You might not be aware that but Jordan Peele, the director of the breakout hit Get Out, is preparing it’s follow up, Us, also for Blumhouse.
It’s also a horror movie–or perhaps should I say ‘social thriller’–starring Lupita Nyong’o and Winston Duke (both most recently seen in Black Panther and Avengers: Infinity War)
What the movie is about specifically is anyone’s guess, bit supposedly it’s in a similar vein to Get Out, which was a pretty interesting movie, but it was also–essentially–an extra-long episode of The Twilight Zone.
And I’m not being a fan of the term ‘social thriller’ because it’s essentially meaningless and can be applied to anything that addresses the human condition within the framework of a dramatic scenario.
For instance, The Monsters Are Due On Maple Street, from The Twilight Zone‘s first season is what I’d call an almost pitch-perfect example of a ‘social thriller,’ and covers all the bases (that it doesn’t–directly–deal with people of color is neither here nor there, since that’s not a defining characteristic).
Though what I’d also call it is a horror story, a term that deserves much more respect than it’s typically given.
I’ve never thought that Matt Ryan’s portrayal of John Constantine was a particularly good one, though I don’t blame him more than the casting. For a start, Constantine is the comics is physically lanky and more roguish than Ryan played him.
Ryan says all the right things, but never quite does so convincingly.
Then there’s his voice, which if you haven’t seen his former series or DC’s Legends Of Tomorrow, sounds rougher-edged and ‘lower class’–whether one wants to accept it or not, there are variations on a British accent, most of which stem from where in the United Kingdom you grew up as well as whether or not you were rich or poor–than perhaps it should be.
Though perhaps most importantly, Constantine should be extremely world-weary. He’s seen and knows things that would send the average person gibbering in terror, yet he carries the burden despite the costs to himself and potentially the people he cares for.
As I implied, I never felt the desperation (and the barely concealed desire for normalcy) from Matt Ryan’s characterization.
At this point I’m just glad we’re (apparently) getting a Godzilla movie that actually features Godzilla for more than a combined fifteen or twenty minutes.
And I know that that’s selfish of me but when I go see a movie titled ‘Godzilla’ I don’t think it’s asking too much to see the damn huge lizard pretty regularly.
And while I’m on the the topic of ‘not seeing,’ where the hell is Bradley Whitford? His name is displayed prominently on the poster, yet he’s nowhere to be seen in the trailer.
I’m also not sure the entire environmental thrust of the trailer is going to go over particularly well with those Americans inclined to support President Trump because the idea that we’re at all responsible for the problems the world faces (like climate change) are apparently anathema to them.
Remember Jim Carrey’s live action portrayal in Dr. Suess’s The Grinch That Stole Christmas (in case you don’t I’ve included the trailer. You’re welcome)?
How The Grinch That Stole Christmas (2000)
If there were ever characters designed to be animated, it’s Dr. Seuss’ s because his drawings, when placed in a real life context, come off not only weird but off-putting–and to be honest vaguely sinister.
Which I’m reasonably certain wasn’t the original intent.
The Cat In The Hat (2003)
In GCI though, it just works.
And while I have not seen the movie, that dog looks like it’s trying to steal the movie out from under Benedict Cumberbatch’s Grinch.
The Grinch (2018)
I participated in a thread on Twitter with C. Robert Cargill (co-writer of Sinister, Sinister 2 and Doctor Strange) where he was talking about The Equalizer 2 and it’s director, Antoine Fuqua (who also directed the first movie).
I described Fuqua as ‘the thinking man’s Michael Bay,’ and it’s an apt comparison because if you look at the trailer below you’ll see some very kinetic action set pieces, buoyed by quiet, introspective moments.
It’s a pretty impressive trailer that takes the movie more in the direction of the television series (starring Edward Woodward) that it’s based upon.
And apropos of nothing, does ‘EQ2’ vaguely remind you of the the name of a coleoneor perfume?
As usual, let me know what you think below.
A trailer just dropped for The MEG, a movie about a megalodon going around doing what sharks do in movies, which is eating humans (despite the fact that we’re by no means a normal part of their diet).
Though I have other problems with this trailer. First off, the book this movie is based on is named ‘MEG,’ not ‘The MEG.’
It’s a small point but it makes a difference. ‘MEG’ is short for ‘megalodon.’ ‘The’ MEG is just dumb and unnecessary.
Besides, when I see The MEG, The BFG pops in my head, which is probably not what the producers intend.
Then there’s the cast., which like Pacific Rim: Uprising seems designed to make an impression in China (and that’s understandable. After all, one of the production companies is Chinese, though it doesn’t need to be as blatant as it is.
Then there’s the trailer, which starts off like a little like Jaws 3D (the one with Lou Gossett Jr) combined with Deep Star Six then turns into Piranha (the remake directed by Alexandre Aja. not the Joe Dante original).
It’s early days yet, but beyond seeing Jason Statham kick ass I can’t find any reason why I’d want to see this (and I tend to like shark movies, despite knowing how outlandish they tend to be).
It appears that the zombie genre has greater legs than anyone might have anticipated (AMC’s The Walking Dead–despite a ratings decline–still shuffles on while spawning a sequel–Fear The Walking Dead–a somewhat unnecessary admonition) and along the way appears to have discovered a legitimacy few horror genres have had prior.
Though that shouldn’t be a surprise in that George Romero has long used the zombie genre to tell tales of class warfare and as metaphors for consumerism, among other things.
The latest example: Cargo, starring Morgan Freeman (Sherlock, Black Panther) which is coming on Netflix (Yay!) May 18.
What–if the trailer is to be believed–separates Cargo from it’s grisly siblings is that Freeman’s character appears to be be infected himself (and in search of a cure among the Aboriginal people of Australia) while the baby he carries (likely the ‘cargo’ of the title)–isn’t.