Boasting a “return to roots” formula meant to appeal to champions of the first season, Daredevil‘s third season premiered on Netflix this weekend in the wake of the cancellation of its peers Iron Fist and Luke Cage. Trailers revealed Matt Murdock back in his homemade origin-story duds, rather than the classic crimson armor. The villain is also back, Wilson Fisk returning to his old ways and prompting Murdock and Co. to take him down…twice and for all. The question was whether there would be enough newness to offset what frankly sounds like a remake of the first season, enough to actually move the series forward. It’s worth remembering that the Netflix/Marvel model is a business model, not a storytelling model, and while both could be said to have an “arc” it’s always been evident that the former has dictated the output strategy of both Netflix and Marvel Studios.
And the arc here is a fairly predictable one:
- Marvel and Netflix launch a new arm of the all-encompassing MCU, populated by more “realistic” street-level heroes.
- Praise follows, mostly for Jessica Jones and Daredevil, which has a second season that spawns a Punisher series of its own.
- Iron Fist premieres to negative reviews, the first show to break the streak. Probably just a fluke, though. Right?
- The Defenders happens in an attempt to mirror the team-up mentality that led the film series to Avengers: Infinity War. The main difference, of course, is that Defenders is one of the most arduously-conceived, inconsequential, straight-up boring television shows ever made.
- This seems to spook the larger Netflix/Marvel model, predicated on interconnectedness from the get-go, and each individual series begins to shy from too much overlap. Rosario Dawson’s Night Nurse, the only character to appear in each show, seemingly evaporates.
- The second seasons of Jones, Cage and Fist premiere, all to lowly-to-middling reviews that fail to generate much more of a reaction past “meh.”
- Cage and Fist get the axe and Daredevil‘s third outing arrives with the promise of a return to the Glory Days of Season One, back when it was the only one of its kind in existence.
Continue reading Daredevil – Season 3
For better or worse, the most apparent quality of the first season of Jessica Jones was how out-of-place it felt amongst the rest of the Marvel Cinematic Universe continuity. If you’re accustomed to (or numbed by) Marvel’s breezy stories of superpowered do-gooders quipping their way to a city-leveling, CGI-fueled finale, then the first thing you notice about Jessica Jones has to be how unconcerned this superpowered character seems to be with doing any do-gooding at all. Maybe that’s the second thing you notice. First, you probably notice that the Jessica Jones theme song starts off as a pretty cool slinky-smooth avant-garde noir-jazz piece before veering off inexplicably to become a prog-rock dumpster fire. The thing’s an absolute mess. I happen to like both John Coltrane and Steve Vai, but not in the same span of two minutes.
Anyway, here’s a somewhat interesting quote from our review of the first season of 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 going to 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 2
It’s incredibly tempting to write two completely separate reviews of the second season of Daredevil. The most superficial reason for this urge is simply because that’s more or less the way the season is divided: Part One, the first five or six episodes, focuses on the gun-toting, villain-slaughtering Punisher. Part Two focuses on Elektra, the long-ago flame and now-returned firestarter of Matt Murdock. Not long after the second season received the greenlight after a rollicking first season, these were the only two words you needed to mark your excitement: Punisher and Elektra.
The former was exciting mostly because the three preceding attempts to bring Punisher to life — the 1989 Dolph Lundgren version, the 2004 Thomas Jane version, and the pitiful 2008 movie War Zone with Ray Stevenson — all pretty much sucked. Marvel Studios hoovered up the rights to the character and soon announced that he’d appear in a supporting role in Daredevil, signifying an understandable hesitation to give the dude yet another full-length feature after three straight misfires. The latter inclusion was exciting because Elektra is an inextricable part of the Daredevil mythos, per Frank Miller’s incredible must-read run on the comics series in the early ’80s and, yeah, okay, fine, per Jennifer Garner in two movies. Basically this was a time for redemption for both characters, just as the Daredevil series itself is a redemption for the title character.
Continue reading Daredevil – Season 2
- It’s Batman Week on Motion State for several reasons, not least of which is because no self-respecting film criticism consortium would ever be caught dead hosting a Superman Week.
- Zack Snyder will be tackling the first installment of the Justice League two-parter following Batman v. Superman: Dawn of Justice, and now he’s stated that he also wants to adapt…The Fountainhead? Will Howard Roark be the hero we deserve?
- J.K. Simmons will be taking the role of Commissioner Gordon in that Justice League movie, presumably leaving behind any chance of him playing J. Jonah Jameson again. Gary Oldman’s got some big shoes…
- In other Batman news, the animated Killing Joke released a teaser photo to mark the start of production. The exciting prospect of adapting Alan Moore‘s comic with Kevin Conroy and Mark Hamill as Bats and Joker is almost enough to wash away that nostalgia for the more endearing animation of Batman: The Animated Series in favor of the new style. Almost.
Continue reading Film & TV News: March 18
- Fresh off his Oscar win, Leonardo DiCaprio has joined J.J. Abrams in seeking the rights to Killers of the Flower Moon, a tale of the early days of the FBI. This sounds right up DiCaprio’s alley but decidedly not up J.J.’s, which actually makes it more exciting. Of all the zillion things you can do after directing a Star Wars movie, moving out of your comfort zone is definitely one of the more rare options. Let’s hope these guys go for it.
- In what might be the most surprising news of the week, Amazon has announced a new Tick series (live-action) to be helmed by Wally Pfister, Christopher Nolan’s old cinematographer and director of the much-maligned Transcendence. Cool?
- Speaking of Nolan, his upcoming Dunkirk is allegedly casting relative unknown Fionn Whitehead in a leading role. Tom Hardy, Kenneth Branagh, and Mark Rylance are already on board in other roles, and you can bet your ass Michael Caine will be making his way in there too.
- David Fincher’s Netflix series Mindhunter has cast Fringe‘s Anna Torv and Fight Club‘s Holt McCallany in leading roles. The problem is that Fincher will be executive producing and directing the first episode while Scott Buck – of Dexter “fame” (sigh) – will technically be showrunner. Here’s to second chances, right?
Continue reading Film & TV News: March 13
- People joining projects: Idris Elba and Matthew McConaughey have officially joined The Dark Tower, likely kicking off a new franchise and dragging this particular Stephen King adaptation into the light once and for all after decades in development hell. Elba vs. McConaughey should put a great many doubts to rest.
- People leaving projects: Joseph Gordon-Levitt is departing Sandman, which he was scheduled to direct and star in, over creative differences with the studio. Very disappointing. Slightly less disappointing is the departure of Eli Roth from the shark thriller Meg, which may or may not result in a better Meg.
- Sony has announced a Venom movie to be spun out of the Spider-Man franchise that they really don’t seem to even have anymore. How do you make a Venom movie sans Spidey?
Continue reading Film & TV News: March 7
- The Aussies cleaned up at the 88th Academy Awards last night, taking home a grand total of six for Mad Max: Fury Road. The Revenant and Spotlight won the bigger trophies, though, as did Brie Larson for Room and Mark Rylance for Bridge of Spies.
- Major respect to Alicia Vikander for taking home a well-deserved Supporting Actress Oscar, considering she was pivotal not only in The Danish Girl but also the supremely under-appreciated Ex Machina and the summer’s best popcorn flick The Man from U.N.C.L.E., all of which are from 2015. 2016 better watch out.
- We somehow failed to recognize that the great Douglas Slocombe had passed away this year until the In Memoriam section of the Oscars rolled out. Slocombe is the man who lensed the likes of The Lavender Hill Mob and Raiders of the Lost Ark and had immense influence on how major motion pictures look today.
- Best quote of the night goes to Oscar winner Charlize Theron, responding on the subject of the best part of the Academy Awards by simply saying “the hamburgers.” Also, Best Human Ever also goes to Charlize.
Continue reading Film & TV News: February 29
Okay: let’s get linear.
The critical conversation surrounding Man of Steel has always been only moderately interesting at best, founded largely on qualms with Superman’s less-than-super demeanor and with the Metropolis-leveling final act of the film. There are no shortage of detractors who do their detracting based solely on Zack Snyder’s position in the director’s chair, which, okay, fine. I saw Sucker Punch in theaters. I hear you.
But that’s neither here nor there. Of all the labels to slap on Man of Steel — laudations and/or criticisms — the one we’re concerned with today is that of Most Non-Linear Time-Jumpy Superman Movie Ever Made. Yes, a high achievement, to be sure.
Continue reading Man of Steel (2013)
- Ryan Coogler, the young director behind the surprisingly good Creed and the devastatingly good Fruitvale Station, is apparently in talks to direct Marvel’s Black Panther movie. Is that a good thing or a bad thing? Cooler’s a strong newcomer, so it might be a shame for Marvel to go all Edgar Wright on him.
- Ethan Hawke will join Clive Owen, Dane DeHaan and Cara Delevingne in Luc Besson’s Valerian, adapted from the epic sci-fi comic. We know next to nothing else about the film, but that’s quite a core cast.
- Joshua Oppenheimer’s The Look of Silence won the International Documentary Association’s top honors last night, which was a surprise to few after Oppenheimer’s crushing The Act of Killing. Silence is currently on the 15-film contender’s list for this year’s Academy Awards, a list that unfortunately excluded the excellent (and currently streaming on Netflix) documentary The Wolfpack.
- We’re happy to announce that Motion State is hereby and forthwith declared a Force Awakens spoiler-free zone. If you’re not interested in going to your favorite website and seeing something like “Mark Hamill Breaks His Silence on the Fact that Luke is Evil Now and Also Han Dies” plastered all over the front page, well…get a new favorite website!
Continue reading Film & TV News: December 6
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