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
It can be pretty hard to compare one Batman to another Batman. The points of similarity between the super-campy Adam West iteration, the super-rubber Michael Keaton iteration, and the super-dark Christian Bale iteration essentially begin and end with the pointy ears. Val Kilmer and George Clooney are both sleepwalking through their outings, so there’s that. Ben Affleck’s latest incarnation in Batman v. Superman: Dawn of Justice looks to change it up yet again, providing a more world-weary Dark Knight Rises spin on the superhero. Surely the longevity of the character is the major contributing factor to the gradual shifts in tone, as with goofy/serious Bond and goofy/serious Sherlock, and it’s true of the Caped Crusader in the comics as well.
We talked about all of that in our review of Batman Returns, but it’s far more obvious when we go all the way back to the 1943 serial Batman. “Batman and Robin” wasn’t at all a part of the cultural lexicon at this point. The character had only just appeared in 1939, largely as a response to the popularity of counterpart Superman, and so the 1943 theater release of the 3.5-hour marathon serial was for many the very first encounter with Batman. More importantly, 1943 was arguably the height of World War II, meaning that a solid 85% of theatrically-released serials felt compelled to include a strong commentary on nationalistic duty and American pride. Batman was no different. Watch it today and you might find yourself using different descriptors, those being really really racist.
Continue reading Batman (1943)
If anyone has shown a dedication to the long game in big-budget storytelling lately, it’s Marvel. The latest addition to the ever-expanding Cinematic Universe is the Netflix series Daredevil, chronicling the early days of lawyer Matt Murdock and his crimefighting alter-ego. In many ways Daredevil is the best thing to happen to the MCU in a long time. Not only is it far superior to Marvel’s other television ventures Agents of S.H.I.E.L.D. and Agent Carter, but it often packs more of a punch — physically and emotionally — than the majority of the MCU films. The lack of cable television limitations or MPAA ratings means the show can be as dark as it needs to be. Most importantly, though, Daredevil shies away from the typical overblown grandiosity of many MCU ventures and opts instead for a very human drama.
It’s still a hero vs. villain thing we’re dealing with here, of course, but Daredevil is at its strongest when it plays away from that (striking the super– prefix from both hero and villain). Murdock gets his ass handed to him on a regular basis, Wilson Fisk is diabolical and yet relatable, and the street-level politics of the show are far more interesting than the end-of-the-universe Avengers stories. This is true of the comics, too, and as with live-action Daredevil it took a while to get the character right. There are a whole host of comic book influences for the Netflix series — primarily the Frank Miller tales The Man Without Fear and Born Again —which we’ll dive into now. Ye be warned: spoilers abound.
Continue reading Daredevil – Season 1
I would like to start off this review by stating plainly that this is my all-time favorite film. I would never go to such lengths as to suggest that this is the “best” film ever made, but rather that it contains all the things that I truly care about in a movie — simply good writing, good acting, and an enlightening theme. I put a lot of emphasis on a film’s ability to speak to me in an emotional and personal way. Good WIll Hunting brought me to tears; it wrenched my gut with laughter; it inspired me, and it made me want to go out into the world searching for something special to call my own. This film won two Oscars in 1998, one for Best Original Screenplay, accepted by Matt Damon and Ben Affleck, and one for Best Actor in a Supporting Role, awarded to Robin Williams. I would like to dedicate this review to the memory of this remarkable man, whose passing, even months later, pains me deeply. We love you, Robin.
It is no surprise that this film spends a lot of its run-time focused on Will’s (Matt Damon) therapy sessions with Sean McGuire (Robin Williams), considering that a major theme of the film is about overcoming the obstacles that we make for ourselves within our own minds. Will has serious difficulty with allowing new people into his life in any real and significant way because the first people that were meant to love him, his parents, deserted him. This is why Will hangs up on Skylar (Minnie Driver) after running out into the rain to call her on a payphone; this is why he simply cannot bring himself to say that he loves her, even though he wants to, even though it breaks her heart that he won’t. This is an issue that nearly all of us deal with to some degree or another. The complete desire to do one thing, but to be so inhibited from doing so because of various psychological dilemmas is undeniably a common and quite frustrating problem. Will goes further, masking his issues by adopting the persona of an aloof, no-shit-giving punk. He’s a janitor who evenly divides his time between batting cages and bars.
Continue reading Good Will Hunting (1997)
Gone Girl had a lot to live up to in the David Fincher oeuvre. I may be alone in saying that nothing in his filmography of the past few years has totally astounded me; The Social Network and Zodiac – well acted and beautifully filmed though they were – just didn’t have enough plot to hold me for the entire runtime, and The Curious Case of Benjamin Button and The Girl With the Dragon Tattoo had more than a few other problems. That said, there’s little doubt that Fincher is still to be considered among the few American masters of filmmaking. Not only does Gone Girl provide more proof of that, but it’s also a film with a much stronger plot than the aforementioned dramas.
Ben Affleck stars as Nick Dunne, husband of Rosamund Pike’s Amy Dunne, who is forced to deal with the events following her sudden disappearance on their fifth anniversary. These events include police interrogations, candlelight vigils and family consolations – but the most jarring presence is the frenzy of media coverage that descends upon Nick’s life. As the first half of Gone Girl progresses, Nick’s behavior seems more and more suspicious, and even though we’ve been following his story since the very moment of his discovery of Amy’s disappearance, Nick still seems more and more guilty.
Continue reading Gone Girl (2014)