The Bad Batch is the type of movie that most viewers will either dislike vehemently or enjoy parts of. That’s not to say it’s bad, it’s impressive in spots and it’s visual’s are transcendent. But there’s a looseness in it’s narrative that ultimately leave’s the film feeling weightless and somewhat confounding. Continue reading Review of The Bad Batch
Tents pole movies always come with astronomical expectations. Fans are hoping for the most amazing film they have ever seen (until, at least, the next installment) while studio executives are hoping to be awash in cash. Critics, depending on how they stride the pop culture divide, are either sharpening their knives or readily willing to suspend disbelief. As box office attendance continues to decline, the stakes have only increased. The continuing lackluster performance of Aliens: Covenant has many analysts wondering who assumed there was any pent-up demand for a sixth helping of silver screen Xenomorphs. Into this contentious atmosphere Wonder Woman arrives with even weightier expectations. It is the first superhero film directed by a woman. It is the first solo female superhero film since the genre’s resurgence a decade ago, and not just any superheroine at that. Wonder Woman has been, from her inception, a feminist icon; how she would be portrayed on screen would be critiqued in circles far removed from fandom, especially in the current social environment. Meanwhile, back in their beach bungalows, the suits have their own concerns. After last year’s critical takedowns of Batman v. Superman: Dawn of Justice and Suicide Squad, Warner Brothers desperately needs a little respectability for their superhero universe. Yes, both those films made a lot of money, while the latter somehow won an Oscar, but perception is important. In the cliché parlance of the day, they want a narrative reset for the DC Cinematic Universe. And so, Diana arrived in theaters on Friday with an unreasonable amount of baggage. The good news is that the movie easily proves itself more limber than anything else the DCCU has offered up so far. Despite its flaws, it is an entertaining experience.
So far, Marvel Studios has had a bit of a sequel problem. Iron Man 2, 3 and Avengers: Age of Ultron delivered various levels of enjoyment while containing flaws which prevented them from fully hitting the heights of their initial installments. Thor: The Dark World was able to improve on the first Thor outing (an admittedly low bar to clear) and provide an entertaining experience. Still, it is unlikely to make many fans’ favorite lists. Only Captain America: Winter Soldier and Civil War have been able to avoid the sequel curse. Both films were able to deliver bigger thrills while also deepening the characters driving the narrative. The movies, particularly Civil War, drew on the advantages of having a shared universe without getting bogged down in the negative aspects as did Age of Ultron. This pattern is odd, given how successfully Marvel Studios has cultivated their cinematic universe; after all, in a sense, even new properties such as Ant-Man or Doctor Strange are simply further chapters in the unfolding Avengers saga. Fans know sooner or later that all of this is going to tie together. Watching the pieces fall into place can be exciting, but it can also be tiresome when mismanaged (again all that foreshadowing in Ultron). Guardians of the Galaxy Vol. 2 pulls back from some the first film’s more overt seeding (sorry, no surprise Thanos cameo) in order to focus on the Guardians themselves. The result is an entertaining film which delightfully extends the zany vibe of the original.
This review was originally published last October when the movie screened at the New York Film Festival. It opens today in New York, Los Angeles and Toronto; it will expand to additional cities over the coming weeks. For more information on the film’s expansion schedule, please see Dash Shaw’s tumblr.
Over the past several years, Dash Shaw has earned widespread acclaim through writing and illustrating of graphic novels such as 2014’s Doctors. This year he unveiled a new type of project: his first feature length film, My Entire High School Sinking into the Sea. Shaw’s animated movie premiered last month at the Toronto Film Festival before appearing this week at the New York Film Festival. My Entire High School is a thrilling, poignant movie, which demonstrates that Shaw’s skills stretches beyond the printed page.
Film by its nature is a collaborative process. When a movie is successful, it is the result of a variety of talented individuals blending their skills into a final product. At the same time, some filmmakers leave behind more prominent fingerprints than others. Most fans would be hard pressed to distinguish the characteristics of an Andrew Stanton directed Pixar film from a Peter Docter one. This is not a slight on the quality of their movies, which is quite high, but an observation about style. Meanwhile, other recent animated films such as Frankenweenie and Anomalisa are instantly recognizable as the products of Tim Burton and Charlie Kaufman’s idiosyncratic imaginations. Shaw’s My Entire High School fits into this second category. As with Frankenweenie or Anomalisa, My Entire High School is a visually striking, emotionally resonant experience. To watch it is to become fully immersed in the distinct vision of its creator.
In 2010 Drawn and Quarterly released Wilson, the first original graphic novel by the acclaimed writer/artist Daniel Clowes. Despite this distinction, Wilson possesses a serial vibe, often feeling more like a collection of episodic comic strips than a plot driven narrative. This impression is reinforced by Clowes’ decision to vary his art style throughout so that loose cartoons rest opposite pages of more naturalistic detail. What the book lacks in narrative or artistic unity, it gains in thematic cohesion. Wilson displays a biting, if loving, critique of its protagonist as he stumbles through the tribulations of life. The story and the visuals blend to create a very specific ambiance. This mix of comedy and drama was probably what appealed to director Craig Johnson whose previously film, The Skeleton Twins, was focused on a pair of suicidal twins. On paper, Johnson’s sensibility would appear to be a good match for Clowes’. Unfortunately the film Johnson and Clowes, who wrote the screenplay, have produced is an amusing one which fails to live up to its complete potential.
There’s a Deadpool advert that played in my theater just before Logan started, which was short but entertaining. It was just what you expect from a two minute sketch of Ryan Reynolds as Deadpool teasing his next film, but in spite of that, it was enjoyable none the less. Even if the beats are well-known and semi-predictable, there is viewing pleasure to be had in seeing how those beats are played out. Logan is in the same vein as that Deadpool advert, it delivers what you expect and does it well… Continue reading Logan Movie Review
It has often been observed how malleable a character Batman is. Over the past several decades he has found himself equally at home busting the heads of petty street criminals and out-witting cosmic menaces with (new) god-like powers. What unities such diverse plots is a common interest in the humanity of the hero. The tone of the narrative might emphasize oppressive bleakness or optimistic redemption, yet what all the best Bat-stories have in common is an interest in who the man is beneath the cowl. This is true of the movies as well; for example, Christopher Nolan’s masterful Bat-trilogy is as, arguably more, concerned with Bruce Wayne than it is with Batman. In many ways, The LEGO Batman Movie liberally skewers the melancholy tone of Nolan’s films, while sharing with them an interest in the hero’s personality. Amidst the bonanza of gags, Chris McKay’s new film has something to say about Batman’s character.
“Is this real?”
The newest comic book show produced courtesy of the FX Network and Fargo showrunner Noah Hawley is a triumph. A kaleidoscope of amazing wrapped in translucent tin foil. Dare I say it, it’s the best X-Men thing ever… Continue reading Legion Pilot Review
The CW adds another comic show to its lineup, starring broody teens in an overcast setting doing sexy things, because they’re teenagers. Based on the classic Archie Comics characters, Riverdale represents an audacious attempt at making Archie Andrews and his gang “hip”. But does it work? Continue reading Riverdale Pilot Review
2016 brought an increasing number of comic based programs to television. Josh joins me in discussing a large cross-section of what both worked and did not these past twelve months.
Cosmo: This year, the DC/CW brand continued its bold expansion, launching one new series (Legends of Tomorrow) and annexing a another (Supergirl). Before we get to those, and the Arrowverse’s namesake, let’s begin with what I feel remains the most consistently successful of the CW shows: Flash.
Josh how are you feeling about the series?