I’ve seen Nacho Vigalondo‘s Timecrimes and Open Windows, both very idiosyncratic movies, so let’s just say I find very little surprise when his latest–Colossal–features a kaiju that’s seemingly the personification of a stressed woman’s ego not all that surprising.
Though what concerns me is that hopefully the movie winds up being more than a clever conceit.
The idea that James Gunn (Slither, Guardians of the Galaxy) is particularly fond of Moon Knight is really great news because I can think of nothing better than seeing the Fist of Khonshu on the big screen.
But the hurdles for that happening are two-fold. First Gunn is occupied working on Guardians of the Galaxy, Vol. 2, so he doesn’t have time to direct.
The second issue is that Marvel Studios’ production slate is booked so far in advance that even if Gunn were ready to go tomorrow there’s no guarantee that they could fit it into their schedule (according to Screenrant their production slate is filled all the way to 2028).
And that’s working on the assumption that Kevin Feige even thought it was a good idea.
But there’s a way to make it happen. Instead of directing, what if Gunn wrote a treatment that could be ready for shooting but more than likely would form the basis of the movie that others could build on.
Then Marvel Studios would create a new imprint, in the vein of Marvel Knights, that would handle more adult-orientated characters that might warrant an R-rating (and Kevin Feige has said that he didn’t want to create R-rated movies. This way he technically wouldn’t have to though more importantly the characters would remain faithful to the versions that their fans have come to expect).
An important aspect of this strategy would be production budgets falling somewhere in the ballpark of $50-80 million because, while no one wants a movie to fail, if it weren’t able to meet expectations losing somewhere in the ballpark of $80 million is small change compared to the production budgets of most superhero movies today.
What? You thought Bane deserved all the credit?
In the past few months Warner Bros has been on a charm offensive, as far as the movies of their DC Extended Universe go, but I’m not buying it.
Another thing I’m not buying are those people who claim that what is preported to be a lighter tone for the upcoming Justice League movie was in the cards all along.
Reason being, Man Of Steel took itself way too seriously. Batman V Superman: Dawn Of Justice upped the ante on dourness, if that were even possible–while working with a story so nonsensical that a bit of levity would have made the whole thing that much more palatable–and now I am supposed to believe that all of a sudden Zach Snyder realized that Superman is based on comic books (that were originally meant for children), and not an object of Ayn Rand’s Objectivism?
The more likelier explanation is that Warner Bros executives saw that the DCEU movies with Zach Synder as architect–while not box office failures–were severely underperforming (that you could put three of the most iconic superheroes in the same movie and can’t reach $900 million at the box office, never mind a billion, is the proverbial canary in the coal mine) so something had to be done.
And what that seems to be is an demotion of sorts for Snyder, in two ways. The first is that Ben Affleck was appointed as executive producer on the upcoming Justice League, and apparently is very influential over what happens on screen. And perhaps more importantly, Geoff Johns and Jon Berg were made co-presidents of DC Films, seemingly with a mandate to resort a sense of hope and optimism to movies sorely lacking such virtues.
My problem is that I am reaching Transformers levels of frustration with the movies of the DCEU (something Suicide Squad by no means changed) so for me it might be a little too late.
And it’s worth mentioning that I have given up on the Transformers, and refuse to see them in theaters.
I’m in the process of editing my review of ROGUE ONE: A STAR WARS Story so check back for the full version!
Though I have to say that I really did not like this movie. Say what you will about the prequels, at least they felt like Star Wars movies.
Rogue One? Maybe the last 35-40 minutes felt like a Star Wars movie though the bulk of it felt like the worse kind of war movie, namely the type where you don’t give a damn about anyone.
Such a lack of character development you can get away with in a three or four minute short, though when you’re talking about a movie that runs almost two hours and a half it’s near inexcusable.
I honestly can’t tell if it’s the writing or the direction that’s at fault, but dealing with any sort of human emotion isn’t exactly director Gareth Edwards‘ strong suit (something’s that’s fairly obvious if you have seen either Monsters or Godzilla, though to be fair Rogue One makes Monsters feel almost pornographic in its displays of human emotion and relationships).
Clearly people are seeing the movie, but I get the feeling that if there weren’t the connection to Star Wars, most wouldn’t give a damn.
This is a surprisingly not-that-great a trailer, especially when you take into account that it’s for a Ridley Scott movie. For a start, the song that plays in the background is not only obnoxious, but ill-fitting.
Then there’s the tone, which is hard to get a feel for. If the two things I already mentioned weren’t bad enough, it also feels that Scott is attempting an action movie-type tone, something that he’s not particularly adept at.
Take a look and judge for yourself, and maybe you won’t find it quite as disappointing as I have (I doubt it, but it is Christmas Day).
I published a video earlier this week on YouTube reviewing Netflix’s The OA, which I thought was a pretty remarkable bit of television.
I figure that I’d expand on what I said in the video, without spoiling the experience for people who haven’t seen it yet (besides, spoilers suck).
Brit Marling wrote most of eight episodes with Zal Batmanglij, (the latter having directed them all as well) and also played ‘OA,’ a woman who when she apparently dropped off the face of the Earth seven or so years ago was blind, yet could now somehow see.
How she regained her vision is one of the lesser mysteries in a series filled with them as OA accounts for the missing time.
We also come to learn that OA’s given name was Prairie (given by whom and why being another one of those minor mysteries central to her story).
What’s perhaps most interesting is OA/Prarie’s status as a narrator, which is to say that as the series goes on what she believes and the truth are not always the same things.
It’s this tension between whether or not OA/Prairie’s version of events is an accurate one is at the heart of the story.
For an ‘EVENT THAT SHAPED OUR WORLD’–emphasis their’s, not mine–I readily admit that I have never heard of this particular conflict in World War II, though I don’t know if that’s due to a failing of the American education system or a de-emphasis of it because it doesn’t seem to directly involve the United States.
Having read on the Dunkirk evacuation on Wikipedia I assume it to be the latter because, while the United States did fight in WWII, we weren’t a part of this particular episode.
That being said, I enjoy War films, though looking at the trailer I hope the movie has occasional elements of the miraculous and bizarre (which may be present, just not in the trailer) like Apocalypse Now because I can think of nothing as surreal as war, where extreme acts of inhumanity and brutality play out side by side with those of remarkable heroism and bravery.
Dunkirk is directed by Christopher Nolan (The Dark Knight, Inception) so I expect this movie to be very grounded, which is a pity.