We Live in a Society: Joker

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*Spoilers below

Why is Joker so divisive?

The new origin movie about Batman’s greatest villain has been the center of numerous controversies, and most occurring before the film was even released. 

I think more than anything, Joker and several other recent flicks (Captain Marvel, Star Wars: The Last Jedi, Green Book, to name a few) prove that movies are still relevant in our culture because they are avenues for people to talk about deeper issues. Movies are mirrors, and people see different things in them. Joker sure seemed to want to be taken seriously as it marketed itself as a gritty, realistic, and edgy film.  

To help explain the wildly different reactions I’ve seen from people about Joker, I’ve come up with three main ways people are interpreting the film. These are generalizations, sure, but overall I think whichever interpretation you have of Joker will predict your reaction to it, and these may help you understand why someone else can see the exact same film and feel completely different than you. 

1. The world sucks. I hate my parents. The Man is out to get you. Life is suffering and pain. We need to take to the streets or something and get rid of all authority so we can all live free. People don’t care about you. Knock know, who’s there? Boom! Gunshot! You’re dead. 

Joker plays like the graffitied poetry under the desk of a 13-year-old edgelord who has become aware enough of the world to know there is suffering but is not mature enough to know how to engage with it or others. The film is self-absorbed and pretentious, wanting to be serious but ending up hollow and derivative. It’s dark but not deep. Director Todd Phillips and star Joaquin Phoenix have stated disdain for comic book movies, but what they have made is completely dependent on comic book movies, both for artistic precedent and the film’s box office. It is not as shocking or interesting as many of its peers. Some people have feared that Joker would provide rationale for violence, but the film is so half-baked that I don’t think that is much of a concern. We shouldn’t be giving Joker this much attention- it is embarrassingly shameless in its desire to provoke without actually questioning or confronting anything.  

The film shouldn’t even exist on principle. Joker is a character whose menace comes from not having a clear background or motivation. By rationalizing everything about him through an origin story, this core component of the character is destroyed. Also, this is the third feature-film adaptation of the Joker we’ve had in ten years, and yet it’s still in question if women or people of color can get their own movies. It’s exhausting that we can’t share the spotlight with other characters and properties. 

 

2. Joker is a much-needed wake-up call about our country’s mental health crisis and the marginalized in our society. We need to take care of our unseen citizens and be kinder to everyone we meet, or we can only be held responsible when things devolve. 

Todd Phillips uses comic book tropes and the genre’s current popularity to tell a story many people wouldn’t otherwise see or care about. Despite working within the studio system, this film really does speak truth to power. 

The film is set in the 1980s, but it’s extremely relevant to today. With the likes of President Trump, Jeff Bezos, and Elon Musk, the top 1% have too much power and influence our day to day lives, and it’s clear they don’t care about us. This goes for everyone from billionaires like Thomas Wayne to the talk show hosts who make fun of regular people who accidentally become viral sensations, usually for humiliating purposes. 

Joker shines a light on how mental health resources are being taken from people, how social services are underfunded, and the current trash problem in New York Ci- I mean Gotham. The human condition is explored unflinchingly, and by the end of it, it’s easy to see how this world could make anyone go mad, especially someone who is as vulnerable as Arthur/Joker. 

The plotline about Arthur maybe being Thomas Wayne’s son and therefore Bruce/Batman’s half-brother adds so much to their dynamic and cements this idea of them being two sides of the same coin. The only difference between them is their environment. Bruce grew up wealthy and privileged. Arthur didn’t, and like he points out in the film, that’s the reason that if he was lying dead in the streets, people would just step over him. It’s only when you’re wealthy and powerful do people care. 

The soundtrack slaps, Joaquin Phoenix is truly phenomenal here, and it’s exciting to see the DCEU (DC Extended Universe) continue to make films with an emphasis on auteur directors and their visions. Joker delivers on all fronts and will surely bring new blood into the superhero- or should I say supervillain?- genre. 

 

3. The most troubling thing about Joker is that it makes its titular character out to be the hero of the 99%, which, dear viewer, is you. In the eyes of the film you are either someone who has been screwed by the system and is righteously angry against it, or you are someone who is so led by pure aggression and hatred that you commit acts of violence and find a clown-faced murderer to be the symbol of your cause. 

The final protest scene in Joker, which is directly instigated by Arthur’s actions,  borrows imagery from various real-world protests, from the current ones in Hong Kong to the Black Lives Matter movement. In fact, the scene where Joker is laid on the police car reminded me of Starr’s climactic speech on top of a car in last year’s criminally underrated The Hate U Give. But what does this mean?

Yes, as Joker insists, he’s not political. He’s not the reason people are angry. But his actions are the tipping point. When protestors lay him, crucifixion style, on the police car, he becomes the symbol of the protests. 

If the protests are justified because people have been mistreated, then does Joker becomes absolved of all personal responsibility because he too has been mistreated and is simply calling out his oppressors? Is he some sort of folk hero of the marginalized? Is there a point where society can push you and mistreat you so much that it is to blame for your actions? 

But if this Joker is the truly monstrous Joker from Batman lore, then how do you feel that Todd Phillips aligns you, the 99%, with the Joker? That your protests, what you think is righteous anger, is really made of the same base, primal, chaotic urges that Joker acts upon? You are so easily manipulated. You are sheep. 

Perhaps most troubling of all is that Joker shows all the ways society fails people without offering any solutions or hope. 

Video essayist Lindsay Ellis points out in her piece about the 2005 Rent movie adaptation that, “A light, user-friendly sort of anarchy does not work in a narrative about the AIDS crisis because there is nothing noble about extolling the virtues of quietly giving in to your disease when there is a system right there that can help… but you reject it because f*** the man, I’m not a part of your system!… It reinforces a worldview in which the only way to rebel against a system is to reject it…It gives you a sense of power, in a world that makes you feel powerless. But in reality, the only thing it fosters is actual powerlessness. Because in rejecting the system, you are not only failing to tear it down, but you are forfeiting any voice within it” (42:44 – 43:54). 

This is exactly what Arthur/Joker is doing. At the beginning of the film, Arthur is trying to be a good person, even when it is difficult. He takes his medicine for his various illnesses that aren’t named (this decision is questionable in itself but that’s another discussion). But because of the events of this film he gives up and embraces the villain the world has made him be (in light of everything else that is revealed about his past, the events of the film don’t seem dramatic enough on their own to spiral him further down, but oh well). 

He stops trying to change the system or hold it accountable and instead gives into his psychosis, and advocates anarchy. And while it may not make him more powerless, as he is a fictional villian, it makes an impressionable viewer powerless. 

For a film that tries to diagnose society and rage against it, it ends up looking a lot like the society it critiques- passive, wallowing, angry, violent, and without any solution. Nihilism may feel rebellious and exciting, but it isn’t compelling. 

-Madeleine D. 

*A special thank you to my friend Shea, who has been my movie-going-buddy for years. Her thoughts are present throughout this blog, but especially here. Thanks for taking an hour-long walk with me after seeing this film to let me talk it out!

Everything You Need to Know About Marvel’s Phase 4 (Part 2)

May 2021- May 2022

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In October of 2016 I broke down the future of Marvel movies and my predictions for what then was Phase 3. I was right about some things, wrong about others. But now at Comic-Con 2019, Marvel Studios announced their Phase 4 slate of films and Disney+ shows (Disney’s new streaming service, coming November 12th). Unlike the Netflix-Marvel shows like Daredevil and Jessica Jones, the Disney+ shows will tie into the movie universe, making all of our wallets bemoan. 

If you want to know all you have to look forward to for the next few years (Phase 4 will cover 2020 to 2022 with ten projects in all), then I’ve done the research so you don’t have to. This is part two of two, covering the two films and three Disney+ show that will take us from spring 2021 though to the fall, and then presumably Phase 5 will start in spring 2022. 

Doctor Strange in the Multiverse of MadnessImage result for phase 4 marvel logos

  • May 7, 2021
  • Directed by Scott Derrickson
  • Starring Benedict Cumberbatch as Doctor Strange and Elizabeth Olson as Scarlet Witch

Doctor Strange and the Multiverse of Madness will come right off the heels of the Disney+ show WandaVision. Marvel Studios president Kevin Fiege has stated before that Wanda Maximoff/Scarlet Witch practices the same magic as Doctor Strange, it’s just raw and untrained. With Elizabeth Olson set to co-star here, it’s presumable that Wanda may be Doctor Strange’s protege in his sequel- and maybe his villain, too.  

There is certainly precedent for this in the comics. Depending on the events of WandaVision, this movie could adapt Wanda’s two biggest comic book storylines. In the first storyline, Wanda has been driven mad from the loss of Vision (who you remember was recently killed by Thanos in Infinity War. Could all of WandaVision then just be an illusion, and in the movie Wanda is “woken up” from her dream and realizes Vision is truly gone?). Wanda is further driven mad by the loss of the two children she had created out of her magic. In her madness, she kills Scott Lang/Ant-Man, and Doctor Strange has to defeat her. The Avengers plan to get rid of Wanda for good, so her brother Pietro (played in the movies by Aaron Taylor-Johnson, who died in Avengers: Age of Ultron) convinces her to create an alternative reality she can live in instead, where her family and other mutants are rulers. 

This became the comic book storyline House of M, which ends with Wanda, thinking that being a mutant has caused all of the pain in her life, whispers her infamous phrase, “No more mutants,” and turns all of the world’s mutants into regular humans. This storyline is now possible with Disney’s acquisition of Fox, which has up to this point had ownership of Marvel’s mutant characters (Wolverine, Jean Grey, Storm, etc.). This could be the entry point for mutants into the MCU. 

It’s been promised that this will be Marvel’s first “horror film,” so hopefully they will keep their word and go for as creepy and horror-y as a PG-13 MCU movie can get. Director Scott Derickson is a horror director after all (The Exorcism of Emily Rose, Sinister), and I trust if he is allowed to, he can truly elevate the material. 

There have been hints of a multiverse in the MCU before, but the title sure indicates that this could be our first full-fledged multiverse movie. A multiverse would allow for other Avengers to show up, including dead ones, so if RDJ or Chris Evans are wanting to come back, this could be their chance. Suddenly this feels a lot less like a Doctor Strange film and more like Avengers 4.5. 

Loki Show

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  • Spring 2021
  • Reportedly 6 episodes, each an hour long
  • Rick and Morty writer Michael Waldron will be showrunner. 
  • Starring Tom Hiddleston as Loki, and hopefully some other people

The show will pick up at the point in Endgame when Loki steals the tesseract. It will follow his time-hopping adventures as he faces various foes. The show will premiere ten years after Tom Hiddleson debuted as the character in 2011’s Thor, so I hope the show will give the actor new ways to keep the charismatic trickster fresh. 

WHAT IF …? Show

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  • Summer 2021
  • A giant roster of actors will reprise their roles from the movies in the show through voicework
  • Number of episodes unknown, although I’ve heard rumors of ten. 

Based on the comic book series of the same name, What If…? will show pivotal moments in the MCU and present hypothetical outcomes for if things had gone a bit differently, a How it Should Have Ended in a way. The animated series will have voice work done by all of the same actors from the movies. The only episode confirmed so far is one exploring what would have happened if Peggy Carter had become Captain American instead of Steve Rogers. Two other rumored episodes will cover what would have happened if Loki had gotten Mjolnir instead of Thor, and what if Killmonger had killed T’Challa and become the permanent king. The series will be narrated by Watcher Uatu, played by Jeffrey Wright. Watcher Uatu has not been introduced into the MCU before. 

Hawkeye Show

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-Fall 2021

-Jeremy Renner as Hawkeye, presumably others 

In characteristic fashion, Hawkeye is last, here as the last Disney+ show of Phase 4. 

This series will be based on the acclaimed and fan-favorite comic book run by Matt Fraction and David Aja of the same name. This run focused on the relationship between Clint and his mentee, Kate Bishop, who takes up the Hawkeye mantle. In the comics Kate is a member of the Young Avengers team, so expect for Marvel to use her to introduce this team into the movies (or do it in a show, Defenders style). This show will probably show Clint handing over the bow and arrow over to Kate, and thus finally releasing Jeremy Renner from this franchise and into that sweet, sweet void

Thor: Love and Thunder

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  • November 5, 2021
  • Directed and written by Taika Waititi
  • Starring Chris Hemsworth as Thor, Tessa Thompson as Valkyrie, and returning after a two-movie absence, Natalie Portman as Jane Foster/The Mighty Thor

Taika Waititi will return after directing Thor: Ragnarok to write and direct Thor’s fourth solo film. Thor will become the first of the original Avengers to get a fourth film, with the others being regulated to, at most, a trilogy. But despite the title, Thor: Love and Thunder looks to be a lot more about its supporting characters than just Thor. 

For starters, Natalie Portman will return after a long absence as Dr. Jane Foster. Jane was Thor’s love interest in the first two films, then unceremoniously dumped offscreen before the third. Portman tried to negotiate changes to Jane’s role for the second film, Thor: The Dark World, and wasn’t given any, and her lackluster enthusiasm for the series by that film was obvious. However, she’s now being given a much juicier role as she gets to help adapt the comic storyline of Mighty Thor. 

Jane Foster’s Mighty Thor storyline is this: Jane Foster has a terminal diagnosis of breast cancer. Thor has become unworthy, so he’s stripped of the Thor title (his actual name is Odinson, and Thor is a mantle, like Captain America or Black Widow, which can be given and taken on by others. Hopefully his unworthiness in the movie is not connected with his weight gain from Endgame). Anyways, Jane Foster takes up the mantle, saying that “there must always be a Thor.” She is deemed worthy enough to pick up Mjolnir. Whenever Jane uses Mjolnir though, it heightens her cancer, literally killing her as she saves others. Talk about sacrifice. As for Thor/Odinson himself, he’ll be rediscovering himself and learning how to be worthy again and finding his identity outside of being king of Asgard. 

I’m excited to see this storyline adapted, and Natalie Portman is a fantastic actress who will be able to handle the dramatic parts (and physical parts, easy to see if you saw her performance in Annihilation) but my main concern is Taika Waititi. I love his other work, but he spent most of Thor: Ragnarok erasing all the previous Thor movies and streamlining the character to be like all the other Marvel heroes, which I did not love. How are we supposed to root for Jane Foster when she’s been out of the movies for a while now, and her absence has been mined for a few jokes? 

There’s some great potential here to explore what it is like for a human to take the role previously held by a god, the difference between a man and a woman in the same role, and how Thor and Jane interact in their new roles, especially since they are no longer a couple (in the comics they don’t get back together). But will any of that be explored? I’m worried it won’t be.

The Thors aren’t the only characters in the movie, though. Tessa Thompson’s newly-appointed king of Asgard Valkyrie will return. Thompson said in the comic-con panel that since Valkyrie is the new king of Asgard, she’ll need a queen, confirming that she’ll finally be able to make Valkyrie bisexual as Thompson has been campaigning for since day 1. There is no confirmation on who this love interest will be. And since Waititi is scripting this time, expect Korg, his character, to have a larger role. 

Beyond Phase 4

Feige also confirmed at the San Diego Comic Con panel that the Fantastic Four and the X-Men, now back at Marvel because of the Disney acquisition of Fox, will be coming after Phase 4, although in what capacity is still unknown. The mic drop of the announcement though has to go to Mahershala Ali being announced as the star of a new Blade movie. No further information about that property is known yet. At the D-23 Expo last weekend it was also announced that Moon Knight, Miss Marvel, and She-Hulk (finally!) Disney+ shows are in development, Black Panther 2 will come out May 6, 2022 with Ryan Coogler returning to direct, and Kit Harrington has joined the cast of The Eternals. 

Much of my research for both of these articles came from Grace Randolph from Beyond The Trailer.

Everything You Need to Know About Marvel’s Phase 4 (Part 1)

May 2020- May 2021

Image result for marvel phase 4 slate

In October of 2016 I broke down the future of Marvel movies and my predictions for what then was Phase 3. I was right about some things, wrong about others. But now at Comic-Con 2019, Marvel Studios announced their Phase 4 slate of films and Disney+ shows (Disney’s new streaming service, coming November 12th). Unlike the Netflix-Marvel shows like Daredevil and Jessica Jones, the Disney+ shows will tie into the movie universe, making all of our wallets bemoan. 

If you want to know all you have to look forward to for the next few years in the Marvel Cinematic Universe, aka MCU (Phase 4 will cover 2020 to 2022 with ten projects in all), then I’ve done the research so you don’t have to. This is part one of two, covering the three films and two Disney+ show that will take us from May 2020 to early spring 2021. 

Black Widow

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  • May 1, 2020
  • Directed by Cate Shortland 
  • Starring Scarlett Johansson as Natasha Romanoff/Black Widow, Rachel Weisz as Melina, Florence Pugh as Yelena, David Harbour as Alexei Shostakov aka The Red Guardian, and O-T Fagbenle as Mason/The Taskmaster.

Black Widow’s first solo movie and the MCU’s second female solo film will be a prequel, one of the MCU’s only. It will cover Natasha’s past, including what happened in Budapest, and the Red Room/ Black Widow Program, which we got glimpses of in Avengers: Age of Ultron

It looks like Natasha will be facing off against several villains. O-T Fagbenle’s Taskmaster has the power to completely replicate anything he sees, so if he’s fighting Natasha, he would be able to do every move she does, like she’s looking in a mirror. This leaves plenty of room for exciting action sequences. It was also confirmed that there will be a romance between the two of them, which…. whatever. 

Rachel Weisz’s role is Melina, and in the comics, Melina is also known as “The Iron Maiden,” a fellow graduate of the red room program who never is able to match Natasha and is overcome with jealousy. Weisz said in the panel that Melina goes through scientific experimentation in this film, giving her advanced powers that will make her a formidable foe to Nat. 

David Harbor is playing The Red Guardian, who is best known for being the Soviet Union’s counterpart to Captain America. Since Nat has such a good relationship with Steve Rodgers Captain America, there could be a lot of potential here to see her play with a similar dynamic with someone who represents her home country. 

Florence Pugh rounds out the cast as Yelena, who in the comics was a fellow Black Widow. Some fans think Yelena might take over the Black Widow mantle and take Natasha’s place. She’s a prime antihero candidate, and could possibly take a surrogate daughter kind of role for Natasha. 

While I want to be supportive of this film, it feels like too little too late. Johansson has waited patiently for ten years in the MCU, and she certainly deserves this, but the character has been so maligned for the past few films, and frankly, nothing here screams “unique!” I think going back to her roots will take us to femme-fatale Black Widow, like we saw in Iron Man 2, and I think that’s the worse version of the character. I don’t want to go back to that Black Widow, and despite the much more female-centric lense this one will be framing her in with a female director and Johansson in a much more powerful creative control, I’m sick of hot Russian spy action (I saw a good chunk of Red Sparrow through other passenger’s TVs on an airplane). Natasha has, despite her malignment, become a much more interesting character as of late, and this just feels like a regression. But I’ll try to stay optimistic. Having a prequel set the stage for Phase 4 seems like an odd choice, but it does fit in with the overall pulpier and riskier tone this slate of movies promises.

The Falcon and the Winter Soldier Show

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  • Fall 2020 (unspecified date). Filming begins this October.
  • 6 hour-long episodes
  • Malcolm Spellman (Empire) is the showrunner and all episodes are directed by Karl Skolang (Vikings). 
  • Starring Anthony Mackie as Sam Wilson/The Falcon, Sebastian Stan as Bucky Barns/ The Winter Soldier, Daniel Brühl as Baron Zemo, and Emily VanCamp as Sharon Carter. 

The show picks up soon after the events of Endgame, and presumably will follow Sam Wilson taking up the mantle of Captain America, and Bucky, just, I don’t know, nagging him? I’m not a Bucky fan. Mackie is incredibly charismatic and he and Stan have good chemistry. It should be a fun romp and maybe be reminiscent of Captain America: The Winter Soldier. It doesn’t seem to, like the other shows, tie directly into any upcoming movies. If it doesn’t feel necessary to watch in order to understand the movies, then this might not be compelling enough to get Marvel fans to subscribe to Disney+, in which case it seems like a poor choice to be the first Marvel show on the streaming service. 

The Eternals

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  • November 6, 2020
  • Directed by Chloe Zhao
  • Starring Angelina Jolie, Salma Hayek, Richard Madden, Kumail Nanjiani, Brian Tyree Henry, Lia Mchugh, Lauren Ridloff, and Don Lee. 

The Eternals is a relatively unknown property, but that hasn’t stopped Marvel from making bank before! This film’s biggest hurdle will be convincing moviegoers to be interested in something they’ve probably never heard about. Let me help Marvel out a bit then by giving you some backstory.

In the comics, the Celestials created the immortal race known as the Eternals. The celestials were briefly introduced into the MCU in Guardians of the Galaxy 2, where Ego (Kurt Russel), aka Peter Quill/Starlord’s father, was one of them. Think of them as similar to the Titans in Greek mythology, with the Eternals then being the pantheon of gods. 

In this film, the Eternals have been on Earth for thousands of years already, masquerading as humans. The movie will probably focus on the Eternals’ family-like dynamic and show them acting throughout history. 

All of the Eternals are immortal, have super strength, teleportation, telepathy, can fly, can shoot lasers from hands and eyes, and can make force fields. They’re powered by celestial energy, and if they run out of celestial energy, they become weakened. 

Salma Hayek will play Ajak, leader of the Eternals, and in the comics, Ajak is a man, making this a gender-bent role. Angelina Jolie will play Thena, who has ties to ancient Greece (get it, Thena, Athena?). Richard Madden will play Ikaris. Kumail Nanjiani is Kingo, a samurai swordsman turned Japanese superstar. Expect this to change, as Nanjiani is Pakistani. Brian Tyree Henry will play Phastos, an engineer and tech expert. Don Lee is playing Gilgamesh. Gilgamesh is known for meddling in human affairs and could be an anti-hero or villain. 12-year-old Lia Mchugh is Sprite, another gender-bent character. As an eternal child, Sprite is a prankster inspired by Puck from A Midsummer Night’s Dream. Finally, Lauren Ridloff rounds out the cast as McCary, another gender-bent character. Ridloff is deaf and the character will become so too, making McCary the MCU’s first deaf superhero (Hawkeye is deaf in the comics but not in the MCU). 

I’m unsure as to how these immortal gods will change up the MCU as we’ve known up to this point, but at least we know Marvel’s penchant for star-studded casts won’t change!

Shang-Chi and the Legend of the Ten Rings

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  • February 12, 2021
  • Directed by Destin Daniel Cretton (Short Term 12– such a great film!!!!)
  • Starring Simu Liu as Shang-Chi, Tony Leung as the Mandarin, and Awkwafina in an unknown role. 

China is a huge box-office market, the second biggest in the world behind the U.S. Shang-Chi is not only Marvel’s first Asian superhero, but also the studio’s first real effort to please Asian audiences. So far, though, it looks like there may be some problems. 

Shang-Chi is the hero son of villain Fu Manchu, who in the comics was a horribly racist stereotype and has a rough history. So the rumor is that in the film Shang-Chi will be the son of Tony Leung’s Mandarin instead (the real Mandarin, not the one from Iron Man 3). This already sets up a great dynamic- a superhero son breaking away from his supervillain dad. But here’s the catch: Tony Leung is a Chinese legend and incredibly respected action hero, and he’s the villain. Meanwhile, his hero son moves to America, making him Chinese-American (and Simu Liu, the actor, is Chinese-Canadian, his family having moved from China to Canada). In other words, the Chinese person that moves to the west is the hero, while the one who stays in China is the villain. As there are already sensitivities in China about Chinese people moving to America for better lives and education, this casting would seem to further this divide. Along with Awkwafina, who is American, and the director, who is American, all of the major players in this movie except the actor playing the villain are from the West. 

It’s a strange decision to cast Simu Liu, an unknown, as the hero when Marvel could have cast an actor from China’s film industry, who might still be an unknown to American audiences but would help bridge this divide. However, Liu is a great choice in other respects. He used to be a stuntman, ensuring some great action sequences, and has a great underdog story. He began campaigning for the role in 2014, tweeting Marvel multiple times since then asking for more Asian representation and offering himself up for a role. Shang Chi is a master martial artist and is in-tuned with his chi and his body, and doesn’t have a ton of other definable powers. I’m looking forward to seeing what Liu will bring to the role and how he does with the dramatic parts. 

Also cast is Awkwafina, who is on a major hot streak right now following her roles in Ocean’s 8 and Crazy Rich Asians with The Farewell. She could be playing Shang-Chi’s half-sister, Fah Lo Suee, or perhaps a love interest. 

The Ten Rings in the title refers to the terrorist group that kidnapped Tony Stark in the first Iron Man film, and have been alluded to in a few movies since. However, I expect this movie to move away from the terrorist angle and more into the “villainy” angle. The Ten Rings also refer to ten rings that the Mandarin wears, made out of alien tech and each having a different power. Sounds a little familiar… Infinity Stones, anyone? Despite some familiar tropes, I hope Shang-Chi and the Legend of the Ten Rings will break new ground for Marvel, not only in representation but also in storytelling and filmmaking. 

WandaVision Show

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  • Spring 2021
  • 6-8 episodes, the whole series will be 6 hours long. 
  • Jac Schaeffer will be showrunner. Schaeffer is the screenwriter for the Black Widow movie and will write the pilot for WandaVision
  • Starring Elizabeth Olson as Scarlet Witch/Wanda Maximoff, Paul Bettany as Vision, and Teyonah Parris as Monica Rambeau

WandaVision will focus on the relationship between Wanda and Vision, which has been growing slowly throughout several movies but has a deep comic book history. In the comics, Wanda and Vision are a married couple, and Wanda creates for them out of her magic two children, Wiccan and Speed. Wiccan and Speed eventually join the Young Avengers team and are joined by Cassie Lang (Antman’s daughter, already introduced into the MCU) and Kate Bishop, who will be introduced in the Hawkeye miniseries. If the show introduces the two, we could be gearing up for a Young Avengers show or movie.

The biggest mystery in the show is the role of Monica Rambeau in all of it. Monica was introduced in Captain Marvel as the adorable daughter of Maria Rambeau (Carol’s best friend). Teyonah Parris will play her as an adult, who in the comics takes up the mantle of Captain Marvel. I can’t imagine she will be the same here though, so maybe she’s working for SHIELD? Or is doing some other kind of work that has her learning about/teaming up with Wanda and Vision? Or she could be her own fully-fledged hero, like she becomes in the comics under the name Photon.  

This show will take us straight to Doctor Strange and the Multiverse of Madness in May of 2021 and to the final part of the Phase 4 slate, which I’ll be covering next week.

Go Big Or Go (Spider-Man: Far From) Home

Related imageSpoilers for this film and Avengers: Endgame!

Spider-Man: Far From Home picks up shortly after Avengers: Endgame. Tony Stark is dead and the world is mourning his loss and is trying to move on after Thanos’s snap and then the reverse snap, which is being called “The Blip.” Eager to escape the mounting responsibilities being put on him by Nick Fury (Samuel L. Jackson), Peter Parker (Tom Holland) joins his class for a summer trip to Europe, where his only concerns are enjoying himself and trying to tell MJ (Zendaya) that he likes her. 

Unsurprisingly, he is soon caught up again into superhero antics when a set of new threats called Elementals appear, but it seems Peter is not alone in fighting them this time. He meets a new hero named Quentin Beck, aka Mysterio (Jake Gyllenhaal), who may not be everything he seems. 

Far From Home is a mixed bag, but it is undeniably entertaining. The Spider-Man corner of the MCU continues to be at its best when it focuses on normalcy. The humor that comes from the class and vacation situations are by far the best parts of Far From Home. Martin Starr and J.B Smoove are particularly delightful as Peter’s teachers, and Marisa Tomei, Zendaya, and Jacob Batalon continue to be great as Peter’s inner circle who keep up the push-and-pull between Peter’s civilian identity and his role as Spider-Man. 

Beyond the humor, though, are some truly affecting dramatic moments. Similar to the tear-jerking part in Homecoming when Peter gets trapped under the rubble, or when Peter gets dusted in Infinity War, the scene where Mysterio first uses his illusions on Peter is startling because it emphasizes Peter’s youth, and it is truly disturbing to see him being manipulated and beaten down in such a brutal fashion. Holland has some solid dramatic chops, and he gets to use them again here. I applaud the film for not pulling any punches and letting this young hero get a true “dark night of the soul” moment. 

The film also lets Peter makes some terrible mistakes that make him look foolish at best and unworthy of being Spider-man at worst. It’s a touch of sophistication that is missing from many other MCU films that typically rely on the hero’s darkest hours coming from external forces and not from their own mistakes. In this regard, this second Marvel-Sony Spider-Man entry is quite ambitious. 

Far From Home falters, however, in part because of this ambition. It goes bigger, and it doesn’t hit the mark on everything. The multiple bombastic action sequences are bland because most of them are Peter against faceless entities of water or fire or drones, which result in no emotional connection to the audience and a CGI mess on the screen.

This ambition extends to the movie’s themes. The story seems relevant with its inclusion of fake news, drones, technological warfare, illusions, not being sure what is real and not, and an undercurrent of what I can only describe as Gen-Z Anxiety™. All of those things are relevant, but the movie never quite gets around to saying anything meaningful about those things. Peter defeats them through his superpowers, so what does that mean for those of us who don’t have superpowers? Ultimately, just because the movie has timely elements doesn’t make it so, because it fails to understand what makes these things timely in the first place. 

This brings us back to Mysterio, who, like Michael Keaton’s villain Vulture in Homecoming, is a regular man who feels like he was cast low by Tony Stark and decides to retaliate by becoming evil. But while the film, and the MCU at large, seems to want to give some commentary on Tony’s problematic aspects, by making his critics evil maniacs, the wind is taken out of any serious arguments against Tony and instead just affirms him. His critics are all evil, and he saved the world, so in the end, he must have been in the right. 

Happy Hogan (Jon Favreau) does say late in the movie that Tony was a “mess” and “always doubted himself,” which is true and is in line with the character’s development in losing his self-assuredness and gaining humility. But then moments later Happy makes an explicit connection between Tony and Peter, and since Peter is our heroic protagonist, any legitimate criticism of Tony is once again undercut in favor of the MCU’s RDJ-worship. All of this renders Mysterio a promising character played well by an underused Gyllenhaal, who never quite gets to shine as he should.

In the end, Far From Home confirms what some other recent MCU films have been showing, which is that Marvel is getting bolder and riskier, but still doesn’t quite have it in them to either go all the way or have the proper execution. I’m glad they’re trying, but they’re still far from a home run.

-Madeleine D.

Avengers: Endgame Spoiler Review

Avengers-Endgame

The culmination of 22 movies. A cinematic universe built over the course of eleven years. One of the biggest franchises of all time. Some of the greatest actors ever. Avengers: Endgame is upon us.

I’m supposing you’ve seen the movie, so I’m not going to go over the story. I care as much about the technicalities and logic of the time-traveling plot elements as the film does, which is to say, not that much! I’m here for seeing what happens to my favorite characters. And boy did I get… some happenings.

There’s a lot of fanservice here. While I think most of it is deserving, there is also some fanservice that feels a little too self-congratulatory (no, Marvel, you are not the patron of feminism). It’s a delicate balance, one I think Endgame barely passes through.

Alas, even with all the fanservice, I didn’t get much of what I wanted, which makes this film a little more difficult to review. I think it ultimately boils down to the fact that I love Joss Whedon’s vision of the Avengers. I think his films contain the best characterizations for most of the characters, have the most interesting themes, and are the most dedicated to creating small, intimate, human moments.

However, for the past several years the Russo brothers have been in charge, and we’ve seen their vision come into view. There are some great things that they do; their action sequences are often excellent and they do an admirable job balancing the large casts they are given. But, as Richard Brody of The New Yorker put it, “The Russos have peculiarly little sense of visual pleasure, little sense of beauty, little sense of metaphor, little aptitude for texture or composition; their spectacular conceit is purely one of scale, which is why their finest moments are quiet and dramatic ones.” These weaknesses are particularly potent in Endgame. It struck me while watching just how ugly the film is visually. There are very few things happening under the surface for the characters. Everything they feel and think is shallow and plot-related, which strips the film of all the subtext and metaphorical layers the medium of film is so richly capable of. When it comes to the Russos’ vision, I can’t quite get on board.

Yet, as Cap says, we need to move on, and so I’m going to try to do so for the rest of this review. Because this is less of a movie and more of a ten-course meal where you keep getting things put on your plate that you aren’t sure you wanted but feel compelled to try, I’m going to list five of the things that worked, and five things that didn’t in Endgame.

The Good

  1. Tony

RDJ brought it home. A beautiful ending for a hero who has been growing and developing in complexity over the last ten years. Ever since Tony’s vision in Avengers: Age of Ultron, where he saw the threat of Thanos, he’s been trying to convince the other Avengers to believe him and to see the greater danger. It was beautiful to hear Pepper recognize that and tell Tony he could finally rest. He finally saved them, as he had always been trying to do.

  1. Avengers 2012

The first Avengers movie was a marvel. Despite that movie feeling small in comparison to these newer films, it still holds up and has a sweet place in my heart, so I loved the time traveling bits back to the Battle of New York. Everything in that scene could be interpreted as gratuitous, but I think it was a delightful and well-deserved recognition of just how much of a pop-culture milestone it was. And props to all of the actors who showed up to have miniscule cameos in these films. Thank you for recognizing the importance of this franchise and their impact, whether you ended on a bad note (Natalie Portman) or clearly have no clue what is going on (Robert Redford).

  1. Return of the King

This movie is not on the level of Return of the King, but when all the Avengers came into the final showdown with Thanos, I felt like I did when I first watched the Battle at the Black Gate of Mordor. And when Cap said, “Avengers, assemble,” I felt the same shiver go through the theater as when Aragorn said, “It is not this day.” The final battle, for all of its chaos, replicates reading a comic book perfectly.

  1. Sam Wilson as New Cap

Anthony Mackie has been grossly underused since his turn as Sam Wilson/Falcon in Winter Soldier, but I’m so glad he’s finally getting the attention he deserves. Sam has the bravery, leadership, and heart of Cap, but without the self-righteous hotheadedness and with a more nuanced sense of duty. And while I doubt the MCU will do too much with it, having a black man take up the mantle of Captain America does mean something (quite a lot, actually).

  1. Old Cap

I think Cap also got a nice ending. Poetic, sweet, a good sendoff.

What I Wish I Could Snap Away

  1. Natasha’s Ending

In Age of Ultron, there’s a scene near the end where Natasha is standing with Steve on the edge of the destroyed Sokovia. She says that if they were to die there, it wouldn’t be so bad, as “there are worse places to go.” This ties into Natasha’s overall development in the MCU. She has red in her ledger, a past full of sins and debts. Characters try to convince her to forgive herself. She herself encourages self-forgiveness in others. But she can never give it to herself. After being the only one to try and keep the Avengers together for so long, she sees the opportunity to die for the Soul Stone and takes it. Her death wish, her final sacrifice, her payment, is finally complete. It’s an active choice she makes after a life of being a pawn.

So unlike some of the hot takes out there saying this death was unjust, I actually think it was the logical conclusion to her arc. I wish she had gotten a more redemptive arc, but it makes sense from a storytelling perspective. My problem with all of this, though, is that 1) she died in the place of Hawkeye, the objectively worst Avenger, and 2) the death is barely acknowledged in the movie. She gets no funeral and only one scene of visible grief from the other Avengers. Excluding the Edward Norton Hulk movie, Black Widow was the second Avenger introduced into the MCU, yet she never gets that credit. It’s always Iron Man or Captain America. For all the crap Scarlett Johannson has had to put up with to pave the way for other female characters, her character deserved more of a recognized legacy.

  1. Use of a Biological Family as Shorthand for “Making It”

In the MCU, having a biological family is a sign of a character succeeding, being relatable, and having a greater purpose. It’s presented as an ideal life. This motif has been used to great effect when it is corrupted and shown as an idol that holds certain characters back from accepting themselves and their potential. But more often than not, it is used as a narrative shorthand that devalues the relationships between characters we actually know and care about.

This becomes clearly apparent in the choice to give Tony a child. Now sure, Morgan Stark is adorable. But we already know Pepper and Tony love each other- we don’t need offspring to confirm it. Second, Tony’s fatherhood arc has been happening through Peter Parker, and I would argue that arc is more compelling because he chooses Peter despite his fear that he may corrupt Peter and be like his own father. He looks at Peter as a younger version of himself and wants him to do better. This is active character growth. Having a young biological child takes away this arc because a non-superhero toddler doesn’t reflect Tony Stark like a superpowered young adult does. Having a biological child for Tony also shortchanges Peter’s return and his grief over Tony. This compelling relationship is cut short.

True, having a child does create high stakes. But in the case of Tony, the stakes are already incredibly high, and we know Tony acts out of a desire to protect everyone, not just his own family. So, really, introducing Morgan was intended to give the sense that Tony had finally “made it,” achieved peace, and had all he needed. This is a blow to the found-family dynamic the Avengers have always had. The whole situation also feels extra awkward when you consider that the other Avenger who died but didn’t have a funeral and is constantly taken for granted is…. a childless Natasha.

Besides Scott Lang’s family, the other main biological family is Hawkeye’s family. We know next to nothing about them, but when they are snapped away that is supposed to be an emotional moment, because they’re a family, and he’s teaching his daughter to shoot a bow and arrow, and his wife is making lunch. It’s the American dream! Maybe I’m just heartless, but this barely registers. The audience has to fill in the emotions. Why not use the relationships Hawkeye already has with other established characters to make his turn to depressed vigilante more compelling? Oh, wait, except for Black Widow he doesn’t have any other established relationships with any of the other characters. Which leads me to…

  1. Hawkeye Continues to Be a Drag on All Possible Levels

Hawkeye as a character continues to make less and less sense in this franchise. He has no ties with any of the other Avengers. He never quite proves why his skillset is needed; in fact, the film works hard to avoid showing him in the final battle because his abilities are useless. In the first Avengers, maybe the everyman character was endearing and there were only six other heroes so an archer could make sense. But now, when we have seemingly hundreds of heroes on screen in a battle, and several everyman characters and all much more unique? #ShouldHaveBeenClint

  1. Thor

Thor has been through a lot in these past few films. While I didn’t think his PTSD and trauma would be given a lot of heft, I did think the MCU was past making it into an unbearable fat joke. Thor’s depression weight gain/alcoholism being treated the way it was is distasteful, unfunny, and lame. This article by Sylas K. Barrett is an excellent look at the way the movie frames these symptoms.

And yes, I know it was also poking fun at Chris Hemsworth’s sex appeal and Marvel using it. But while I don’t think reverse-objectification is progress, the Thor movies (for several reasons) have been the most female-friendly corner of the MCU until Black Panther. So making fun of that just didn’t sit right with me. Thor has been getting more comedic as of late, but you can be comedic and still have your dignity, which this movie takes from Thor. And speaking of stripping a character of dignity…

  1. Professor Hulk

One of the most devastating moments for the MCU was when Taika Waiti (who I have a lot of respect for in all other areas) looked at three-time Oscar-nominated dramatic actor Mark Ruffalo and said, “Hey mate, do you want to do some comedic improv?” And Mark, not wanting to get fired and probably distracted by his various bromances with the other actors, said: “Sure why not?” Thus the downturn of a great character and performance.

In theory, bringing in Professor Hulk could have been a nice way to bring Bruce’s character arc full circle. We start in The Avengers with Bruce thinking he controls Hulk (“I’m always angry”). It is quickly revealed that no, Hulk still has a mind of his own and is making choices without Bruce (like flying away at the end of Ultron). The two are in conflict throughout Thor: Ragnarok and Infinity War, and finally, here the two are in sync in a way that embraces Bruce’s true superpower, which is his brain and heart.

The problem is then like Natasha’s: poor execution. Hulk looks so much like Ruffalo that it creates an uncanny valley effect, the movie continues with making him the comic relief without any of the character’s core melancholy, and it gives him no conclusion. Another example of so many missed opportunities.

If you are invested in the MCU, then you probably can view these movies as a timeline of milestones. I remember my intro being when I saw Captain America: The Winter Soldier on a whim with my dad, never having seen any other Marvel movie. I was instantly intrigued. I got caught up on all of the other movies, and by May of 2015, I remember lying in bed and praying to God that whatever he ordains is good but please just don’t let me die before I see Avengers 2. Suffice it to say he accepted my proposal and I got to see the film with some new friends, which was a triumphant way to end a lonely and difficult school year.

I have reviewed all of the Marvel movies on this blog since 2016 with Civil War. With an average of two MCU films a year, a few months apart, these reviews can give me insights into my own growth as a writer. These are also where I have battled out my own inner struggle of figuring out how to be a critic and a fan. I may never find peace between these two, as I will never find complete peace with this movie or the MCU’s legacy as a whole. And that’s okay. I can reevaluate the past, but as Cap says, I have to move forward. And all in all, despite some disappointments, I think Endgame is the best conclusion we could have realistically gotten (without Joss Whedon’s and my creative input).

-Madeleine D

It’s Just Okay! Captain Marvel

Capt Marvel

To the tune of “God Bless the U.S.A” by Lee Greenwood, starting at the second verse:

Brie Larson won an Oscar, and one of the directors is a girl

So all of the problematic lady stuff, from Marvel will become unfurled

From Natasha to Wanda, and Okoye and Shuri

There’s pride in every fangirl’s heart, and it’s time we stand and say

That I’m proud to be a woman, for at least I know I’m free

To punch a man in the face, Carol gave that right to me

And I’d gladly stand up next to her, to defend our right to say

Don’t tell me to smile, she paved the way

It’s International Women’s Day!

If you were singing something along those lines going into Captain Marvel this weekend, then you were exactly where Kevin Feige and Marvel studios wanted you to be. Promoted as the response to Wonder Woman and a form of self-flagellation for the fact that Marvel has made 21 movies, 11 of which star white guys named Chris, it’s still sad that the studio is only now is getting around to making one with a woman. However, it hasn’t been easy. Captain Marvel has been plagued by online trolls, misinterpreted statements by its outspoken lead actress, and a boycott, not to mention ridiculous expectations put on it by critics and fans alike.

So after all of this build up, how is Captain Marvel? Is it our new modern third-wave feminist The Feminine Mystique? Does it give me any clues to which superheroes will and won’t stay dead during Avengers: Endgame so I may finally find peace? Will seeing Carol Danvers fly finally inspire me to live my life to the fullest and/or hit the gym?

Well, I am here to report that Captain Marvel is: fine. Hooray!

Ok, let’s break this down. To begin with, the epidemic that I’ve been growing weary of for a while now is that all Marvel heroes have the same personality. They’re all cool, calm, collected, and witty. If you watch the first Avengers film, sure, all the characters could be funny, but they were funny in different ways. And their personalities and values were different. Now, if I read the script of Avengers: Infinity War with the character names missing, there would be too many times I would guess a line was said by a different character because everyone’s dialogue sounds the same.

Captain Marvel aka Carol Danvers (Brie Larson) here is witty, cool, collected, and calm. She is hyper-competent, which is now a requirement for all heroines, and her personality is so limited to what the plot requires of it that it’s hard to imagine what she would do on a free Saturday night. There are quiet moments in the film that give Larson something to play with, but they are too small and infrequent to make me feel that I’m not watching Captain America with a side of Tony Stark snark.

Counterbalancing this, though, is an excellent and vibrant supporting cast. Samuel L. Jackson and Brie Larson have excellent chemistry (this is their third film together), and I particularly liked Lashana Lynch as Maria Rambeau, Carol’s best friend. Their friendship was sweet on screen, and at one point in the movie, as Carol is having a moment of personal doubt, Maria reminds her who she is, affirms her, and then they hug. And I realized that this is the first time I’d seen this kind of female friendship in an action superhero movie before. Hugging my girlfriends and affirming them is something I, and many women do, every day, but I finally got to see it on screen. And it was just as awesome as seeing Carol burst into flames and save the world, which was also pretty cool.

On a more technical side, while I don’t usually point out editing, I have to talk about it here. Marvel movies, at least ones not directed by the Russos, generally have quick and choppy editing in the fight scenes. But here, it feels extra insulting, not just because the action scenes are poorly cut to the point where it feels like the directors just didn’t want to think of more action for the character to do, but because Brie Larson trained nine months for this role, is ripped, and did most of her own stunts, and you can barely tell here. #GiveUsGratituousShotsOfBrie’sRippedArms.

The plot is convoluted, which causes the movie to have whiplash pacing and become distracted from being a character study. For example, one of the darkest aspects of the film is the fact that Carol was, basically, abducted, gaslit, and brainwashed to be formed in her captor’s image. While addressed in the film, what could have been an intensely emotional moment and a defining trauma for Carol, her Uncle Ben if you will, is handled with such stoicism and almost casualness that the revelation barely qualifies as a turning point for Carol, and is a completely missed opportunity because instead we gotta spend time setting up alien characters for future movies.

Ultimately, the most disorienting thing about Captain Marvel is that it tries to go two different directions, and ultimately does neither. The first is that it wants to be a very obvious “girl-power” movie, but it contains very little of the female experience. It tries to have some, like Carol being asked by a random man to smile, (a ridiculously perfect foreshadowing of  what was to come) and her being told she’s too emotional. But these things feel much more like Womanhood 101, and not very deep. The second is that it is a very standard Marvel movie that doesn’t drift from formula. If it had committed to being a Marvel movie that could, in theory, have been played by a man and been exactly the same, then that could have been an interesting statement on why we put emphasis on female superheroes at all. It would have answered the immortal question of, “Hey, why shouldn’t women have a mediocre superhero movie to call their own?”

In the end, we have a movie that is neither an interesting examination on how being a woman would make one a different kind of a superhero from a male one, nor do we get a superhero movie that could be led by any of, say, the Marvel Chrises. We get something that’s pretty mediocre. So to be honest, I’m disappointed. There were plenty of scenes and things I liked, but it adds up to a movie I probably won’t remember the majority of in a few weeks. But despite that, I still think it’s worth seeing if you keep up with the Marvel movies, or even if you have already decided you want to see it. It stands alone well enough that you can enjoy it without needing to have any previous Marvel backstory. I want it to do well at the box office, mostly just to spite trolls.

Near the end of the film, Carol says to an antagonist, “I have nothing to prove to you,” which may ultimately be the best way to think of the movie. It doesn’t need to be a roaring success to justify its existence. Carol Danvers has nothing to prove, and neither do female-led superhero movies. So let’s raise the bar for everyone, without using it to keep others down.

-Madeleine D

December Round-Up, Part Two

To the tune of “Don’t Cry For Me Argentina”

Don’t cry for me, my dear readers
The truth is, I never left you
All through my college days, my mad semester
I kept my promise
Returned with vigor

Here are five of the biggest movies, box-office and awards-wise, that have recently come out.

Bohemian Rhapsody

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I didn’t know much about Freddy Mercury before seeing the film, so for the first half, I spent it thinking, “Rami Malek sure is overacting. I don’t know why he’s being nominated for so many awards.” And then I realized this was just the character, and then it got better.

Bohemian Rhapsody is ambitious in recreating famous Queen performances but never decides if it is a character study of Mercury or a celebration of the band and its music. It ends up trying to do a bit of both, and therefore doesn’t do either full justice. It’s a competently made, standard biopic, but there are enough glimmers of greatness here that makes its by-the-book approach feel like a big let-down.

For someone like me, who didn’t know much about Queen beforehand, I was disappointed that the film didn’t change this fact. It is so focused on Mercury that it 1) pushes the other band members aside, and 2) doesn’t tell me why Queen was so revolutionary in its day. It never explains how this band appeared and delighted the wider public. In that way, the film is claustrophobic and doesn’t have much of an outside perspective. But if you like Queen, it sure wouldn’t hurt, and it does do a good job recreating the feeling of seeing a great concert.

Roma

Image result for roma movie2018

A black and white foreign language film about a maid in Mexico City in the 70’s is, frankly, not what I usually want to watch. It was a bit of a chore psyching myself up for it. And it might be the same for you, too, but I think you should watch Roma anyway, even if you don’t love it.

For one, it’s a masterclass in filmmaking. Every beautiful shot is deliberate, and every scene breathes. The movie is excellently paced, in a way that tests the audience’s patience but with purpose. There’s not really a plot, but the stakes are raised so excellently that it never feels aimless.

It’s not a film I would want to rewatch, but I marvel at its craftsmanship. And further, it makes a movie star out of someone who represents a group that is never considered worthy to be a movie star, and there is something precious within that itself. It makes the trials and trivial of life feel epic in scope and worthy of attention, which it is. Life, and every life, is worth paying attention too, and that humanity makes Roma a special film, even if it isn’t the most entertaining or poignant film of the year. And it’s on Netflix! There are no excuses.

Mary Poppins Returns

Image result for mary poppins returns 2018

Mary Poppins Returns is technically a sequel, but it certainly feels like a remake. It hits the original movie beat-for-beat with most of the songs carefully crafted to be one-to-one remixes of songs from the original. I want to fight against the chronic “safeness” of most of the recent Disney movies, but for this film, I can’t. I fell for Mary Poppins Returns.

It probably helps that I don’t have any nostalgia or feelings towards the original. I’ve seen it, but it was never a favorite of mine or a part of my childhood. For those who do love the original, this movie will either be heresy or a delightful reworking. For me, it was a lovely film that was truly able to be a magical way to end the year. It’s not revolutionary, but it plays to its strengths and is propelled by excellent performances all around. It’s the perfect family film.

Aquaman

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Aquaman can be best described through a scene near the end of the film, so mild spoilers. Arthur Curry/Aquaman goes into the den of a monster to retrieve an important trident. He approaches the monster and begins to talk to her.

Before this moment, Arthur tells another character how he grew up only using his fists and hiding his feelings. So when he began to talk to the monster, I started to get excited. Is this going to buck the trend of superhero movies ending with a big battle? Is the day going to be saved through communication and empathy? Is Arthur Curry going to be an example to young men that coming of age doesn’t have to be tied to acts of violence? Are they doing the same ending as Moana?

Arthur begins saying he is Arthur Curry, son of a lighthouse keeper and Queen Atlanna of Atlantis. He’s a nobody, and that’s what makes him the rightful ruler. I started getting more excited. Wow, the story is going to be about our worth coming from our identity, which empowers us! I looked over at my dad next to me. This could be a sermon illustration or something!

Then Arthur finishes his speech by saying to the monster: “and if you don’t like it, then screw you.” And then he grabs the trident and goes to fight in the big battle that ends the movie. So much for diplomacy and empathy.

I applaud the ambition and complete sincerity that director James Wan and the rest of the cast and crew go about making this movie. They go for it. I never felt a single emotion in the entire film, except for disappointment and lethargy, but they go for it. Perhaps I’m just not the right audience. I don’t care for Aquaman, I don’t know the mythology, and the worldbuilding (which is done with excellent special effects) didn’t interest me. That doesn’t mean it wouldn’t be fun for someone who is invested in the character. It’s just a shame it didn’t hook a new fan.

Spider-Man: Into the Spiderverse

Image result for peter parker into the spiderverse 2018 scenes

Into the Spiderverse feels very much like Incredibles 2, except with a completely different moral to the story. Both are beautifully animated films, appeal to both children and adults, and are about superheroes. Both build off previous films, and both came out opposite another superhero movie. And both are the only real competitors for animated movies for this year.

From a story perspective, both get bogged down with plot details and villains who are underbaked and feel more like obligations than actual additions to the story. Particularly in Spiderverse, there are scenes that can feel extremely tedious. The real strength lies in the character interactions. Incredibles 2 makes the most of the family dynamic, while Into the Spiderverse gives a delightful deconstruction of Peter Parker and introduces us to a fantastic new hero in Miles Morales. The scenes that highlight their mentor/mentee relationship are some of the best of the year.

Thematically, the two films are opposite. Incredibles 2 tries to say that every person is responsible for being their own superhero, but undercuts its own message by not having any regular people do anything super. In that way, it feels more of a story about exceptionalism, and how to handle being the exception.

Into the Spiderverse, on the other hand, is all about inclusivity. Everyone can wear a mask.  Everyone can be a superhero. Every race, gender, nationality, and age can be Spiderman. Just check out the #spidersona on twitter to see how this is already inspiring people to imagine themselves as heroes.

Musing on this, I came to an epiphany. It’s no secret I love Marvel films. But by this point, those movies have zero interest in inspiring heroism in the audience. MCU movies are melodramas, fueled by the storylines of the characters. The entire franchise is a big soap opera with lots of episodes. You aren’t supposed to see yourself in Tony Stark or Steve Rogers, you’re supposed to see them interacting with each other and reckoning with their own powers. And that’s great, I love watching superhero drama.

But Into the Spiderverse refocuses the genre. It brings the attention back to the audience. In this way, it is the best tribute to Stan Lee, who created these characters to inspire and teach readers. It’s an excellent film with groundbreaking animation that I would highly recommend if you aren’t completely fatigued with superhero faire. It shows there are still new places to go with comic book stories.

-Madeleine D