to wrap everything that the MCU had built up to in a satisfying package that could please everybody, and they were the only ones capable of doing that.  The witty banter of Joss Whedon wouldn’t have fit here, nor the goofiness of Taika Watiti or the pop culture savvy of James Gunn.  It had to be the Russo Brothers with their unassuming, laser focus on set up and pay off in storytelling that came from their years in television that made them the best possible choice to see this film to completion.  And that’s where Endgame excels so well, in paying off all those narrative threads that have been building for years.  With Kevin Feige keeping the gears churning and Markus and McFeely giving a spirited voice to the script, the Russos applied their vast in scope but never distracting vision to this story and made all the pieces fall into place in the best possible way.  Their command over fan service moments is especially impressive, because never once do they feel forced on the audience.  Every moment of fan service is woven into the narrative perfectly and never feels out of place.  A lesser approach, like some we’ve seen from other non-MCU super hero movies, merely shoe-horns these moments in without the proper build up, making the result feel cheap.  Endgame, like the best super hero films, makes those moments feel earned, and with the workman like approach of the Russos, fans are given treats that never feel like they don’t belong in the movie.

It’s also incredible just how well Marvel has put together their cast for this movie.  This is, without a doubt, the most incredible ensemble ever assembled for a single film.  The main cast of course are uniformly excellent, showing just how perfect each of their castings have been over the years.  Some actors were discovered through their participation in the MCU, while others got the career boost that they desperately needed, and others saw their careers transform into something else than what it had been before.  And in the case of Robert Downey Jr., he experienced a complete career resurrection.  This movie is especially a celebration of the original team of Avengers, some of whom have already made it clear that they are retiring from the MCU following this movie.  Without revealing individual fates, Endgame is both a transition for many of these characters, but also the final swan song for some.  Some story lines come to an end in Endgame, and one of the movie’s greatest triumphs is in how well it brings closure to some of these characters.  One moment in particular is going to go down as one of the most triumphant singular acts of heroism that we’ll every see in a movie, and I am so happy to see a film like this nail that moment perfectly.  There are plenty of excellent stand out performances in this movie, some of which probably stand among the best we’ve seen so far from any Marvel movie.  Jeremy Renner, in particular, deserves special mention for his performance as a deeply damaged Hawkeye, bringing more depth to this often unfairly maligned character.  Chris Hemsworth also brings a new layer to Thor that you would’ve never expected and it provides the movie with some of it’s most hilarious moments.  And then there are surprise appearances that will be especially rewarding for long time fans, and seeing these faces made the movie even more special.  Also, the movie marks the final cameo from the late Stan Lee, which is fitting given that this is a movie marking the end of an era. Over 11 years and 22 movies, it’s been the remarkable cast bringing these characters to life that has been the key to Marvel’s success, and in Endgame, their effect is taken to even bigger heights.

There is no doubt that Avengers: Endgame is going to be a monumental moment in movie history.  In addition to breaking every possible box office record, the film also provides a prime example of a studio building something through complete and mind-boggling complex cooperation and having it all build to a satisfying end.  A movie like this shouldn’t work; an all-star cast having to share equal screen-time, a complex narrative juggling plot threads from multiple stand alone franchises, and putting so much faith in the audience to have the head space to follow it all.  Oh, and did I mention that the movie clocks in at a record shattering 3 hour and 2 minute run time.  Marvel has defied everything we used to know about comic book movies in the past, and they’ve reaped all the rewards because of it.  Endgame is a triumph not because it managed to pull all this together, but because it does so with heart and respect for it’s subject.  These have been movies made by fans, and that love of comic book heroes and their stories permeates every moment of the movie.  You do not feel those 3 hours at all, because there is so much going on and enough great payoff that those minutes just breeze right by.  Sure, Endgame has some minor flaws, and some plot holes might be picked apart in the future, but when the end result is this satisfying, those issues feel so insignificant.  I especially loved the way it resolves the things that needed to be resolved and some of the characters that see their stories come to a close are given the most beautiful of departures.  In the end, Marvel did what they set out to do, and everything hereafter is just the icing on the cake.  There will be more Marvel films to be sure, and Endgame even gives us some tantalizing hints about what’s to come.  But even if this was the end of the road for Marvel in general, and there was nothing left on the horizon, this would have been a satisfactory finish.  Avengers: Endgame delivers exactly what we wanted from MCU, and in turn it will set a new high bar for super hero movies for years to come.  Given that Marvel now has all their toys back to play with, the future still holds a lot of promise for the genre, but Endgame has earned it’s place as a very crucial corner stone.  AVENGERS ASSEMBLE!!!

Rating: 9/10

The 2010’s has more than anything been defined as the decade of super hero movies, and it produced a renewed rivalry between the two titans of the industry, DC Comics and Marvel, as they plowed through their decades worth of stories to take advantage of this new golden era for the genre.  However, most of the narrative of the last decade has largely been about Marvel clearly out-pacing DC.  DC started late, after Marvel had already laid the groundwork for their Avengers cross-over, and for years the game plan for DC has been to play catch up with their rival.  This resulted in a not so well planned out scheme to bring all of their own characters for a Justice League crossover, which was built upon shaky ground with the poorly received Man of Steel (2013) and Batman v Superman: Dawn of Justice (2016), and culminated in the underwhelming Justice League (2017), which had none of the same entertainment value as Marvel’s equivalent event films.  A large part of the problem was hiring ill-fitting director Zack Snyder to command the whole project, but the blame also extends to DC seeing what Marvel was doing and deciding to play copycat.  DC’s bad fortune teaches us that formula isn’t the answer to success, but rather the confidence to make something the best that it can be that really ends up connecting in the end.  Marvel, more than anything, has put their trust in the characters, which is what DC should’ve done all along too.  They have a gallery of gods and monsters nearly equal to Marvel, so why shouldn’t they believe in their potential.  And to DC’s credit, they seem to have finally figured it out.  Snyder is no longer around, and instead the focus has shifted towards establishing characters rather than building a franchise.  The DC Extended Universe (DCEU) 2.0 retains some of the elements from version 1.0, but the flavor of what they are constructing now is entirely different than what we’ve seen before.  It started with the harrowing Wonder Woman (2017), and though I wasn’t much of a fan, the epic Aquaman (2018) also proved to be a massive success.  But, the real test for this new DCEU has yet to come as they attempt to dig deeper into their catalog with one of their more fantastical heroes; the colorful Shazam.

Shazam’s history outside of the comics is just as fascinating as anything that they’ve put on the page.  For one thing, he didn’t start out as a DC super hero in the first place.  Shazam made his debut in 1939 as a premiere character for now long defunct Fawcett Comics.  And in those days, he carried the moniker of Captain Marvel.  Captain Marvel was a unique creation, namely because his true identity was a pre-pubescent boy named Billy Batson who would transform whenever he said the magic word “SHAZAM,” an acronym of six “immortal elders” of legend: Solomon, Hercules, Atlas, Zeus, Achilles, and Mercury.  This made the character especially popular with young children, because the idea that a child could transform into a super hero was such a wish fulfillment fantasy for many young comic readers.  However, things came to a head when DC sued Fawcett for what they saw as copyright infringement.  They argued that Captain Marvel was too similar to their own Superman, since he had a similar design and set of super powers.  DC eventually got Fawcett to cease publication of their most popular character and the financial cost eventually took it’s toll.  Eventually, Fawcett comics was bought out by DC, and with it came the license for the character that they once saw as a threat to the popularity of Superman.  They were eager to relaunch the long dormant character fully into their own comic universe, but there was one problem.  In the intervening time between the lawsuit and the acquisition of the character, Marvel had launched a new hero called Captain Marvel, and because of Fawcett’s cancellation of the old one, Marvel was in the legal right to own that name.  So now DC had a popular character who they could no longer legally call by his original name, so they ended up giving him a new one; Shazam.  That’s the complicated reason why this particular character goes by two different names, and in an ironic twist, Shazam’s big screen debut comes mere weeks after Marvel has brought their Captain Marvel (2019) to theaters.  Even with a long and complicated history, there is no other character like Shazam in the pantheon of super heroes, and with the renewed energy at work at DC, it’s going to be interesting to see if Shazam breaks out as a champion for the studio or as a forgotten relic.

The movie finds young Billy Batson (Asher Angel) on a frantic search to find his long lost mother, who abandoned him when he was very young.  Billy has survived off and on within the system, but after his latest run in with the law, he is forced to live in a new foster home run by the very welcoming Victor and Rosa Vazquez (Cooper Andrews and Marta Milans).  Billy meets his new foster siblings Mary (Grace Fulton), Eugene (Ian Chen), Pedro (Jovan Armand), Darla (Faithe Herman) and Freddy (Jack Dylan Fraser), but also doesn’t intend to stay long.  At school, handicapped Freddy is picked on by a couple bullies, and Billy stands up to them, only to have them chase him instead.  He alludes them by getting on a subway train just in time, but the train is magically swept away with Billy on board.  He arrives at a mysterious cavern where he finds a wizard by the name of Shazam (Djimon Hounsou) waiting for him.  The wizard tells him that he’s been seeking someone of a pure heart to carry his powers and protect the world after his life is ended.  He tells Billy to say his name while holding his magic staff, which Billy reluctantly does.  After saying the name, a bolt of lightning magically transforms Billy into a muscular, older super hero also called Shazam (Zachary Levi), though mentally he remains the same.  Unfamiliar with his new form, Shazam/Billy seeks out Freddy, who’s obsessed and knowledgeable about super heroes.  After convincing him that he’s still Billy underneath, the two embark on discovering all the different powers he has, which apparently are limitless.  However, as they fool around with Shazam’s powers, a threat begins to grow.  Dr. Sivana (Mark Strong), a past candidate for Shazam’s powers in his youth, has gained the powers of the evil force that the Wizard had fought against, the demon-like Seven Deadly Sins, and is setting out to destroy Shazam in order to gain ultimate power.  Though Shazam is all-powerful, Billy Batson’s inexperience leaves him vulnerable.  The question remains, can Billy use his powers responsibly in time to stop an evil force that’s shows no mercy, even to a child.

One of the things that has benefited DC as of late is the returned focus on the characters.  No more planning ahead to future franchise films; every movie now concerns itself with what each character is up to in their own story, which is a welcome shift for the once aimless company.  Wonder Woman got to be a war hero in her movie, and it fit her development perfectly.  And though I felt his movie was bloated and unfocused, Aquaman still shined through as he found himself finding the mantle of kingship in his own story.  Shazam offers it’s own challenges, especially given the magical elements that up to now have been absent in the DCEU.  And surprisingly, the movie Shazam not only finds it’s footing, it has done so far better than anything we’ve seen before from DC.  This is without a doubt one of the best DC Super Hero movies we’ve seen yet, comparable with the rousing Wonder Woman and is light years better than the dreary Batman v Superman.  And it all boils down to one simple thing; this is a movie that knows what it wants to be.  Too much of the early DCEU movies lacked identity; mainly because they were trying to copy what Marvel was doing, instead of establishing any worth in itself to begin with.  With Shazam, they have their most assured standalone feature yet.  While it certainly follows your standard super hero formula, the movie banks much of it’s energy into ingratiating the characters onto the audience.  These are characters that feel authentic and genuinely likable, which is what the movie needed us to feel since many of them are obscure in comparison to say a Batman or Superman.  At the same time, it never takes itself too seriously, as the characters experience their fantastic narrative with a clear sense of the absurd.  One of the best sequences in the movie involves Shazam testing the limits of his powers in a fun montage, done in a way that young kids would do if they were making a video showing off their skateboarding skills.  The movie never lets you forget that this is a story about an awkward teen stumbling his way through super herodom, and that helps to make it all the more entertaining.

The movie Big (1988) was an obvious inspiration for this version of Shazam’s origin story, as evidenced by a blatant and frankly on the nose reference halfway through the movie.  And just like believing that grown up Tom Hanks is really a teenage boy inside an adult body within that movie, the casting of Shazam likewise had to be spot on in order to make the movie work.  And thankfully, DC landed on the exact right actor.  Zachary Levi, of TV’s Chuck fame, has that special ability to balance humor with sincerity, and that especially works well with his portrayal of Shazam.  You completely buy that he and the actor who plays Billy Batson, Asher Angel, are the same person before and after the transformation.  And the movie miraculously maintains the continuity between different forms multiple time in the movie.  We see both frequently in the film, as Billy can transform at will, and the movie never makes it confusing.  I imagine that both actors probably spent a lot of time off set together in order to work on capturing each other’s personality, working towards the medium that would be their character.  Levi’s especially over the top exuberance also makes the character hilariously colorful as well.  What also helps is the chemistry that they both actors have with Jack Dylan Fraser, who plays Freddy.  He’s the clue that makes the duality of the character work, because he has to view them as the same person from scene to scene, and Fraser’s hilarious and spirited performance really carries a lot of charm.  The same goes for all the foster kids that they share a home with, as they also lend a great deal of warmth to the movie.  And though the villain is nothing special within the full rogues gallery of DC Comics, actor Mark Strong does make Dr. Sivana effectively menacing.  The downside though is that he no longer is able to play Green Lantern heavy Sinestro, as he was the only bright spot in that disastrous 2011 film, and perfectly cast to boot.

If there is a flaw to the movie, it’s that it runs a little too long.  The movie’s finale especially has a bloated feel to it, and it could have been better served with a tighter edit.  Though not terrible by any means, I was checking out at points during the final battle, especially when it was making needless use of slow-motion in parts.  It was that point in the movie where I felt that it was betraying the solid identity it had been building up to that point.  By the end, it was just serving up the same darkened skies brawl that we’ve seen in countless other super hero movies.  But, at the same time, it would throw in a clever little twist on the cliches that would win me back, especially a hilarious bit involving the “bad guy speech” trope.  When the movie was kicked into high gear, it usually involved Shazam discovering new levels of his powers, and that’s where the movie sets itself apart from others.  In most other super hero movies, the super hero usually is already aware of the extent of their powers, or have it easily spelled out for them.  Shazam is completely in the dark for most of the movie about what he’s supposed to be and do, and that sense of playfulness combines with the growing maturity that he must develop is what sets him apart from other like-minded heroes and their movies.  The film thankfully devotes most of the movie towards this aspect, but occasionally, it will miss it’s mark and get perhaps a little too comfortable in it’s genre trappings.  Also, any time when the DC Universe elements entered the picture, it would get a little distracting, although one artifact of the DCEU actually does serve as an effective plot tool at one point.   They are minor gripes in an otherwise effective narrative that always remains entertaining, and that really is all that the movie needs to be in the end.

Another wonderful aspect of the new direction of the DCEU is their embrace of brighter color.  One of the worst parts of the Snyder directed films was their significant lack of brightness and color; relying far too heavily on muted shades and grays, which just gave them this grim texture.  Both Wonder Woman and Aquaman improved the color schemes, but Shazam takes it’s too the fullest spectrum yet.  The vibrancy of Shazam’s costume especially pleasing to see.  I love the fact that his design remains in tact from the early Fawcett Comics days.  He still has those red tights, golden boots, and white cape, and the filmmakers did a good job of not straying away from that in the slightest.  I also love the fact that Zachary Levi’s suit also includes some enhanced padding to make his muscles look almost comically big and sculpted.  The fact that his body looks like that and he has the mind of a pre-teen just makes the juxtaposition all the more hilarious.  The movie also doesn’t shy away from some darker designs.  The Deadly Sins in their demon forms are especially creepy and might be too much for younger audiences.  But at the same time, they are well designed and animated, and you can see the level of detail put into their creation.  The clash between these two styles, the frightening Sins and the comical Shazam could have derailed the movie, and yet it works well together.  It reminded me of a lot of 80’s fantasy comedies that likewise went back and forth between the light-hearted and the profane, like Ghostbusters or Beetlejuice.  And since the movie was already borrowing heavily from another 80’s classic like Big, it seems fitting that it also took some inspiration from other movies of that era as well.  Not to say that this is trying to be an 80’s throwback on the level of say Stranger Things.  It just has that same feel, but in a contemporary sense, and it works perfectly in helping this movie finds it’s character, which makes it distinct among other super hero movies.

Shazam, in most of the ways that matter, is an absolute delight to watch.  I would say that it’s probably the most thoroughly entertaining movie from DC’s Universe to date, and could arguably be their best as well.  I even dare say I liked it better than Marvel’s own Captain Marvel, and that was a good movie in itself.  The old bearer of the name just had a more vibrant film, while the other was just good enough.  I still would personally put it a hair shy under Wonder Woman, because although Shazam is more consistently entertaining, it doesn’t exactly have a stand out scene like the “No Man’s Land” sequence from Wonder Woman, and is not quite as ground-breaking as that movie either.  Still, Shazam is another move in the right direction for DC and more than anything proves that they are able to compete with Marvel on a story level, and do it in a way that’s all their own.  There really is no equivalent for a movie like this in the MCU, except maybe Spider-Man: Homecoming (2017) and even that has a wildly different plot compared to this one.  The best thing is that even without the DCEU behind it, Shazam could exist as a franchise all to itself.  It’s got an engaging cast of characters whose adventures are just beginning, with a very charming and engaging hero at it’s center.  What’s especially exciting about this movie is that it opens up the DCEU to the existence of magic, which will likely be the source for countless new adventures to come.  Just like the Marvel Universe has different flavors to their narratives based on what their heroes bring to their stories, so do these new movies from DC.  And with Shazam, we can see that they can be magical, comical, and even genuinely heart-warming.  DC had a rough start, but things are starting to look better now, and Shazam is the best confirmation of that so far.  Though his road to the big screen has been rough, and at times completely abandoned, Shazam has proven himself worthy of his place among his super heroic peers, across the entire comic book spectrum.  When both DC and Marvel are putting out their best, everyone wins, and Shazam reminds us all why good characters always find their way, no matter the obstacles put in their way.

Rating: 8.5/10

When Marvel Studios head Kevin Feige announced the ambitious plans for the third phase of the Marvel Cinematic Universe back in 2014, a few of the titles that stood out were ones that many people were hoping would change the field of Super hero movies forever, and as it turns out, they did.  Last year’s Black Panther broke new ground on so many levels, becoming the studio’s highest grossing movie to date while also breaking down so many barriers for black filmmakers, and it even became the first Super Hero film to ever be nominated for Best Picture at the Academy Awards.  In addition, you also saw other risks taken by Marvel in Phase 3 that established the order within their already established franchises, like Captain America: Civil War (2016) and Thor: Ragnarok (2017).  And then came the mind-blowing conclusion of Avengers: Infinity War, which is one of the boldest moves ever taken by multi-billion dollar franchise and one that showed that the people at Marvel were not afraid to go to dark places with their movies.  Now, as the Phase 3 plans begin to wrap themselves up, and lay the foundation for what comes next, we are now being given yet another important move on the part of Marvel to break new ground in both the MCU as well as in cinema in general.  One of the many complaints that has come Marvel’s way throughout the year’s is the fact that up to now, none of their movies put the spotlight on a female super hero.  Sure, there are characters like Scarlett Johansson’s Black Widow and Elizabeth Olson’s Scarlet Witch who are part of the Avengers team, but they’ve never had their own movie that focused just on them.  But, now Marvel hopes to rectify this by bringing to the big screen their first Super Hero movie based around not just one of their most important heroines, but perhaps on of the most powerful characters in their entire gallery of heroes; the intergalactic Captain Marvel.

Captain Marvel has one of the more complicated origins in comic book history.  Created by Stan Lee and Gene Colon back in 1967, the character’s first incarnation was actually male; an alien Kree soldier named Mar-Vell who was exiled to Earth after being branded a traitor by his home planet, and would later ally himself with the Avengers in their eventual battles against the Kree Empire.  Mar-Vell’s origins would eventually be ret-conned many times, and the identity of Captain Marvel would actually pass on to many other people over the years.  Eventually, the character of Carol Danvers was given the identity of Captain Marvel starting in 2012.  Danvers, a Chuck Yaeger-style test pilot born and raised on Planet Earth, gave the character a distinctly feminine identity while still maintaining all the previous qualities that the character had established for itself over the decades prior.  And with that, Marvel finally had an established character that could help give them the chance to finally have that long awaited film centered on a female super hero.  Unfortunately, the movie has become the unfair target of online bigotry because of it’s intention to spotlight the character’s historic significance within the MCU.  A coordinated attack on the film’s Rottentomatoes.com rating by many anti-feminist trolls tried to bring the overall score down by many false negative reviews, and it feels very reminiscent of a similar preemptive attack to undermine Black Panther’s  chances of success from last year (which of course didn’t work and actually backfired).  Actress Brie Larson has tried to stay above the noise surrounding this, though her dismissive comment about the opinions of “white male critics”, regardless of whether she’s right or not, was effectively like kicking a hornets nest, and has unfortunately cast a dark cloud of controversy over a movie that should have been judged without the taint of taking a side on the so-called “culture war.”  Despite all what is going on outside of the movie itself, we now have a film that introduces this very important character to Marvel’s incredible universe, and it’s time to see once and for all if the wait was worth it, or if it’s a whole lot to do about nothing.

For the first time since Captain America: The First Avenger (2011), the MCU has rolled back the clock to a time in the past as the setting for it’s introduction of it’s hero.  Although, this time, we are only going back 20 years, to the mid-1990’s.  Carol Danvers (Brie Larson) lives on the Kree home planet of Hala, where she lives and trains with an elite band of inter-planetary special forces.  She has no memory of her past life before her six years living with the Kree, nor how she gained her immense powers, and goes only by the name Vers.  Her commander, Yon-Rogg (Jude Law) trains her to keep her powers and emotions in check, which she believes is essential to becoming a better fighter against the Kree’s mortal enemy; the shape-shifting Skrulls.  Vers’ team travels on a mission to a Skrull home base, where they are to retrieve one of their spies before an air bombardment is deployed by Kree battleships, commanded by Ronan the Accuser (Lee Pace).  However, they are ambushed and Vers is captured.  The Skrulls use a machine to investigate Vers buried memories, where they discover the identity of a Dr. Wendy Lawson (Annette Benning), which is the same face that’s presented to Vers whenever she is communing with Supreme Intelligence, the AI commander of all Kree civilization.  After Vers escapes the Skrulls, she ends up crash-landing on the nearby planet the Kree classify as C-35, known to us as Earth.  There, she is intercepted by agents from S.H.I.E.L.D., including a still fresh on assignment Agent Nick Fury (Samuel L. Jackson) and his new cadet Phil Coulson (Clark Gregg).  After the Kree find her and attempt to kill her, she teams up with a compliant Fury and the two set out to uncover what’s really going on regarding Dr. Lawson, her Project Pegasus, and how Vers is somehow connected to all that, with their only lead being a friend from Vers’ past life she can’t remember; Maria Lambeau (Lashana Lynch).  All the while, they are still hunted by the Skrulls, lead by their General Talos (Ben Mendelsohn).

Taking the Marvel Cinematic Universe back in time to a different era I think was a smart move on the movies part, because it frees up the story to have it’s own identity seperate from what else is going on in the Marvel Cinematic Universe.  There are brief references to other elements of the universe (Guardians of the Galaxy villain Ronan making an appearance for example) but for the most part, this is a story that stands on it’s own and for the most part, it works really well.  I’ll say this, it’s not a particularly ground-breaking film in the way that Black Panther was, nor a game changer like Infinity War.  It’s an origin story first and foremost and as far as those go within the MCU, this one is extremely effective.  I especially like the fact that the movie doesn’t busy itself with having to watch Captain Marvel learn the ropes of Super Hero-dom in order to become who she was meant to be.  From the moment the movie opens, she is already an established fighter who already is aware of the limits of her incredible powers.  Instead, the movie works as an investigation into what she has lost in the process of gaining her powers, and how the things that are buried deep down inside of her is what really makes her a super hero, and not the cosmic energy that flows through her.  The movie does a very fine job of unraveling this part of her story and it helps to break the film away from other like-minded Marvel origin stories.   It also wisely avoids the fish-out-of-water trope that’s already been done before in other Marvel films, as Captain Marvel finds herself perfectly adept at carrying out her mission no matter what planet or time period she’s in.  And this really helps to make it work on it’s own as a stand alone story.  There’s no need to read up on tons of pre-established Marvel lore, or re-watch all the MCU movies to understand what’s going on.  It’s all very simple; she’s Captain Marvel, she’s immensely powerful, and it’s all about piecing together the reason why deep down this is the person she is.

The main complaint that I can lay upon the movie is that it perhaps doesn’t quite feel as revolutionary as a part of the MCU as one would like.  The aspect of having a female super hero at it’s center is historic enough, but in terms of theme, tone, and visualization, the movie doesn’t really push the medium to anything really different.  It doesn’t have the wildly bold choices of something like Ragnarok or Captain America: The Winter Soldier (2014), where tone took a complete u-turn in those franchises from what we’ve seen in the past.  And of course, Black Panther challenged so many cinematic norms in both it’s characterizations as well as with the visuals, all helping to bring the Kingdom of Wakanda to spectacular life.  Captain Marvel by contrast feels more generic visually and formulaic in it’s plot.  Though still engaging, the movie doesn’t offer too many surprises.  You know the plot twists before they happen, and character motivations all come together in unfortunately expected ways.  I would have like to have maybe seen a little more doubt cast in the character of Captain Marvel, especially when she grapples with the reality of her identity and how that contrasts with the lies she has been told for years.  Essentially, the movie brushes too quickly over some of that, and though I understand why the movie does some of that, it still feels like the movie lacks a bit of something that could have helped to elevate it a little further.  Also, the movie has the unfortunate timing of coming to theaters after Wonder Woman (2017), a rare case where DC has actually beaten Marvel at the movies.  Wonder Woman was such a groundbreaking film in terms of female empowerment and representation within this genre, and Captain Marvel unfortunately lacks the same kind of inspirational impact that it’s predecessor did.  Young female audiences will still no doubt appreciate Captain Marvel as a character, but her impact on the big screen feels lessened because Wonder Woman got there first.  In the end, it feels unwarranted for this movie to have carried all the controversy, because it is neither a pro-feminist battle cry that trolls claim it to be, nor a let down that reflects badly on super heroines everywhere.  The movie does it’s job of establishing her presence, and little else.

The thing that I appreciate about the movie more than anything is the great comradery that it builds between Captain Marvel and Nick Fury.  Fury is a very different character here than we’ve seen before in past Marvel films, and it’s great to see Sam Jackson finally be able to cut loose as the character.  This is a version of Nick Fury that is less cynical, more compassionate, and with both eyes intact.  Even more amazing is the sophistication that Marvel has been able to achieve with it’s de-aging visual effect, which is used through most of the movie to make Nick Fury appear twenty years younger.  Now, it helps that Jackson doesn’t look too much older today than he did back in his 90’s heydays, but the de-aging which has been used to make everyone from Michael Douglas and Michelle Pfeiffer in the Ant-Man movies to Kurt Russell in Guardians of the Galaxy Vol. 2 (2017) all look like their younger selves almost looks seamless at this point, and Captain Marvel showcases the most extensive use of it to date.  And the inclusion of Nick Fury as a part of this story is another great aspect of the movie, because it allows for us to learn more about his story just as well.  Nick Fury has always been a part of the MCU from the very beginning, since his first appearance in Iron Man (2008) a decade ago, telling Robert Downey Jr.’s Tony Stark that he was part of a larger universe that he didn’t know about yet, which laid the groundwork for the Avengers Initiative.  Here, we see exactly what brought Nick Fury to become a part of this larger universe and the movie is just as much an origin story for him as it is for Captain Marvel.  Given that up to now, Nick Fury has been more of a connecting thread rather than the focus of attention, it’s really gratifying to see him fill a much more important and central role in one of these films finally, and giving Sam Jackson more screen time is always a good idea.

It’s also a great thing for the movie because both Jackson and Brie Larson have unbelievable chemistry on screen together.  The film basically turns into a buddy cop movie halfway through, and that made it much more entertaining.  In many ways, Nick Fury brings out the more playful side of Captain Marvel, as she grows more comfortable as she finally realizes she’s got a partner and not a fellow soldier on her side, telling her to follow orders.  Some may find Brie Larson’s performance perhaps a little distant and wooden compared to other super heroes in the MCU, but given the context of the story, I feel that her performance served the character just find.  She lacks emotion early on because she was conditioned that way when she became a Kree soldier.  Through her teamwork with Nick Fury and the discovery of her true self, she opens up as the movie goes along and it helps to leave more character development open for later on in future films.  The movie smartly focuses on these two characters and it helps to give the movie a nice humorous tone as they work off of each other.  Some of the other performance offer an interesting range, especially when perceptions of good versus evil begins to change as the movie goes along.  Ben Mendelsohn’s casting as Skrull leader Talos offers a nice little misdirection given the actor’s body of work so far on film.  I also really appreciate that the Skrulls were brought to life through prosthetic make-up and not as CGI animations, which really helps to give them more personality, especially when the actors work so hard to act through the layers of masking.  Annette Benning’s casting in multiple parts also givens the movie an elevated sense of ethereal class, and it’s great seeing her present in a movie like this.  Returning actors like Lee Pace and Djimon Hounsou from the Guardians of the Galaxy aren’t given much to do, but it’s still nice to see them return so that they can help give more continuity to the MCU, and Captain Marvel’s place in it.  A solid and engaged cast really helps to give the movie the personality it needs, and it’s especially welcome given the importance that some of the characters have with the complete Marvel story-line overall.

Captain Marvel comes to theaters amid controversy, which I hope dies a quick death so that the movie itself can stand on it’s own merits and free of petty politics that are trying to destroy it.  Is it Marvel at it’s absolute best; no, but I don’t think it really needs to be.  Captain Marvel is a starting point for something else; a cinematic beginning for a character who is going to play an important part of the future of the MCU.  Sure, it would have been nice to see Marvel attempt to exceed expectations rather than just merely meet them, but I can’t complain too much when the movie is still a fun romp with great character and interesting ideas.  The movie is absolutely worth seeing for the Captain Marvel and Nick Fury moments alone, and they make one of the most charming pairs we’ve seen from Marvel yet.  It would have been interesting to see how different the reception to this movie would’ve been had it come out before Wonder Woman; would we be talking more about how groundbreaking this movie was instead.  It’s too bad that Marvel had to take this long to finally make a movie centered around one of their most important heroines.  Regardless, she is here now and the MCU is the better for her inclusion.  My hope is that this opens the floodgates for all the other heroines in the Marvel canon to finally have their own movies.  Apparently, rumors are that a Black Widow movie is in the works, as well as a mini-series on the Disney+ app that focuses on Scarlet Witch; and those are just the already established characters.  There are literally hundreds more just waiting in the wings, and if Captain Marvel does well, hopefully it’ll convince the top brass at Marvel and Disney to invest more broadly into this market.  Some are trying to knock these kinds of stories down, but like Carol Danvers in the movie, they keep rising back up and press on undaunted, and that’s the important lesson that a movie like this offers.  There’s nothing that a movie like this has to prove other than to be a good story and an inspiration for people looking for hope, and the politics of it all doesn’t matter in the end.  It doesn’t need to be earth-shattering to get that point across.  Captain Marvel is a welcome addition to the pantheon of cinematic super heroes, and by just being true to itself as the character it’s centered on, the movie will undoubtedly stand strong for years to come.

Rating: 8/10

The cinematic career of filmmaker James Cameron has been a fascinating one to say the least.  He rarely outputs new films, usually just one or two a decade (especially more sparse in recent years), and yet when he does finally finish a movie, it breaks every known record imaginable at the box office.  Which is all the more remarkable considering that most of his cinematic choices are usually unconventional.  Make a sequel to a low budget action thriller with nearly quadruple the production budget and features heavy use of this new-fangled technology called CGI: welcome Terminator 2: Judgement Day (1992).  Make a movie about underwater explorers and have the entire thing actually shot under water in a massive, custom built tank; hello The Abyss (1997).  Not to mention spending a then unheard of $200 million on a romantic movie set against the backdrop of the sinking of the Titanic, as well as nearly half a billion perfecting motion capture technology to have half his cast play giant blue, cat-faced aliens.  But, despite all these uncompromising visions, James Cameron still has somehow managed to defy expectations every time, and then some.  Titanic (1997) would go on to win Best Picture at the Oscars as well as become the highest grossing film in history, only to be toppled a decade later by his very next film, Avatar (2009), which is still the worldwide box office champ.  The reason why Cameron’s films have the enormously successful run that they have is because the director always puts the most effort into everything, making sure that his movies are not released until it is ready to blow all our minds.  But, given the increasing amount of time in between all of his movies, he also runs the risk of holding onto a project for too long, to the point where it’s window of relevancy and audience interest.  Keep in mind, we are almost at the decade mark since we saw his last directorial effort with Avatar.  Most other directors in that time, like Spielberg, Scorsese and Tarantino have directed three or more features, and have boldly experimented in new things, growing their talents as filmmakers.  With Cameron tinkering so long on the same things, one worries that he’s running the risk of limiting his growth as a story-teller, leaving a lot by the wayside.

And one of those things that sadly has fallen victim to James Cameron’s long-gestating creative process is a project that he’s had in development for nearly twenty years called Alita: Battle Angel.  Based on a Japanese Manga series published between 1990-95, the dystopian cyberpunk adventure was first brought to Cameron’s attention by filmmaker Guillermo Del Toro not long after Cameron’s incredible success with Titanic.  Cameron instantly fell in love with the manga and sought to develop it into a possible future project for him to direct.  A domain name was bought as early as summer 2000 and the project was announced in active development in 2003.  However, Cameron soon realized that the technology wasn’t available to do justice to the highly stylized world and characters of the manga comic, so the project remained in limbo for many years.  Eventually, James Cameron opted to direct Avatar instead as his next project, using it as a testing ground for perfecting the motion capture technology that he hoped could eventually be used for Alita.  Of course, Avatar made a huge leap forward for the technology, and with that, the possibility for Alita to finally go into production was possible.  However, Cameron was once again side-tracked by his continued involvement in creating multiple sequels to Avatar, something which has taken up all his time these last several years.  Still, he and producing partner Jon Landau always kept this movie in their back pocket, but eventually the time came to the point where they could wait no longer, otherwise they would lose their window of opportunity  So, he had to make the tough decision to hand this pet project of his off to someone else.  In stepped Robert Rodriquez, himself a bold DIY filmmaker in the Cameron mold.  With heavily stylized, CGI enhanced films under his belt like Spy Kids (2001) and Sin City (2005), Rodriquez was more than capable of seeing Cameron’s vision to completion on the big screen, and the project finally went into production in 2016; 13 years after it was first announced.  The only question is, did nearly twenty years of development result in a movie worth all that wait, or is it an anti-climatic finish to a waste of everyone’s time.

The movie is set in the far of future date of 2563, where the Earth has been long devastated by a cataclysmic war with the URM (United Republics of Mars) which has left most of the world barren and unlivable.  One remaining community still lives on in the sky city of Zalem, which hangs over the vast sprawling Iron City where refugees from all over the world have gathered.  There, cyborg scientist Dr. Dyson Ido (Christoph Waltz) finds what remains of a long forgotten cyborg in the trash heap that’s grown from the refuse of Zalem.  He discovers that while the cyborg’s body has long been destroyed, it’s core remains alive and intact, so he reconstructs a new body and brings her back to life.  He gives the cyborg the name Alita (Rosa Salazar), which was the same name of his long deceased daughter.  Though Alita enjoys her new lease on life, she remembers nothing of her past, and Ido keeps her sheltered in order to protect her, which she refuses to fully obey.  After she sneaks out to spy on Ido’s late night activities, she discovers that he is a Hunter-Warrior, which is a class of highly skilled bounty hunters searching for humans and cyborgs alike with a bounty on their head.  In the middle of a skirmish against one particularly ferocious cyborg named Grewishka (Jackie Earl Haley), Alita learns that she has fighting skills known as Panzer Kunst, which makes her exceptionally strong and lethal.  She tries to become a Hunter-Warrior independent of Ido’s wishes, and she enlists the help of a scrap dealer named Hugo (Keean Johnson), whom she develops a crush on.  Hugo dreams of reaching the paradise city of Zalem, and he convinces Alita that she would excell in the dangerous sport of Motorball, which she agrees to.  However, the man in charge of the Motorball games is a ruthless businessman named Vector (Mahershala Ali) who’s been stealing all the best cybertronic equipment available in Iron City, with the help of Dr. Chiren (Jennifer Connolly), Ido’s estranged ex-wife.  Upon discovering Alita, and what she can do, Vector and Chiren plot to have her killed and harvested for her advanced hardware, especially when put under orders from the master of Zalem himself, Nova.

Though the movie is directed by Robert Rodriquez, and features some of his trademark style particularly in the action scenes, make no mistake that Alita: Battle Angel is first and foremost a James Cameron flick.  The attention to detail in the world building is very apparent and you can very clearly see the meticulous work that he put into crafting this world in even the most minute detail.  But, like most other Cameron flicks, it’s clear that almost all the work went into the details of this world and almost none into the story itself.  Let’s face it, James Cameron is director first and foremost and a writer second, and his lack of abilities as a screenwriter are even more problematic here.  Cameron co-wrote the movie with Laeta Kalogridis (2004’s Alexander and 2010’s Shutter Island), with extra material added later by Rodriquez, and all the big flaws of Cameron’s writing style seen in all his other movies are likewise found here too.  If you thought the romantic plot of Titanic was childish and cliche, you’ll find the one between Alita and Hugo even more so here.  And if you thought that the political messages in Avatar were heavy handed and clunky, then you’re going to be smacked like a hammer to the head with the ones in Alita.  Cameron’s strongest suit has never been his writing, often relying too heavily on his actors to salvage the words on the page.  And yet, he still insists on writing all his movies himself.  It becomes even more of a problem with the fact that Alita: Battle Angel is also the first time he has had to adapt a story from another source, which means he has to condense years worth of story into a short two hour length.  The one saving grace for this is that Alita is not a bloated 3 hour extravaganza like some of Cameron’s other features, but it’s clear that in order to stream-line the story, he had to cut out huge chunks in order to get it to 2 hours, and that unfortunately affects the flow of the narrative.  The movie has to deal with an immense amount of lore, and it unfortunately gets shrunken down into heavy exposition delivered consistently throughout the film.  As a result, more important stuff like character development and atmosphere building are sacrificed.  The movie builds this incredible world for us to see, but we’re never allowed to develop an emotional bond to it at all because the movie just plows through it.

Couple this with the fact that the movie unfortunately feels like it’s time has passed it by.  That’s where the way too long development of the movie has hurt it’s chances of ever succeeding.  James Cameron’s movie, had it gone into production early on, could have been ground-breaking and ahead of it’s time, because the world had yet to define a sense of what cyberpunk is as a style, which Alita could have very easily influenced.  Sure there were influential films like Blade Runner (1982) on which Battle Angel drew heavy inspiration from, as well as memorable anime like Ghost in the Shell (1987) and Akira (1988) which also helped to define cyberpunk as a sub-genre.  But, a live action Alita could have been this generation’s ultimate statement, and sadly it missed it’s window by pretty much a decade.  Much like how the John Carter (2012) movie felt too derivative of other films like Star Wars (1977) and Dune (1984), which were ironically influenced by the original Edgar Rice Burroughs John Carter novels, Alita comes out in a time where movies that were influenced by the original manga have already come and left their mark and Alita only feels less original as a result.  It’s not even the first manga to get the live action treatment, as other comics like Dragon Ball, Death Note, and Ghost in the Shell have made it to the big screen, and likewise fail every time.  Alita’s timing honestly couldn’t be any worse, because the world has already at this point come to reject this style of movie all together.  That being said, Alita: Battle Angel is a much better film than those, because at least James Cameron is approaching the material with a sense of reverence, and not just using it as a cash grab.  But, had he put more urgency into the project from the beginning, and not waited patiently for the technology to catch up to his vision for how he wanted to make it, Alita could have been that breath of fresh air that might have taken cyberpunk into a whole new level of influence in cinema.

Story issues aside, the movie is lifted up immensely by it’s visuals.  Cameron’s attention to detail is exceptional, as Iron City does feel like a genuine, lived in place.  You could spend countless hours just picking out the large variety of architecture in all the buildings, which range from middle-eastern, to South-American, to inner-city America in influence; feeling very much like how a community of multi-national refugees would attempt to rebuild society in the aftermath of a broken world.  And though his impact on the story is minimal, I do have to credit Robert Rodriquez on his direction of the action scenes, which are well choreographed in the same playful way that he uses to excess in movies From Dusk Til Dawn (1996) and Machete (2010).  Of course, a lot of what people are going to be talking about with this movie is the use of motion capture used to create the cyborg effects on the characters.  This is where the movie unfortunately provides some mixed results.  It’s very clear that most of the work went into perfecting the look of Alita herself.  The thing about her appearance in the movie is that she has to look believably real despite having these giant, anime style eyes, which instantly stands her apart from all the other characters.  That almost makes it an even harder challenge than making the cyber-tronic body of hers appear authentic, because if you make the face look inauthentic, it falls into that creepy, uncanny valley territory.  Thankfully, the effect is done just well enough to not be off-putting and you only occasionally take notice of the effect throughout the movie.  I was, however, more impressed put into the work of another character named Zapan (played by Ed Skerin) whose human face appears on a completely exposed cyborg body, and the effect is incredibly effective and lifelike.  And then there is the opposite end of a character like Jackie Earle Haley’s Grewishka, who might as well be a cartoon character.  Even still, you can tell that the work was put into the visuals of this movie more than anything else, and that’s something to commend all the hard work for.

There’s also a mixed result from the movie’s cast as well.  Again, the actors have to make do with some of that clunky Cameron dialogue, and some fare better than others.  It helps that the movie includes three Oscar winners in it’s cast, and they are usually the ones that work best with the lines they are given.  I did like Christoph Waltz’s role as Dr. Ido, taking a break from his more famous villainous work in other movies to show that he can indeed play a warm, nurturing mentor type as well.  Unfortunately, Mahershala Ali and Jennifer Connolly are sidelined far too often in the movie to ever really give them an ample opportunity to dig into their roles.  Mahershala perhaps fares a little better, given that he’s able to deliver so much menace with just a glance.  Connolly seems particularly wasted, as we know she is capable of far more emotional range than what she is allowed to show here.  Rosa Salazar on the other hand gets perhaps the hardest job in the entire movie as she has to carry the film, and do so underneath her CGI enhanced mask as Alita.  For the most part, she succeeds.  She does manage to make Alita likable enough to want to root for and it is impressive how well she is able to emote through all that motion capture, showing just how far that technology has come.  Though Alita is not particularly well written, she nevertheless stands out as the movie’s most successful character, and she carries the movie well enough to keep it from falling apart completely.  Unfortunately, it’s whenever the story-line with Hugo keeps butting in that the movie completely grinds to a halt.  I’m sure that young Keean Johnson is a fine actor, but he is well out of his limit in this role, becoming the movie’s weakest element overall.  You care so little about Hugo as a character, and I almost feel bad for the actor because there’s not enough natural charisma in the world to save him from his dialogue.  At least with Titanic we had future Oscar winners like Leonardo DiCaprio and Kate Winslet to elevate Cameron’s ham-fisted script.  Rosa and Keean unfortunately can’t match up, and that is why the movie falls apart as a result, since Cameron hinges so much on their expected chemistry.

Is Alita: Battle Angel a complete disaster?  I wouldn’t exactly say that.  I do have to praise the work that went into the spectacular environment of the movie’s setting and the work the CGI animators put into making the Alita model feel right.  I’m sure that an art book of all the conceptual designs made during the film’s development would be absolutely stunning to flip through, especially considering that there is roughly 15 years worth of material to sift through.  I also like how Alita falls once again into the James Cameron trope of a strong female protagonist at the center of most of his movies; descending from a line that includes Sarah Connor from The Terminator (1984), to Ripley from Aliens (1986) to Rose from Titanic.  It’s only unfortunate that this movie came out perhaps a decade too late and is not as polished as some of the director’s more successful works.  Had James Cameron not been sidetracked so much by Avatar and all it’s sequels, we could have has something truly breakthrough from the highly influential director, and something that would have really pushed his own career into interesting an unexpected directions.  Not only that, but think about the impact that Cameron’s Battle Angel could have had on both the cyberpunk genre in film, as well as the influence of anime within the film industry.  We might have been spared some of those awful anime adaptations in the last decade because Cameron would have set the bar high.  Sadly, Alita: Battle Angel comes to us as a compromised vision, feeling disjointed between the visions of two filmmakers, and containing only a fraction of what it could have been.  The world-building and visual effects are impressive, but there is no emotional attachment, and all that’s left are the glaring flaws which become more pronounced with James Cameron’s sub-par script.  But, it could have been worse, as we’ve seen from the cash-grabs made by Hollywood over the years.  Alita at least comes from the heart, as James Cameron is a true fan of what he’s adapting here.  If only he hadn’t loved it too much to the point where it’s time had passed by.

Rating: 6.5/10

M. Night Shyamalan’s years in Hollywood have been interesting to follow. At the beginning, he was heralded as the next big thing; the Spielberg of his generation as some had called him.  This was in no small part due to the runaway success of his breakthrough film, The Sixth Sense (1999).  The movie became an instant classic, and is renowned more than anything for the way it perfectly executed it’s shocking twist ending.  From that, Shyamalan jumped into his next feature, the comic books inspired thriller Unbreakable (2000), which despite receiving strong reviews among critics performed only a fraction as well as it’s predecessor The Sixth Sense, despite also starring Bruce Willis.  But, he would bounce back with his next film, Signs (2002), which performed very well at the box office, but at the same time also launched the director into a stage in his career that would also be his downfall.  With Signs success, Shyamalan was forced into a position where his brand became centered around one thing, and that was the shocking twist ending.  With every movie thereafter, from The Village (2004) to Lady in the Water (2006) to The Happening (2008), he was continually having to one up what he had made before and it was increasingly undermining his abilities as storyteller.  And even when he tried to branch out into other genres like with The Last Airbender (2010) and After Earth (2013), it kept throwing him into further turmoil, as he was increasingly becoming less trustworthy in Hollywood.  But the truth is, the big problem with M. Night’s career wasn’t that he became a bad director overnight; it was that he was continually forced to live up to an unrealistic high standard which made it hard for him to fulfill his abilities as a director.  What he needed was a major reevaluation of his career and a renewed focus on what he was good at.

That’s when Blumhouse Productions stepped in and allowed M. Night to get out of his slump and start making movies that appealed to his own sensibilities, without the pressure of Hollywood’s expectations weighing on his shoulders.  With 2015’s The Visit, Shyamalan had his first critically applauded film in a decade, and that allowed him the clout to return back into the groove that he once started out in, albeit to a smaller degree.  And what he chose to do next pleased many a fan of his earlier work, especially when it became clear what he was planning.  The movie Split (2017) was a taut, tense thriller that represented the best of the director’s style; deliberate pacing, steady camera work, and unnerving performances from his cast.  But, at the film’s end, people discovered probably one of the director’s finest twists to date; that the entire movie was a secret sequel to Unbreakable.  After nearly twenty years, Shyamalan showed that he hadn’t forgotten about his underappreciated gem and clearly intended to return back to the story that apparently has meant a lot to him over the years.  And the timing couldn’t be better either.  Unbreakable has become something of a cult hit ever since it first premiered, with many proclaiming (myself included) that it’s the director’s true masterpiece.  Given the fact that Split not only won him back critically and box office success but also shared a universe with Unbreakable made many of the fans of those films rejoice, because it showed that Shyamalan had just as much affection for the story as well and was ready to bring it back in a big way.  Thus, we now are getting the third in this surprise trilogy with Glass, seeing the once proclaimed director finally reasserting himself in Hollywood the way he has always wanted to.  But, after the long wait, and many distractions along the way, did Shyamalan really return to form, or does Glass take what good will he has left and shatters it.

The movie takes place not long after the events of Split, with a multiple personality disorder patient named Kevin Wendell Crumb (James McAvoy) hiding in the shadows, committing heinous murders across the city of Philadelphia.  Shifting constantly between 24 different personas, he transforms most dramatically into a creature called the  Beast, which gives him superhuman strength.  Crumb’s activities have, however, been monitored by a vigilante crime-fighter named David Dunn (Bruce Willis), who 19 years prior had discovered his own superpowers by being the only survivor of a horrific train crash, leaving the incident without a scratch.  He runs a security equipment store with his son, Joseph (Spencer Treat Clark), who believes in his dad’s super hero abilities and has been helping him track down criminals with the same surveillance equipment they sell.  They finally track Crumb down to an abandoned factory, where he’s holding four teenage girls hostage.  Dunn manages to subdue Crumb, who’s in his Beast mode at the moment, long enough to help the girls escape, but once their battle reaches the outside, both are subdued by local law enforcement who have the means of exploiting the weaknesses of both super beings.  Following the orders of Dr. Ellie Staple (Sarah Paulson), a psychiatrist who specializes in patients like Dunn and Crumb, the police put both of them in custody at a local psychiatric hospital.  Dr. Staple means to convince each of them that their super powers are just delusions and that they are just as normal as any other person.  Dr. Staple even enlists the help of the lone survivor of Crumb’s attacks, Casey Cooke (Anya Taylor-Joy) who somehow managed to breakthrough the many personas to bring the original person back, helping him to heal slightly.  But, all the best laid plans are put to the test as another patient quietly plots his own escape; the criminal mastermind Elijah Price, aka Mr. Glass (Samuel L. Jackson).

I personally have always wanted a sequel to the movie Unbreakable.  It was my favorite movie from the year 2000, and I’ve always considered it the best movie that Shyamalan ever made.  It was a brilliant dissection of the mythos of comic books, made in a time when super hero movies were not considered even noteworthy, especially in the wake of failures like Batman and Robin (1997).  But, in the 19 years since it’s release, comic book super heroes have dominated the film landscape, and it has only increased the relevance of Unbreakable’s story ever since.  So, I was thrilled to see Shyamalan make a return to this story and tell a new chapter that revisits the same themes, but in a new era where comic books have far more influence.  The only question is, did his years out in the wild change him too much as a director to ever effectively make this story work again.  The answer is a complicated one.  Throughout Shyamalan’s career, he has rarely found middle ground among critics and fans.  People either love the things he does, or they hate it.  He will always be a polarizing filmmaker, and Glass more than likely will continue that.  I have mixed feelings about this movie myself, but they are not to the polar extremes that I think that most people are going to respond to this movie with.  On the one hand, I was satisfied seeing these characters return and watching them interact with each other, but on the other hand, the story is a bit of a mess.  Keep in mind, Shyamalan’s movies have resulted in much worse results in the past, so I have to take this into perspective as well.  The movie is not terrible by any means, and in fact does work for most of the film’s running time.  But, as a follow up to two of the his best films to date, this is easily the weakest in the so-called Unbreakable trilogy.  He’s managed to disappoint, but to a degree that I don’t think shreds the rest of his reputation nor shames the movies that have come before it.

Where the movie faults is in the execution of it’s larger themes.  M. Night has many talents, but one of his less reliable ones is screenwriting.  He certainly is able to effectively weave a mystery through most of his movies, which has made him an expert in subverting the audiences expectations and hiding the surprise twist in plain sight.  But it’s in the dialogue where he begins to show his limitations.  Characters in his movies speak their dialogue in this weird sort of way which really takes you out of the movie.  Essentially, they speak like their words are specifically chosen to deliver important plot information, and not spoken in a natural, real life sort of way.  This has always been a problem in Shyamalan movies and is particularly problematic here in Glass.  Not one character talks like a normal human being, and you just get the sense that Shyamalan is writing this dialogue more for himself as a way of navigating through his story rather than allowing the the story to unfold naturally.  He also relies heavily on plot conveniences which again don’t feel genuine.  Security guards are conveniently incompetent at this mental hospital.  The remedy for subduing the inmates there, like the water hoses used on Dunn and the light flashes used on Crumb have somehow been figured out, despite the fact that both men have kept their abilities secret.  It’s the kind of plot conveniences that become annoying the more you analyze them.  But the movie really goes off the rails in it’s third act when Shyamalan’s indulgent style begins to loose it’s foundation, and every new twist is delivered in the clunkiest way possible.  Where it really starts to affect the movie negatively is in undermining the effectiveness of the film’s themes.  Essentially, Shyamalan throws it in our face the parallels between this story and comic book lore, with Mr. Glass in particular stating as much with his own observations, as if Shyamalan doesn’t trust his audience to figure it out themselves.  He’s got to remember that we’ve had a decade’s worth of Marvel movies dominating pop culture as a whole, so the themes of this movie should already be familiar.  We don’t need it beaten into our heads.

But, even despite the lazy plot and the clunky dialogue, there are a lot of things that shine in the movie.  For one thing, even though his writing skills still haven’t recovered over the years, Shyamalan’s abilities as a director are greatly improving, and showing once again the creativity that really defined his early work.  I think that this is especially due to the influence of Blumhouse, which has kept his vision in check, making him work within a smaller budget.  This has allowed Shyamalan to be creative and rely more heavily on practical effects and good old fashioned camera work.  Shyamalan has always been a fan of using color theory within the narrative of his films, and it’s used quite effectively here.  The color used from scene to scene helps to reveal different moods for the characters in each moment, and even communicates to us without words what each character represents.  McAvoy’s Crumb is often shown in the widest range of bright colors, showing us the chaotic jumble of personalities that inhabit his mind.  The scenes with Mr. Glass are especially effective, because of the way that Shyamalan zaps out almost all the light within the scene, playing much of it in shadow which emphasizes the dark soul that the character represents.  Even the pastels usually associated with Dr. Staple also tell their own story, and one that indicates a little bit about what she is all about.  At the same time, Shyamalan returns to the effective, stripped back shooting style that defined much of his earlier work.  Even when the movie kicks into action mode, he places the point of view in interesting and unexpected areas; such as shown through surveillance cameras, or as creatively as inside of a police car as it’s getting flipped on it’s side.  Within Glass, we see a director learning to trust his instincts as a visual story-teller once again and that helps to compensate for the shortcomings of the script.  Shyamalan may not have remastered all of his talents, but it is a treat to see him try to challenge himself again and try out some interesting ideas.

What also helps to make the movie work for the most part are the performances.  Even when his movies have suffered terrible writing, Shyamalan can somehow manage to get his actors to make that clunky dialogue work.  Thankfully, he got his two leads from Unbreakable back with Bruce Willis and Samuel L. Jackson.  Jackson’s return is especially worthwhile, because you can tell while watching this movie that he’s long wanted to return to this character and really explore that villainous side.  In Unbreakable, Jackson’s Elijah had to hide the person he truly was behind a facade, only to have his true evil nature revealed in the movie’s brilliant twist ending, and Sam Jackson sold that trickery so well.  In Glass, we get to see that villainous side unleashed and it’s a joy watching him take so much delight in being unapologetically evil.  Willis likewise returns to form, and balances the movie out with his more subdued and quiet performance.  Sadly, the movie doesn’t give him much to do with all it’s various plot threads, but Bruce makes the most out of what he’s given.  It’s James McAvoy who shines the most, however, in his returning role from the movie Split.  He is mesmerizing to watch in every scene as he effortlessly shifts from one persona to another, completely convincing you that he is multiple people all inhabiting one body.  He does it so brilliantly with simple changes in his facial expression or just the way he moves his body, and every moment he’s on screen you can’t take your eyes off him.  It’s also a physically demanding role for him too, and the commitment to get into shape for this role is pretty astounding.  Sarah Paulson especially deserves a lot of credit in this movie too, especially given that she’s given some of the most ridiculous dialogue in the entire movie and she delivers it with complete sincerity.  Shyamalan owes a lot to actors like her and the others for overcoming the limitations of his writing.  It’s also pleasing to see other returning cast members help to bring this trilogy full circle, especially Spencer Treat Clark who last played this role when he was still a child. Had this cast not put their best efforts into this movie, we would have has a much less effective movie overall, and given the problems already there, they are a life saver.

So, as a conclusion to this trilogy, Glass is far from the home run that we would have like to have had, and sadly is the least effective movie in the series overall.  But the fact that this trilogy even exists at all is a miracle in itself, and I’m glad that it ever made it as far as it has.  I always believed that Unbreakable was only ever going to be this one standalone thing, and I was fine with that.  But, the fact that in this super hero driven world that we live in now with regards to cinema that this long forgotten film was all of a sudden seen as a worthy inclusion to the genre as a whole, and worthy of a universe of it’s own, makes me incredibly happy.  Unbreakable is still a masterpiece of it’s genre and of film-making in general, and I love the fact that it was able to be rediscovered and appreciated once again.  Glass may not be a great movie, but it compliments Unbreakable in a way that still satisfies.  I still liked how they treated the characters of Bruce Willis’ unbreakable man and Samuel L. Jackson’s Mr. Glass.  And seeing them interact with James McAvoy’s incredible character from Split makes up the best parts of this movie.  Unfortunately, Shyamalan still needs to refine his writing skills, because they keep undermining the effectiveness of story.  Shyamalan has proven that he works best within boundaries, because it forces him to think more creatively, and these film in this trilogy prove that.  Unbreakable was a brilliant examination of what the extraordinary would look like within our ordinary world, and Split portrayed this crazy world effectively through one single character’s fractured mind.  Glass is the least restrained movie of the bunch and therefore the least effective, but it still works as a part of the whole.  For all we know, now that Shyamalan has closed the book on this trilogy he’ll be able to take more chances on things that appeal to his tastes, now that he has a renewed understanding of  where his strengths lie.  As of now, this Unbreakable trilogy is his crowning achievement as a story-teller, and despite the mixed results of Glass, it’s still a genuine treat that the legacy of M. Night Shyamalan’s best work is still going strong all these years later, and in a culture that has finally embraced the value of comic book legends that it was way ahead of the curve on.

Rating: 7/10

Since the turn of the century, Spider-Man has enjoyed a very strong place at the box office.  Swinging onto the screen with the Sam Raimi directed Spider-Man in 2002, the webslinger managed to generate the first ever box office weekend north of $100 million.  Two more films from the same team would follow with mixed results, though still very healthy and at the top of the class when it came to super hero franchises.  But something happened in the following decade that would shake up Spider-Man’s presence on the big screen.  After years of trying to find a permanent home for all their super hero properties, Marvel finally set up shop with their own studio after they were bought by the Walt Disney Company.  Now with deep pockets big enough to fund their plan for a shared universe, Marvel finally was able to tell stories the way they wanted to.  Only, there was still the problem of all the continuing contracts that remained at all the other studios in town.  Paramount and Universal, which held the rights to characters like Iron Man, the Hulk, and Captain America handed over their characters to Disney without issue, but the same cooperation would not be demonstrated from the other hold outs; Fox (who had the Fantastic Four and the X-Men) and Sony (who has Spider-Man).  With the upcoming merger of Disney and Fox next year, Marvel will finally have a huge chunk of their character roster back under their control, leaving Sony and Spider-Man the last remaining holdouts.  Now, to Sony’s credit, they did work out a deal with Disney that essentially boils down to a joint custody with the character.  Sony takes a minority share of profit when Spidey appears as an ensemble player in massive crossover, and a majority share whenever he has a standalone feature, with Disney taking the reverse on each.  That’s how we get Spiderman in Captain America: Civil War (2016) and Avengers: Infinity War (2018), and Iron Man in Spider-Man: Homecoming (2017).  And for the most part, it’s been a mutually beneficial relationship.

However, there are some odd happenings on the Sony side where they are trying every way they can to work around the loopholes of the agreement.  As part of the deal, Marvel Studios has taken the measures of making all the future creative choices regarding the character; from the casting, to the types of stories that the character will be living through on the big screen.  This has of course been very beneficial for Spider-Man, as his storyline is now linked with the full Marvel universe, and the universally beloved casting of Tom Holland in the role has made many believe that this is best version of the character we’ve seen yet.  But, the team at Sony is showing more and more that they would like to be the ones in charge of this franchise and they are looking for ways to build a Spider-Man-esque franchise without using the character himself.  One way they have attempted to do that is by taking one of Spider-Man’s most famous foes and build a franchise around him instead.  That’s what happened this year with the creation of the movie Venom (2018), a standalone feature centered on the famous alien symbiote villain from the comics.  The movie benefited from the casting of Tom Hardy in the title role, but the film received a very polarizing reception from both fans and critics.  Still, it did well enough at the box office to warrant a sequel, but the disconnect from the rest of the Marvel Universe was palpable for most people.  Venom was more of a Sony movie than a Marvel movie, and a lot of fans were not happy to see this beloved character so cast aside, because of Sony’s refusal to play by Marvel’s rules.  That’s why you see the opening logo say “In Association with Marvel” meaning it was made with their blessing, but not their approval.  And it’s any wonder if Venom may ever cross paths with Spider-Man at all because of this, which would be a shame.  Safe to say, it’s a move that probably won’t endear Sony with comic book fans in the long run, but there is another feature coming out that may allow Sony to play in the world of Spider-Man on their own terms, and still make it worthy of the brand.  Simply, since Disney and Marvel are taking the charge with a live action Spider-Man, why not let Sony take charge with an animated one.

Thus, we have Spider-Man: Into the Spiderverse, a new animated film from Sony Animated Pictures.  Sony Animation has had mixed results over the years, ranging from good (Hotel Transylvania, Cloudy With a Chance of Meatballs), to mediocre (Peter Rabbit, Open Season), to downright awful (The Emoji Movie, Smurfs).  Spiderverse probably marks their most ambitious film to date and with good reason; they are playing with a comic book icon now.  You might think that the movie is your standard mild mannered Peter Parker saves the day story-line, but you are wrong.  This one focuses on Miles Morales (voiced by Shameik Moore), a bright young student living in Brooklyn.  Miles lives under constant pressure living up to the high standards of his police officer Dad (Brian Tyree Henry), and finds solace in the counsel of his uncle Aaron (Mahershala Ali), who indulges his more artistic tastes.  After stumbling through an underground sanctuary that belongs to his uncle, Miles finds a large Hadron collider that opens up a portal to other dimensions.  The collider is being operated by the crime boss Kingpin (Liev Schreiber), who is thwarted when Spider-Man (Chris Pine) shuts the machine down.  Unfortunately it leaves Spider-Man fatally wounded, and he trusts Miles with the duty of keeping the key to Kingpin’s collider out of the villain’s hands.  Miles, who has also inherited the powers of Spider-Man, tries what he can to take up the mantle of the former hero.  But, he surprising has a run in with another Peter Parker (Jake Johnson) from one of the other dimensions; one where Spider-Man has fallen on hard times and has grown into a bit of a slob.  The older Spider-Man takes Miles under his wing and teaches him the basics.  Soon they are met by other inter-dimensional Spider-beings including Gwen Stacey aka Spider Gwen (Hailee Steinfeld), Spider-Man Noir (Nicolas Cage), anime girl Peni Parker (Kimiko Glenn) and cartoon pig Spider-Ham (John Mulaney).  Together, they put their strengths to the test to stop the Kingpin’s plan and return everyone home safely, but that all hinges on whether Miles can find the hero within himself.

Thanks to catching a brief advance screening at my local Burbank, California theater, I was able to see this movie a week early.  And I’m very glad I did.  Quite in contrast to the compromised Venom  from a few months ago, Spider-Man: Into the Spiderverse is a movie made on Sony’s terms that feels more in the spirit of the character of Spider-Man.  Essentially, this is a movie that list being “In Association with Marvel” that Marvel will gladly give their approval to.  Animation really is the best way to present a separate story-line from the connected Marvel universe, and Into the Spiderverse delivers above and beyond what you would expect.  Not only do I think that this is one of the best Spider-Man films ever made (standing toe to toe with the likes of Spiderman 2 and Homecoming), but I would dare say it’s the best animated film that I have seen this year overall.  Yes, even heavy hitters like Pixar’s Incredibles 2 and Disney’s Ralph Breaks the Internet didn’t work as consistently well as this movie.  What makes Into the Spiderverse work so well is because it takes chances and carves out it’s own identity, even as a standalone animated feature.  I for one have never seen animation as stylized as seen here, taking a very comic book aesthetic to the extreme.  Even the very simple action of movement is differently realized in the movie, coming across as a hybrid between stop motion and actual real life, only animated through a computer.  It takes some getting used to but, by the end, you feel very enriched.  I just found the whole approach more interesting than all the other animated efforts this year, though I still very much liked Incredibles and Ralph too.   And the best thing is that it doesn’t try to distance itself from it’s comic book roots like so many of Sony’s other mismanaged super hero films.  It embraces it’s origins and even has a little fun with it as well.

One of the best elements of the movie is it’s sense of humor.  Much like movies such as Deadpool (2016) and The Lego Batman Movie (2017), this is a film that likes to break down the cliches of the genre while at the same time having fun with them.  This is especially personified in the older Spider-Man played by Jake Johnson.  His Peter B. Parker is the obvious cynical one and much of the film’s best jokes revolve around his ability to perform as Spider-Man, but with a slacker’s attitude.  I especially like the detail that he wears sweatpants through most of the movie.  There are some fun nods to past Spider-Man movies too, but turned on their heads as part of the film’s irreverent take on the mythos of the character.  I also really enjoyed the different Spider-Man types that we meet as well.  Nicolas Cage is especially hilarious as the moody to the point of absurdity Spider-Man Noir, and his vocal delivery had me cracking up most of the time.  Much of the humor feels very much in the same vein as a Lego Movie, and it’s not surprising given that one of the writers, Phil Lord, was also the creator of that film as well.  But, even with all the irreverence, the movie also delivers a lot of heartfelt emotion that doesn’t feel out of place.  And most of that is centered around the development of Miles Morales as a character.  Miles, a beloved version of the famed webslinger from the comic books, makes it to the big screen finally with a beautifully told coming of age story about becoming the hero he was always meant to be.  The road there is paved with a lot of humor, but when it needs to hit those emotional moments, it does not disappoint.  I especially liked how they dealt with the relationships he has with his Dad and his Uncle, and the unexpected turns that those points take.  There’s even a touching bond that he builds with the other Spider-beings that helps to enrich the story as a whole.  Even as the movie hits some wacky curves, it’s Miles story that gives the movie it’s beating heart.

The movie also benefits from a fantastic voice cast.  Shameik Moore delivers a surprisingly emotional turn as Miles, and helps to make him endearingly and also goofily charming at the same time.  He has to take the full burden of managing the wild changes in tone throughout the movie and he does so quite effectively.  Bringing perfectly tuned assistance is Jake Johnson as the middle aged Spider-Man.  His voice is perfect for this version of the character because he can go from quirky to sincere in a heartbeat.  Some of my favorite moments in the movie are from the little asides that he adds to the conversations in the movie; often pointing out the absurdity of their situations.  And a lot of his persona comes through in his performance, to the point where I could have easily seen Jake playing this same role in live action as well with the same exact result.  The same goes for Hailee Steinfeld who also brings the fan favorite Spider Gwen to the big screen for the first time.  Her role also brings a nice balance to the cast, as she is often the most proactive of the film’s heroes.  The previously mentioned Nicolas Cage is probably the funniest out of the bunch, just because his deadpan delivery is so perfect for the lines that he reads.  Also John Mulaney and Kamiko Glenn are wonderfully quirky in their own roles.  On the opposite side, Liev Schreiber delivers a wonderfully menacing turn as Kingpin, standing larger than life (literally) among the other Spider-Man baddies in the movie.  I was happy to see him play a version different than other versions of the character, like Michael Clark Duncan in 2003’s Daredevil and Vincent D’Onofrio in the Daredevil TV series, favoring a more cinematic heavy, crime boss version instead.  And his version is perfectly suited for this kind of version of Spider-Man, which is more cartoonish as a whole.

Speaking of cartoons, it’s an interesting move on Sony’s part to take the world of Spider-Man and put it in animation, given that the whole rest of Marvel is now owned by a company born out of an animation background.  Disney, curiously, has been very selective about where they cross their animated field with the Marvel properties that are now in their stable.  So far, apart from a couple cameos in Ralph Breaks the Internet, the only Marvel characters brought to life through animation have been the ones from Big Hero 6 (2014).  Sony has filled that hole quite effectively by taking the more noteworthy character of Spider-Man and bringing him into the animated medium.  But, they do so without running contrary with what Marvel is doing with Spider-Man in the Cinematic Universe.  This is very much it’s own thing, and that’s reflected in it’s visual aesthetic.  No one would confuse this with a Disney animated feature.  The texture of the visuals is really unique, and makes this film feel unlike any other movie you have ever seen.  There’s a hand-drawn quality to the characters and background that makes the movie feel very much like a comic book come to life, but at the same time, you can still tell it’s animated with the 3D capabilities that computer animation allows.  Character animation is also top notch, whether it’s in capturing the awkwardness of Miles Morales, the slouching, out of shape posture of Peter Parker, or the gracefulness of Spider Gwen.  I especially like how Peni Parker is animated in an anime style, making her really stand out among the others, and really taking advantage of the simulated hand drawn aesthetic.  Kingpin is also remarkably realized, portrayed as a bulky monster with the widest, squarest shoulders that you’ve ever seen.  Truthfully, you could never get this kind of look from Disney Animation; their in-house aesthetic is too entrenched over there.  Because Sony had less of a legacy to live up to, so they chose this opportunity to really experiment and be bold, and it worked beautifully.  If Sony keeps those Spider-Man rights in the years ahead, it might work best to have the animated medium be their best option, because it’s where they are best able to do the things that Disney can’t with the character.

While I feel that overall the Spider-Man character has been better realized through the guidance of Marvel Studios under the roof of Disney, it’s here in animation that Sony has shown it’s best avenue for continuing to work with the character.  It helps that Miles Morales is the center point of this Spider-Man story-line, allowing it to not conflict in any way with the Peter Parker story line in the MCU.  Although, it’s not like Miles will never make his way into that universe as well.  Both Into the Spiderverse and Homecoming share a common character with Miles’ uncle Aaron Davis, played by Mahershala Ali in the animated film and Donald Glover in live action.  The seeds have been planted, but for those impatient to see Miles Morales in his full “Spider” glory, then this movie will easily satisfy their appetite.  This is a great animated film from top to bottom with a lot of humor, a fair bit of heart-pounding action, and a surprising amount of heart at it’s center.  The biggest triumph of all is the character of Miles Morales, and this movie will instantly endear him to long time fans and newcomers alike.  I especially love that this is a movie that knows what it wants to be, and holds to it’s own unique identity.  I have certainly never seen an animated movie that looks like this one before, and it easily is a game-changer for the Sony Animation Studio; one that they have desperately needed for some time.  There could have been a lot of opportunities for this movie to have gone wrong, and come to theaters as a cash grab, but it thankfully doesn’t.  It’s a worthy addition to the cinematic presence of Spider-Man, and one that can stand apart, thankfully, from all the rest.  Also, being the first Spider-Man film released since the passing of Spidey’s legendary creators, Stan Lee and Steve Ditko, this movie respectfully honors the legacy of their work (including the expected Stan Lee cameo) with a story and aesthetic that feels very much rooted in the comic book form.  Here’s to a healthy animated future for our friendly neighborhood Spider-Man.

Rating: 8.75/10

The 2012 animated film, Wreck-It Ralph, holds a very interesting place within the Disney canon.  It was the first animated film to be released after Disney’s noble but ultimately short-lived attempt at reviving the traditional animated format, with The Princess and the Frog (2009) and Winnie the Pooh (2011).  It was also the first computer animated film from the company’s in-house studio to distinguish itself, after the less than popular outings of Chicken Little (2005), Meet the Robinsons (2007), and Bolt (2008).  For the first time, Disney showed that they could create an computer animated feature that could compete on the same level as their output from Pixar.  And though Wreck-it Ralph was no record setter, it did well enough to gain a following and helped to set the Disney Animation Studio located in Burbank, California on the right footing that would quickly blow-up soon after with Frozen (2013), Zootopia (2016), and Moana (2016) soon after.  And I think that the reason Wreck-it Ralph worked as well as it did was because it was an animated film from Disney that had it’s own unique identity.  You could tell from earlier CG animated flicks from Disney that they were struggling with the medium, as animators who were more comfortable with sketch drawings were suddenly forced to learn a whole new way to animate, and it often reflected in stories that never quite felt quite right in this style of animation.  Ralph, on the other hand, is tailor-made for computer animation.  It takes place in a world of video games after all, so there really was no other way to visualize that world other than through CGI.  It was a hit with both audiences and critics, and was a touchstone for the legendary cartoon maker, which now has led Disney to make another unusual step that you don’t see from them very often; making an animated sequel to one of their movies.

Now, when I say that Disney sequels are rare, I am of course ignoring the often maligned direct-to-video sequels of the 90’s and 2000’s.  It’s a recognized, canonical sequel that Disney rarely ever undertakes, and to date there have only been three previous ones; The Rescuers Down Under (1990), Fantasia 2000 (2000) and Winnie the Pooh.  This new follow-up to Wreck-it Ralph titled Ralph Breaks the Internet marks the first sequel ever for one of Disney’s computer animated features (and it won’t be the last, as Frozen 2 is scheduled for next year).  But the question is now, how do you carry on from where the last one left off.  The answer would have been simple for most animation studios; because the first movie was populated by so many famous video game icons of the past, it would make sense to continue showing even more game characters thrown into the mix that weren’t in the original.  However, the filmmakers behind this sequel decided to go in a whole different direction.  Instead of just limiting their world to just the denizens of an arcade community, they decided to broaden their scope and take a look at the whole world wide web itself.  There within they have the opportunity to take their retro-minded characters and bring them into a fast paced world that they are initially not quite ready for.  The premise also allows for a cheeky, satirical look at all things internet related, which makes you wonder if they can contain it all in one short 90 minute run time.  It’s a bold move regardless, because it shows that Disney is not just rehashing the same plot over again, which some animated sequels unfortunately tend to do. The question remains is whether Disney is able to find a story within that premise that manages to live up to the original.  It also remains to be seen if the choice of tackling the internet as the setting provides enough fodder for an entertaining adventure, or if it’s too out touch with the realities that real internet experiences have in our daily lives today.

The story picks up 6 years after the original, which is exactly the same amount of time between movie releases as well.  Wreck-it Ralph (John C. Reilly) and Vanellope Von Schweetz (Sarah Silverman) continue to spend their days together as best friends, bouncing from game to game in the Litwak’s Arcade that they call home.  One day, Mr. Litwak (Ed O’Neill), the arcade owner, plugs a new device into their terminal, which turns out to be a WiFi router.  After a malfunction leaves Vanellope’s game, Sugar Rush, broken and unplugged, Ralph and her begin to believe they can find the solution to their problem by using the new device to explore the Web.  After leaving all the remaining Sugar Rush teammates behind with their close friends Fix-it Felix (Jack McBrayer) and Sgt. Calhoun (Jane Lynch) as their new caregivers, Ralph and Vanellope enter the router and find the terminal that leads to the internet itself.  Once through the portal, they find a vast open community that’s home to numerous sites like Amazon, Google, Instagram, and the place they need to go the most; Ebay.  There they find the replacement part they need for Vanellope’s game, but are unable to afford it.  Looking for ways to raise money fast leads them to an open world racing game called Slaughter Race, where they need to steal the car of the game’s most expert driver, Shank (Gal Gadot).  Though unsuccessful with their heist, they do earn the admiration of Shank, who suggests  that they should talk to a viral marketing algorithm that can help them get rich quick named Yesss (Taraji P. Henson).  Yesss sees the potential in Ralph’s clumsy behavior and immediately puts him to work making viral videos that will make money with the more likes he receives.  Meanwhile, Vanellope is put to work with spreading the link to Ralph’s videos, which leads her to of all places, the Disney website, where she has a pivotal encounter with the Princesses who convince her to look deep inside to understand what she really wants in life.  The only question is, is what she wants something that might tear her friendship with Ralph apart?

The movie certainly has a lot to pack into it’s short run time, and for the most part, it does pull it off nicely.  The movie’s greatest asset is the sense of humor, which is even more fast paced than the previous film.  A major part of the enjoyment of this movie is just in catching all the background jokes, relating to all sorts of puns related to the internet.  Some things are easy to catch, but others are pretty subtle.  There’s a moment later in the film where Ralph ends up on the lower depths of the internet, and in the dark and dusty scraps of this graveyard like area, you can see signs for Dial-Up service and AOL; a nice nod to relics of the old internet that a keen eye can get a good chuckle out of.  I would say that this is probably the most consistently funny movie in the entire Disney canon, because unlike the other movies before it, it does not add any sugar to the spice; it is wall to wall jokes unhampered by schmaltz.  And for the most part, the jokes hit their mark.  Anyone familiar with the highs and lows of navigating the internet will find a lot pointed jabs at everything great and not so great about the service.  One of my favorite funny moments in the movie is seeing how the outside world interacts with the citizens of the online world.  In the Slaughter Race section, we see the online players animated in a jumpy, glitchy way compared to every else because that’s how an online avatar would act when controlled through a joystick or controller.  The movie does keep things PG, as the darker elements of the web are wisely not mentioned or are in the carefullest of ways; though surprisingly the Dark Web does make an appearance, albeit in a sanitized version. I also liked the fact that Disney didn’t overdo it with the visit to their own website.  What could have easily turned into shameless self promotion thankfully holds together as a nice excuse for meta humor directed at itself.  And that Princess scene is likely going to become one of the most talked about moments of the year, and is made all the more impressive when you learn that most of the princesses retain their original voice actors, as do a couple Marvel and Star Wars characters as well.

The one negative I can say about the movie is that it’s pretty light on story.  The central conflict is pretty well established early on, and the movie does little to really delve much deeper throughout the rest of the story.  Basically it comes down to Ralph having too many insecurities and it’s made him into a clingy friend, which is starting to hold Vanellope back from achieving her own dreams.  The movie’s break-neck pacing and huge amount of entertaining humor can make you forget about the plot’s shortcomings through most of the movie, but after a while, you do kind of realize that about halfway through, the filmmakers pretty much ran out of story.  That inevitably leads to an underwhelming final act, in which Ralph and Vanellope head towards a final confrontation that is a very heavy handed metaphor for the status of their relationship.  While the finale does take the movie into epic territory in terms of scale, it doesn’t have the emotional heft that you found in the first movie.  At the end of the original Wreck-it Ralph, Ralph’s arc found him believing in himself to where he could live with acting as the bad guy while being a hero where it counts.  It also helped that there was a strong antagonistic presence in that movie in the form of the villainous King Candy, played by Alan Tudyk (who’s also in the sequel playing a Truman Capote-like search bar character named Knowsmore).  Sadly, this is a Disney movie without a villain, which doesn’t necessarily ruin the movie, but is still missed nonetheless.  While the humor is definitely ratcheted up, I still think that the lack of cohesive story does bring the movie a notch below the original.  And it’s surprising that even with a longer than normal runtime of 112 minutes, the movie still drops a lot of plot elements for no reason.  An entire B-plot involving Felix and Calhoun seemed to be set up and is completely forgotten about for almost the entire movie; something which I think the directors were aware of, because there is a funny joke near the end that references how their whole arc was completely left off screen.  Overall, I’ve seen movies handle their story more poorly, but the lack of it here is still something that holds the movie back from being truly amazing.

One of the movie’s greatest assets however is the visualization of the internet world.  Like I mentioned before, a big part of the movie’s humor is in the little background jokes you can find throughout the movie, and it’s a great credit to the filmmakers for putting so much effort into things that will likely go unnoticed on first viewing.  It’s also incredible watching the many different ways that they re-imagined different websites throughout the online world, making each a different skyscraper in the expansive metropolis that we see in the movie.  Some are cleverly visualized, like Twitter being represented by a large aviary housing bird-like tweets.  Even the made up online communities like Yesss’ BuzzTube website and the Slaughter Race game are presented in a visually interesting way.  I especially like all the details put into the Slaughter Race environment, which does a fairly good job of recreating the look of most post-apocalyptic online multiplayer open world games.  It even manages to throw in some ridiculous elements like sewer sharks, and still make it feel not out of place.  Even with all the tongue-in-cheek representations of real websites, the movie still does a good job of not making any of it distracting.  Compare this with a similarly themed movie from last year called The Emoji Movie, which was really pushy when it came to showing off all the different brands that they got product placements for.  When Emoji Movie stops the progress of the story just to have it’s characters play a game of Candy Crush for 5 minutes, you can easily see the cynicism on display, as the movie clearly just existed to cross promote.  Ralph Breaks the Internet thankfully refrains from shilling for all the corporate brands too heavily, and it’s all better integrated into the story itself, because seeing all the recognizable brands in the background help to give the online world a sense of authenticity.  Not seeing them there would have made the film feel a little weird, as the filmmakers would’ve been forced to make up new websites, which would have been a self-defeating chore.  Thankfully, the online world is fully realized and is integrated into the story much better than it otherwise could have been, had a more cynical approach been in place.

The movie also benefits from a well-rounded cast, both returning and brand new.  One of the things that really helped out the original was the genuine chemistry between the two leads, Ralph and Vanellope.  Their relationship was at the heart of the first film, and it does continue in the same way here as well.  Though the movie does struggle to generate story momentum through the arc of their story, it still benefits from that chemistry, and the film soars every time they share the screen together.  It helps that John C. Reilly and Sarah Silverman are clearly having fun voicing these two characters.  Reilly’s performance primarily remains the same in both films and he is still really funny in the role.  I especially like how much he has fun doing his variations on famous viral videos of the past.  Sarah Silverman is actually given a more improved role in this outing, as her character has both more screen-time and more of an arc.  I like what the did with Vanellope a lot more in this film than the last, as she sees her options opened up a bit more in the online world.  Her interaction with the Disney Princesses is a particular highlight, especially in how out of place she seems initially.   The movie even gives her a princess song, written specially by famed Disney songwriter Alan Menken just for this movie, and it’s not just a hilarious parody of a classic Disney tune, but also touchingly performed with gusto by Silverman, clearly enjoying her moment.  Other new characters are briefly used, but nevertheless make an impact.  I especially liked Gal Gadot’s Shank, who stands out as a enjoyably rough but good-hearted ally for our heroes.  Taraji P. Henson is also hilariously over-the-top as Yesss, tapping into that no-nonsense executive mentality that makes her brief moments on screen worthwhile.  Getting all the Disney Princess voices together is also an impressive feat, and you can hear how much fun the actresses are having poking fun at their previous roles, especially with Princess Merida’s ultra-thick Scottish accent.  And though they are sadly sidelined for most of the movie, Jack McBrayer and Jane Lynch are still hilarious in their brief moments as Felix and Calhoun.  Overall, the cast helps to make this an enjoyable experience and one that will entertain just as well as the original.

As far as sequels go, Ralph Breaks the Internet does a lot of things right.  It stays true to the characters and also expands the world, making it bigger in scale and also broadens the humor. It unfortunately seems to run out of story halfway through, and even with a nearly 2 hour runtime, the lightweight plot does feel padded at times.  Thankfully most of the filler is entertaining enough to keep the movie afloat, but I just wish that the filmmakers had found more conflict within their narrative to justify the extra time they had.  I understand that they had some limitations; there is only so much you can explore about the internet within a PG-rated story.  You obviously can’t go into too much detail about the worst parts of the internet like the trolling, the hate speech, and the other taboo spots that thrive within there.  The closest the movie gets is when Ralph finds his way into the comments section of the BuzzTube page, and learns very quickly how toxic things can be on the internet.  I would have liked to have seen more of the de-humanizing and anti-social aspects of online activity be brought more into the story as an antagonistic threat to the characters, but what we got instead is not exactly bad either.  There is still plenty to enjoy about Ralph Breaks the Internet, especially through the movie’s sense of humor.  I like the fact that it doesn’t dwell too long on some jokes and keeps the pace up throughout the entire movie.  There are even some treats left for us through the end credits (and please wait until the very end for an especially hilarious parody).  It’s good to see that this was a sequel worthy of it’s place in the Disney canon.   While there isn’t anything in it exactly that will break the internet itself, it’s still a very enjoyable romp that will keep families entertained over these upcoming holidays.

Rating: 8/10