If you’re a connoisseur of modern helicopter cinema, then Mission: Impossible – Fallout is the event of the season. Not since Black Hawk Down has the Neo-Copterism movement asserted such a well-defined visual aesthetic, such elevated narrative and tonal language, such awesome fucking explosions. Everything a refined and learned copterhead cinephile could possibly desire finds fresh life here. There is an absurdist, Lynchian quality infused into the rhythmic weaving of two whirlybirds; there are rarefied, Brechtian attributes present in those characters left on the ground. There is a continuation of the leitmotif established in the first Mission: Impossible‘s chopper-chase finale. When read through the lens of the tenets of cinéma vérité, Fallout delivers a powerful indictment of those who don’t actually know how to fly such a machine. And, in a move sure to receive recognition come awards season, auteur director Christopher McQuarrie playfully inverts the male gaze by literally flipping Tom Cruise upside down in a helicopter.
…whoops. Sorry, folks. Had my Snobometer set to High. Still, the fact remains that if there’s any Mission: Impossible movie able to withstand a level of actual criticism, it’s probably Fallout. Here, for the first time, Ethan Hunt is challenged to question whether he should choose to accept every mission that comes his way; maybe those self-destructing messages are actually destructive to Ethan’s self. That’s already a higher-level starting point for this character than any of the previous five films cared to put forth, content instead with wall-to-wall action and death-defying stuntwork.
Continue reading Mission: Impossible – Fallout (2018)
One of the things that soured Age of Ultron, the second Avengers outing, was all of the hard work apparent in the film. Pretty much every movie you watch is the result of hard work, of course, but in Ultron all of the moving and shaking afoot in the past and future of the Marvel Cinematic Universe severely impacted the present, i.e. the actual movie you’re watching right now. Excepting the occasional moment of levity (the Mjolnir party game) or well-drawn action scene (Hulk vs. Hulkbuster), it felt like hard work just to get to the end of Ultron as a viewer. Director Joss Whedon never struck the same natural flow he found in his original Avengers movie, and he seemingly left the MCU because he’d rather work from a place of inspiration than from a blueprint strategy designed to perpetuate a larger narrative. In our original review we posited this as no coincidence when the Avengers themselves begin referring to their superheroism with workplace terminology, to their “jobs,” to the “endgame;” Ultron even has an absent-husband subplot featuring Mrs. Hawkeye that seems a better fit in Death of a Salesman than a Marvel flick.
But Ultron‘s in the past, right? We’re here for the new one, Infinity War, featuring everyone who was in Ultron and everyone who’s had a solo Marvel outing since then, plus a few new characters, plus an occasional cameo from the MCU’s ever-expanding backlog. As such, the first order of business (more workplace terminology!) is to issue a SPOILER WARNING to anyone who has not yet seen Infinity War. Motion State assumes no liability in your reading past this paragraph!
Continue reading Avengers: Infinity War (2018)
What do you want out of a superhero show? There’s no shortage, of course — you’re getting superheroes whether they’re what you want or not. They’re everywhere. Shakespearian actors are nudging each other out of the way for the chance to play a purple-faced mind-controller. At least kids across America are thankful that there’s something to be for Halloween besides Harry Potter. Heck, even the Academy Awards are doling out statuettes for superheroism (although there’s something special about Birdman winning Best Picture, as if the Academy were trying to fight back). There’s no way around it: the increasingly staggering numbers of superflicks hitting theaters over the next half-decade can now be measured in metric shit-tons. The only thing more tiresome than the parade of superheroes is the commentary about how the parade of superheroes is so tiresome.
And, yeah, the shared universe gripes/laudations are just as stale, but here we are. Marvel in particular has reached the point where they seem to want it both ways: they want their superheroes to be intricately connected to every other superhero and yet be distinctly standalone. And, yeah: Jessica Jones. The latest entry in Marvel’s grand scheme has more inherent push/pull to the interconnectedness thing than any other installment in the Marvel Cinematic Universe, and that includes the Netflix predecessor Daredevil. On one hand Jessica is about as far away as you’re gonna get from Captain America, and maybe that marks trouble for an inevitable crossing-of-paths — either the dark tone of Jones would be compromised to accommodate Cap or the other way around.
Continue reading Jessica Jones – Season 1
- Hugh Jackman has confirmed that he’ll only be playing Wolverine one more time, and that means he won’t be appearing in X-Men: Apocalypse. What happened to “playing Logan until you die”, Hugh? Can’t you just defy Hollywood studio machinations and somehow cameo in Avengers: Infinity War? Can’t you just come back and do an Old Man Logan movie? No Country for Old Man Logan? Please?
- Speaking of Marvel movies, Adam McKay is now rumored to occupy the director’s chair for an upcoming MCU film. Money’s on Inhumans, and money’s also on this still not being anywhere near as enticing as Edgar Wright’s Ant-Man. Sigh.
- The Walking Dead spinoff is now officially titled Fear the Walking Dead, and a brief tease premiered during last night’s WD finale. As our friends at Collider so eloquently put it, at least it ain’t as bad as The Walking Dead Into Darkness.
Continue reading Film & TV News: March 30