In our year-end Best of 2018 list — an infallible writ if ever there was one — we awarded the animated romp Spider-Man: Into the Spider-Verse the #10 slot, along with the following explainer:
Someone recently said of the late Marvel Comics giant: “When Stan Lee made better comics, he made comics better.” Spider-Man: Into the Spider-Verse is the latest superhero movie in an industry landscape that sometimes feels like it’s traded originality for IP. But Spider-Verse is gleefully, genuinely, finally a better comic book movie — and it might make comic book movies better.
Spider-Verse pushed a boundary that superhero films haven’t been able to push in a long, long time. It was fresh in the way only a non-franchise movie can be, and it was about as original as possible for a story based on existing characters. The goal with most modern superflicks, conversely, is to tie it all together, linking an ever-expanding franchise by deepening character relationships, furthering multi-film arcs, and reviving heroes and villains in such a way that prompts either “oh shit, it’s him!” or “wait…who’s that?”
Continue reading Spider-Man: Far From Home (2019) →
For a good long while the prestigious mantle of Most Overdone Superhero Story was without a doubt the origin tale. Dead parents, ancient birthrights, Chosen Ones, freak laboratory accidents — after a while people caught on to the fact that all of these were basically following the same formula. We’ve seen Bruce Wayne witness the death of his parents upwards of seven different times. Time for something new! Take the third season of Jessica Jones, a show which gracefully skirted an origin tale in its first season only to backtrack into one for its sophomore outing. Surely the third season of the most unlikely Marvel/Netflix venture must break fresh ground, especially considering that this third season is also the last. Right?
To be fair, it’s more likely than not that Jessica Jones was never intended to conclude after Season 3, what with the collective axing of Jones, Luke Cage, Daredevil, Iron Fist, Punisher and any future spinoffs Marvel/Netflix might have had in the oven. Despite the popular rumor that Disney might resurrect some of these properties for their Disney+ platform, that seems doubtful to me. And with the increasing tedium characteristic of each and every one of those shows, maybe that’s a good thing.
Continue reading Jessica Jones – Season 3 →
A lot of what Alan Moore has created is now considered classic. V for Vendetta, League of Extraordinary Gentlemen, From Hell, The Killing Joke, his run on Swamp Thing…to say this stuff is at the vanguard of comic-book storytelling is to undermine the fact that this stuff is the vanguard of comic-book storytelling. But it’s important to remember — crucial, actually — that Moore’s never purposefully written a “classic,” meaning his tales are almost exclusively nontraditional narratives that toy with genre and literary consciousness. The writer has a few reasons to despise Hollywood, but the primary point of contention must be that each film adaptation of his comics seems to shove the original tale back into a traditional, classic structure. It happened with From Hell, when Moore’s exploration of evil was spun as a simple murder mystery. It happened with LXG, which discarded crisscrossing episodic adventures in favor of a flat three-act team-up. It happened with V for Vendetta, wherein morally conflicted characters were replaced by obvious Good Guys and Bad Guys. And it happened, to a certain degree, with Zack Snyder’s adaptation of Watchmen.
Our Writer Series on Alan Moore typically dives into this abyss between page and screen, sometimes providing side-by-side comparisons of comics panels and film stills in an effort to highlight the divergent artistic choices of Moore and his cinematic adaptors. But Watchmen looks almost exactly the same across both mediums, with Snyder and DP Larry Fong essentially using the graphic novel as their storyboard — reminiscent, a woebegone cynic may claim, of a slacker passing in someone else’s homework:
Continue reading Watchmen (2009) →
April 2019 was a pretty earth-shaking month in pop culture terms. We had the first tangible fallout from the Disney/Fox merger and some really interesting developments in the Great Streaming Wars (the launch of the fantastic Criterion Channel, details on the upcoming Disney+), we had new blockbuster releases (Shazam!, Hellboy, Pet Sematary), and we had strong holdovers from March (Captain Marvel, Us). Even beyond all that, this month seemed to consistently mark the climax or conclusion of cultural behemoths known all over the world. Game of Thrones launched a final season that culminates the biggest television production in history. The announcement of Star Wars: The Rise of Skywalker gave us a glimpse at the film that will round out the Skywalker Saga. But for the moment, even those sort of seem like drops in the bucket compared to Avengers: Endgame.
The implications of such a convergence of influential entertainment raises interesting quandaries about the ways in which we as a society consume…oh, who am I kidding. We just saw Avengers: Endgame and internet etiquette dictates we lay down a few buffer paragraphs as a necessity, lest any spoilers be spoilt. But no one’s really here to discuss industry patterns — we’re here to discuss that badass part where SPOILER uses a massive SPOILER as a freakin’ SPOILER. So if you haven’t yet seen the blockbuster-to-end-all-blockbusters, then I highly recommend Robert Mueller’s heavily-redacted review of the film until you manage to get tickets for the next available Endgame screening 30 years from now.
Seriously, massive spoilers below. Good to go? Good. Let’s go.
Continue reading Avengers: Endgame (2019) →
In 2017 The Last Jedi ignited a culture war between lovers of Star Wars on the one side and…well, lovers of Star Wars on the other side. This war was ostensibly borne of debate over the film, praise versus criticism, and there certainly is a battlefront of this war that does engage in genuine discourse over Jedi. There’s another front, of course, comprised mostly of warriors fighting with a willing blindness to the merits or pitfalls of the film as a film; some people just despise Jedi for puerile personal reasons, some just defend it simply because it’s Star Wars. This is the Ultimate First World Problem, such hatred and ire thrown about over the seventh sequel to a space fantasy from 1977. But intentionally or not, a particular faction of “critics” revealed themselves during this war. We’ll call them the Shitboys, because they’re mostly boys and they mostly shit on everything.
The Shitboys are that splinter cell of Jedi-haters that conspired to sink the Rotten Tomatoes score of the film by flooding the internet with bad reviews. They sent death threats to director Rian Johnson from the safety of their mother’s basements. They made cute little petitions that proposed Disney literally remake the movie they just released. Eventually, they shit the same shit over Black Panther, actually claiming that white males were becoming a marginalized group in Hollywood. Once the rest of us stopped laughing/crying and once Panther walked home with billions of dollars and a few Oscars, the Shitboys regrouped and set to work on Captain Marvel:
Continue reading Captain Marvel (2019) →