“I can show you the world…” In a world where such classic animated films exist, it’s a relevant question to ask what you get from simply remaking something as beloved and classic and Disney’s 1992 Aladdin. With Director Guy Ritchie on board and Will Smith taking the place as the iconic blue genie, can they deliver something worthwhile?
Yes. Yes they can.
The remake updates the not-so-old film in a lot of ways. In fact, this film is so not-so-old that I can remember seeing it opening weekend at the old Scera Theater in Orem, Utah amid a massive throng of children and hearing those opening words of “Arabian Nights” describing its setting as “where they cut off your ears if they don’t like your face– it’s barbaric, but, hey, it’s home.” This line was almost immediately redubbed and scrubbed from future soundtrack and home video releases to something that didn’t imply that Arabs are barbaric, so it’s not like Aladdin hasn’t needed some brushing up from day 1.
But perhaps what is most refreshing is its elevation of Princess Jasmine to, arguably, the main character of the film. While Aladdin still goes through his growth and character journey, so too does Jasmine grapple with her place in a patriarchal kingdom where she feels she is actually the most qualified person to rule. She’s not wrong, and Jasmine basically is coming for Elsa as the most overtly feminist member of the Disney pantheon. A new song added for the film, “Speechless,” is performed to perfection by Naomi Scott. If this song isn’t nominated for Best Original Song at the Oscars, I’ll eat a DVD of Aladdin.
[Minor spoiler ahead, skip to next paragraph if you don’t want to know] One of the most interesting ways they updated this and cranked the feminism up to 11 is a single line delivered by Aladdin in a new scene immediately post the “A Whole New World” magic carpet ride. Looking down at Agrabah, Jasmine talks about wanting to help all of the city’s residents. She wants to be listened to and help rule because she knows she can do a better job than anyone else. She turns to Prince Ali for his opinion, and he delivers one of the most astounding and wonderful lines of any film this year: “Why does it matter what I think?” Her self worth isn’t bound up in his approval, and he knows it. Aladdin: secret feminist ally? You read it here first.
But what so many people actually want to talk about is Genie and Will Smith. He’s actually pretty good, especially when they let him be charming and do his own thing. When he’s going through the motions of trying to deliver on the beloved performance of Robin Williams, it’s just really hard to do that. Smith does his best, and the results are decent. But most of Smith’s best moments are when he is in a human-esque form incognito in the palace. He has (limited) agency, desires, and even a romantic subplot to himself? (With the incredibly charming Nasim Pedrad from SNL who plays one of Jasmine’s handmaids and is almost worth the price of admission herself.)
Ritchie’s directing here is crisp and workmanlike, but eschews so much of the visual style and kineticism some of his other films have. That means “One Jump” becomes a parkour-inspired mini-heist of sorts, but most of the musical numbers can’t quite compete with the originals. The direction is similar to Ritchie’s recent The Man from UNCLE in that he doesn’t leave a lot of fingerprints, but the end result is pretty fun. An added dance scene that is straight out of Bollywood is particularly fun and a great bonus.
Still, there are a few moments that land a little poorly. This seems largely due to wanting to keep Smith caged and closely working on aping Williams. The genius of Robin Williams was they just let him riff in the sound booth and then animated around the fun he brought to the script. So some of the things are a little cringey, but it’s likely to make parents roll their eyes as they fondly remember The Fresh Prince and the animated original Aladdin, but that kids will enjoy.
So why remake a classic? This brings a fresh feminist take to a movie that didn’t need a ton of updating, so it’s just the right touch. And while Will Smith isn’t Robin Williams, he’s still immensely watchable but is outshined by the excellent leads playing Aladdin and especially Jasmine. Take your family and experience a whole new world of what Aladdin can be.
Pokemon has been a major cultural force for over two decades now, but other than a few animated films, it has never really broken into the cinematic realm. And then there’s the “video game curse” which has turned even the best video games into cinematic dog crap. But Detective Pikachu defies all the odds and is really good. Focusing on character and plot– borrowing its best bits from detective noir classics of the past– and letting the video game content play as the setting was the smartest choice writer and director Rob Letterman. He seems happy to borrow liberally from the video game but then also makes the film very much its own thing that everyone can enjoy.
Why is it that so many video game movies are cursed to be terrible. It’s the medium that often makes it hard (though not impossible) to adapt to film. A good movie needs great characters, and especially needs a lead “POV” character that is the audience’s “way in” to the world of the film. We see the events unfold more or less through their eyes, and these characters usually have the most depth, development, and the best character arcs.
In a video game, the POV character is. . . you. Video games not only get away with, but encourage, more bland player characters– because they’re supposed to be bland aka “universal” so everyone who is playing the game can feel like they are actually taking the place of Mario or Sonic or even more developed player characters like a Cloud Strife or Leon Kennedy. Even if the point is playing through that player character’s story, like as Shepherd in Mass Effect or Revan in Knights of the Old Republic, or any of the characters in Detroit: Become Human, it’s more like you’re playing an interactive movie than a standard video game. Even Lara Croft didn’t really become an interesting “character” per se until her most recent games, which then became very literally adapted on the screen– which is what made last year’s Tomb Raider work and break the video game curse.
As I noted in that review, the question is always, “Would I have rather watched this movie or spent two hours playing the game?” In the case of Detective Pikachu, you definitely want to watch the movie.
A lot of that comes from the performances of its leads, which includes Ryan Reynolds as the eponymous talking gumshoe pokemon mascot and Justice Smith as Tim Goodman. Goodman in the game was literally just your avatar (Good-man, get it?) but Smith does a great job imbuing him with pathos and having fun. A scene in the middle of the film where he has to interrogate a Mr. Mime by using pantomime is incredibly funny, but mostly he does his job of being our POV character and leading us through this new world of Ryme City.
The city is brainchild of billionaire Howard Clifford (an incredibly fun Bill Nighy), it’s a city where humans and pokemon exist side by side. Visually and aesthetically it seems to smash together the best parts of New York, Tokyo, and maybe a little bit of Bladerunner‘s Los Angeles and Tim Burton’s version of Gotham City in his 1989 Batman. But what’s most fun about it are all of the Pokemon easter eggs hidden in almost every scene. You could play a “Gotta catch ’em all” type game where you name off every type that you see and that would be fun enough in and of itself.
But this movie also has a plot, and it’s also quite engaging. Tim Goodman comes to the city upon learning of his estranged father’s death from his former partner, Lieutenant Hide Yoshida (Ken Watanabe). Tim goes to clean out his father’s old apartment and finds an overly caffeinated talking Pikachu with a case of amnesia but a nose for a mystery. You know he’s a detective because of his hat! The Pikachu is convinced Tim’s father is still alive and they need to track him down. Along the way, they discover a conspiracy involving illegal drugs, underground Pokemon fighting rings, and a mysterious MewTwo who we see briefly in the opening of the film who may be the key to all of it.
It’s a pretty great mystery. And while it moves along quickly enough for little kids, it will still be engaging for adults. Also engaging for adults? Some of the dirtier jokes that might fly over kids’ heads. In this way, the film that this most reminds me of is Who Framed Roger Rabbit?
Film noir type detective story? Check. Frenetic jokes and a high energy lead? Check. Corporate intrigue and conspiracies? Check. Betrayals, twists, turns? Check. Strategic cameos and blink-and-you’ll-miss-it placement of beloved cartoon characters? Check!
The only thing missing here is the more perfected animation style of Roger Rabbit. One minor complaint is that some of the pokemon may not look exactly like either their video game or animated versions– the charizard and gyarados models specifically are a little off– but most of this is spot on and lots of fun. My Pokemon-obsessed ten year old son (the target audience for this) freaked out when they went into Clifford’s office and he had giant wooden statues of Dialga, Palkia, and Giratina. If you know who those are, this movie is going to make you very happy.
This is the perfect dessert sorbet to clear your palate after the heaviness of Avengers: Endgame. It’s light and fun but also has some deeper elements. If you took classics like Double Indemnity and The Third Man and added a billion cute little pocket monsters into it, you’d have this. And it is delightful. Even if you are meh on Pokemon and have never played a game, this is a lot of fun.
What the hell, people? I feel like I’ve been saying for a decade, “True fans stay through the credits.” Not just because we want to see The Avengers eating shawarma or watch “that Ayesha chick” talk about Adam Warlock, but because now that’s just something we do! And now someone said “There’s no extra scene at the end of Avengers: Endgame” and you’re like, “Welp, that’s it, then!”
No no no no no no no no no.
First of all, it’s totally misleading to say “There’s no extra scene at the end.” It’s also patently false to say (as numerous sites have reported), “There’s nothing at the end of the credits.”
There’s something. I won’t say what, but stick around for it.
Why? Because. . . True Fans Stay Through the Credits.
Think about it. 11 years. 22 movies. I know you have to pee because it’s been 3 hours of excitement and you ordered that giant movie-sized Dr. Pepper, so go and then come back. But stick around. Because True Fans Stay Through the Credits.
Not only is it a great way to pay respect to the literally thousands of people who worked on this movie, but you might learn something. Like, wow. . . lots of people have assistants. Or, oh, I didn’t know the name of that song that they used and now I do. Or ask, “What’s a key grip?”
And here’s the best part– you know where literally the only place in public where it’s ok for you to discuss what just happened in this movie is? In that theater. Right there. Not in a restaurant or coffee shop afterward. Not in the bathroom or on your walk out of the theater.
Keep your butt in that seat and use those credits to process what you just saw. You’re going to have feelings. People die. People don’t die. Torches get passed. Evil and good are in the balance. Things get blown up!
And? Think about this for one second, True Believers– this is the last Stan Lee cameo we have.
This movie leaves you with so much to process, so much to talk about– and talk you should and talk we must. So do it there in your theater seat!
Because you’re going to have to shut up about it until you get someplace private. It is literally the perfect place! Because you know with 100% surety that everyone in earshot of you just saw what you just saw.
And? Because True Fans Stay Through the Credits.
Stay through the credits and pay very close attention to the end. Then go speculate about what the heck that meant.
I’m not going to tell you a thing about the plot of Avengers: Endgame that isn’t in the trailers. And anyone who spoils the secrets of this film — the true culmination of every single one of the films in the Marvel Cinematic Universe — deserves a punch in the throat from Thanos himself.
Yes, it clocks in at over three hours (3 hrs 02 minutes to be precise). Yes it’s overstuffed. Yes it’s worth it. Yes it’s everything fans are hoping it will be. Yes it has lots of surprises.
But that isn’t what’s truly amazing about Avengers: Endgame. What’s amazing is how personal it is. All of this really started with the Holy Trinity of Iron Man, Thor, and Captain America. And each of them has a truly amazing journey.
Tony Stark started this all with a movie in the summer of 2008. And he has had more ups and downs than anyone. We see him at his worst. We see him at his best. We’ve seen his daddy issues. We’ve seen him try to be a mentor and a father figure himself. And we’ve seen him fail. Over and over and over and over. But perhaps Tony Stark’s superpower in all of this is not his intellect of wealth and privilege but his resilience. Despite all his failings, he comes back.
Which brings us to Steve Rogers, whose journey in this film is also intensely personal. While Tony overcomes failure, Steve Rogers seems to seek martyrdom. He’s always fighting the good fight because he can take it, perhaps better than anyone can. But inside he’s still that skinny kid from Brooklyn and he’s been carrying a lot of guilt and desires around the road not taken from 1945.
And then there’s Thor, who simply doesn’t know how to fail. He literally doesn’t, and his guilt over Thanos and the death of nearly all of his people take a heavy toll. He also has regrets about the past, and perhaps there’s a way to fix what is broken. And talk about daddy issues– Thor’s guilt over what happened to his family looms large over everything.
These three broken people are the keys to unwinding what Thanos has done. And their journeys are as much personal as they are cosmic and fantastic.
It’s in the quieter moments that this film especially shines. While a bombastic third act that is unlike anything you’ve quite seen in the MCU, there are tiny, stolen moments that mean so much for each of the main characters.
So much of Avengers: Endgame is about generational trust and angst. So many of our characters are motivated by loss– especially loss of family — it would be hard not to. But the families of the MCU, from Thanos and his children to the found families of the Guardians of the Galaxy and Avengers to the actual families of Tony Stark, Thor Odinson, Steve Rogers, Clint Barton, Scott Lang. . . the ties that bind us together are what matter, what ground us, what give us our values. They’re the people we fight with (what was Cap: Civil War but a family squabble gone wrong?), but they’re also the people we will fight beside.
Beyond the beautiful meaning of the film, what is most amazing is how it ties up the entire history of the MCU is a beautiful bow. Everything you wanted to see? I hate to be so grandiose but most of it is in there. No matter what your favorite film or franchise is, you will get a moment that directly ties back or references something from that movie, and perhaps several.
There are a couple of “problems” with Endgame, but they are few. This is a weird gripe, but as amazing as the final act is, it makes the preceding two hours a little less good by comparison. But, we needed that setup.
The film is a little padded, but this is not the movie to hold back on. And I daresay on repeat viewings it will be incredibly hard to identify anything that could or should have been cut.
It also starts incredibly abruptly, sort of out of nowhere with no fanfare, no Marvel page-flip animation. But it works because we are meant to be taken aback by it. It’s meant to be disruptive and raw. We are talking about the aftermath of Thanos’s snap, right?
There are a couple of characters who get short shrift, but not many. And there is a surprising lack of Captain Marvel in the movie. However, this makes a lot of sense. With her Omega-Level powerset, her presence makes so many of the other characters superfluous, and you would simply get a Danvers Ex Machina to get out of so many situations.
Plus, as she explains, there are thousands of other planets out there dealing with the aftermath of Thanos’s snap, and the others don’t have The Avengers to help. But, don’t cry, Carol Corps. She gets her time(s) to shine. But I could’ve done with a little more Carol Danvers.
This film also features a scene nestled in the middle of the climax that teases for a tiny moment what a thing to behold an A-Force movie could be. It was one of several moments where I cheered through tears of joy.
There were no less than five times when tears welled up in my eyes. Sometimes in joy, sometimes in sadness. It’s not perfect, but it is perfect in that it ties up everything from the last 11 years and delivers on fans’ wildest dreams. For their next act, the Russo Brothers should audition to take over for Santa Claus in terms of their ability to consistently deliver the magic. Avengers: Endgame is an emotional thrillride. Don’t let anyone spoil it for it. And don’t spoil it for others.
If you loved Green Book, think mayonnaise is too spicy, and think Beto O’Rourke might be “too ethnic” to vote for, then do we have a movie for you. The Best of Enemies tells the based-on-a-true-story of the integration of Durham, NC public schools in 1971, focusing on the two heads of a citizen task force, civil rights activist Ann Atwater (Taraji P. Henson) and local KKK leader C.P. Ellis (Sam Rockwell) and the friendship they develop while learning to overcome prejudice and. . . barf.
It’s 2019 and we have a movie where we’re being asked to root for the Klansman. Look, you can make this movie. But you just can’t make it this way. This is the powerful story of a strong black woman and the community she advocated for. But their story of liberation should not be told with the point of view of an avowed racist. This is not only a problem of storytelling, but of fact.
And that fact is this: racism is not some character flaw. It’s not something that backwards, hateful people learn that can be just un-learned if the objects of their oppression are just nicer to them, putting the burden of solving racism on the backs of the oppressed rather than the oppressors. Racism is a system, not a personal flaw. Racism is the system that made “separate but equal” the law. And racism is the system which allows a story of black liberation to be told from a white point of view by white filmmakers.
Cozy Racism Stories
This film is another in a growing subgenre I like to call “Cozy Racism Stories.” Taken from the idea of the “cozy mystery” subgenre, cozy racism stories are similar in that they are both sanitized of the gory details to spare the sensibilities of the viewing audience. A cozy racism story also will also usually include one or more of the following:
Focus on a white character and their journey learning to be less racist or learning about racism (especially if the main character is a “white savior”)
Set in the past, especially in the Civil Rights Era
Set in the South
Written / directed by white people
By setting the cozy racism story in the past, and only in the South, we lie about the insidious nature of racism. It lets us pretend everything is ok today. Films that tackle racial issues but aren’t cozy racism stories (eg, they’re doing it right) include films like Fruitvale Station, BlackKklansman, The Hate U Give, andBlack Panther.
Does your movie show racism but then show how racism affects white people? Then you might have a cozy racism story. Throughout our story we see how burdened white people are when dealing with racism– a white woman’s home gets shot up because she has a black boyfriend, a white business owner is hassled because he has black employees, another white woman is harassed by the KKK, Mr. Ellis’s business loses customers for siding with the black community. And yet almost never do we actually see the impacts of racism on the black community. You hear it described– but you never see it or experience it in the way film can make you experience it.
I’m glad Mr. Ellis saw the light and gave up his Klan leadership to help Durham schools. But, as archival footage shown during the credits illustrate, it did not stop him being racist.
This is a textbook cozy racism story, and Hollywood needs to stop with this. Movies like this only exist for one reason: to assuage white guilt and make white audiences feel better about racism and “how far we’ve come.” When we have Klansmen marching in the streets and the President of the United States calling them “very fine people on both sides,” when we have an explosion of white supremacist groups, when we have white supremacists stockpiling weapons and planning attacks on the media and members of Congress for their skin color, we have not come far enough.
Even if it didn’t have all of that problematic material, it’s also just not a great film. It clocks in at 133 minutes and feels a half hour longer. It is padded and it is boring. No doubt, Avengers: Endgame will feel much easier to sit through.
Perhaps the biggest shame is how it wastes the talents of its incredible cast. Sam Rockwell and Taraji P. Henson deserve better. So do supporting cast members like John Gallagher, Jr and Anne Heche. Everyone is trying so hard, but this material is just terrible.
This story deserves to be told. There is an important lesson here about how a vile racist learned that “if you can convince the lowest white man he’s better than the best colored man, he won’t notice you’re picking his pocket. Hell, give him somebody to look down on, and he’ll empty his pockets for you.” But his journey should be secondary to black activists charting their own liberation and taking back their power to get what’s rightfully theirs. I’m glad to have learned about what a force of nature Annie Atwater was. I hope someday soon she can get a film more worthy of the work she did, and not just the “I was once nice to a racist” part.
You’ve seen a housefly, you’ve seen a dragonfly, but have you ever seen a live-action remake flop? Ladies and gentlemen, boys and girls of all ages (and shout out to all the gender non-binary/non-conforming people, too!), prepare yourselves for disappointment and to leave theaters scratching your heads wondering exactly what you just watched. It’s Tim Burton‘s remake of the Disney animated classic Dumbo!
The weakest part of this film is that it is trying to update and remake Dumbo, a beautiful but problematic animated film whose running time is a scant 64 minutes, and probably only 40 minutes or so once you remove all of the objectionable elements. And so Burton’s updated version here actually zooms through most of what we think of as the Dumbo story in the first hour of the film, leaving room for an additional story where our baby flying elephant goes to work for a big city circus led by Michael Keaton. Here he’s paired with a French acrobat Colette (Eva Green) and expected to make big bucks for the big circus, which transforms into a messy third act that seems to simultaneously indict capitalism and the circus as an institution as Dumbo’s human friends (of course led by two plucky children!) and a team of circus folk plot a rescue for Dumbo and his mother to set them free.
Blame screenwriter Ehren Kruger for this mess, as he is also responsible for the travesties of the worst of the Transformer movies (Revenge of the Fallen, Dark of the Moon, and Age of Extinction) Yes, the guy who gave us problematic racist sterotype robots was asked to reshape Dumbo and its problematic racist stereotype crows. PS- the film just skips over the crows.
But in skipping over some of the glaring imperfections, we’re also left with an incredibly hollow and predictable story. All of the parts of this film that are uniquely Dumbo were better done in the animated film. Pink Elephants on Parade gets a Circue de Soleil type reimagining with acrobats and giant bubble machines and pink lights put on for a cheering audience. But gone is the charm and menace of this being a hallucination brought on by a baby elephant getting drunk on champagne. Baby Mine is still sad and heartbreaking, but isn’t adding anything that the original didn’t already have.
Despite all those negatives, there are some nice spots in the film. The central idea of the precocious misfit kids (the girl wants to be a scientist like Marie Curie! How progressive!) and their bond with the misfit baby elephant is still charming. The actors’ performances are doing all they can with this lackluster script. Eva Green is as captivating as always, even if her part is woefully underwritten. And then into the third act saunters Alan Arkin as a rich investor and steals every moment he’s on screen.
Some of the best moments come from the on-screen chemistry between rival and then partner circus ringmasters Danny DeVito and Michael Keaton. They’re both a joy to watch, even if they occasionally take me out of the film reminding me this isn’t the first time I’ve seen them paired up against one another in a Tim Burton film.
And therin lies part of the crux of the problem with Dumbo. As I’ve said, the parts that are uniquely Dumbo are simply better done in the original animated film. And what’s left? Well, perhaps it would have been better as an original Tim Burton movie about a creepy circus and an attempt to free the animals from subjugation. It’s where the movie actually really shines and the only place where it feels like a Tim Burton film as we get into the cool art deco design of the (intentionally/subversively?) Disneyland-esque “Dreamland” park, and especially “Nightmare Island” where the “dangerous creatures” are kept.
There are even two long, lingering shots of Dreamland selling Dumbo plush toys, as though Burton is trying to send us a coded message that he knows this is all a pretense to sell merchandise. There are also a couple of waaaaaay inside jokes aimed at people with an intimate knowledge of the Disneyland parks of yesteryear. That’s where this movie shines, where it feels subversive and like Burton is poking fun at the cashgrab nature of his enterprise. I’m here for that Tim Burton for days. But then he intersperses it with cringeworthy moments like a cameo from Michael Buffer, and if you are familiar with his work. . . you know what’s coming. And it’s terrible.
And also, for god’s sake, don’t waste Danny Elfman‘s talents asking him to redo the 1941 score. It’s the most underwhelming waste of his talents since his Age of Ultron score, which he famously complained about being so limited because he was just asked to ape a temp track. It feels very much the same here.
And so, unfortunately, all I’m left with is a weird feeling that I wish I’d just watched Big Fish and the original Dumbo instead. Those are great movies: even despite Dumbo‘s problematic elements, it’s still a classic. This. . . this is just not.
I’ve been fine with most of the previous Disney live-action remakes. Each of them, up to now, at least brought something new or different to the party. Despite occasional flashes of brilliance, this does not. As so we’re left to ask, who exactly is this movie for? Fans aren’t going to get what they want, and this is by no means new or innovative or interesting enough to warrant your hard-earned money (reminder that taking a family of four to a full-price movie plus snacks can cost almost as much as a single Disneyland ticket). Stay home and pop in your copy of the original or Big Fish and enjoy yourself.
Greetings from the aftermath of SXSW, where the best in tech and the bleeding edge of movies and music all swarm around downtown Austin, TX in a smorgasbord of capitalism and consumerism. (Don’t believe Sean Hannity saying otherwise)
And perhaps no film represented the worst, grifting, douchy edge of some of the folks attracted to this heady aroma of dozens of panels on blockchain and cryptocurrency than the new documentary The Inventor: Out for Blood in Silicon Valley, making its rounds at SXSW before a premiere on HBO this month from Alex Gibney (Enron: The Smartest Guys in the Room, Going Clear, Taxi to the Dark Side).
The Inventor refers to documentary subject Elizabeth Holmes, the quixotic/messianic founder of Theranos, which promised to change the medical industry with a revolutionary blood test that would be cheaper, simpler, and only require a finger prick. It was unfortunately too good to be true, and the film traces the evolution from Holmes’ time as a Stanford dropout to the implosion of her company just a few years ago.
It’s a powerful film that portrays Holmes in an interesting light. She’s not quite a fraud– indeed, we’re left believing that she very much believed in her company’s ability to (eventually) deliver on what it promised. We’re left believing that the people at Theranos were good people just caught up in a delusion, willing to compromise because they believed in their vision so much.
Unfortunately, the film also leaves some of the most interesting stones unturned in this whole affair. As a visual and auditory medium, film has the power to deliver some information that an article or book never truly could. And there have been plenty of articles and books about Theranos and Holmes.
But what of her fashion sense, which is only all-too-briefly touched on in the film, of wearing this all-black costume and Steve-Jobs-invoking turtleneck? What about her signature vocal fry? It’s incredibly clear, although never stated, how much harder it was for Holmes to operate in Silicon Valley as a young, attractive woman and be taken seriously. While Gibney is a great documentarian, one can’t wonder if a female director would’ve had a more interesting take here.
Speaking of Gibney taking a pass, this is another infuriating aspect of the documentary is Gibney plays softball with the signature underlying issue behind the Theranos fraud: this is what happens when you have too much capital in the hands of too few people investing based on a whim.
Much like in his profiles on Enron, Scientology, Eliot Spitzer, Jack Abramoff, etc, Gibney gets all the facts right but fails to indict the larger system. Maybe electricity shouldn’t be traded like a commodity on the open market / Maybe there’s too much money in politics / Maybe venture capital isn’t the best way to decide on how to run our economy. Income inequality has pushed soooooo much extra money into the hands of the 1% they simply don’t know what to do with it, and waste it on frauds like Theranos because no one bothered to actually do the science and the homework before writing a big check.
Regardless of these shortcomings, this was one of the best documentaries I saw at SXSW this year and is worth your time if you can catch it.
Marvel Comics Chief Creative Officer Joe Quesada and Editor-in-Chief C.B. Cebulski took over a packed ballroom at the Austin Convention Center during SXSW (South By Southwest) on its opening day, Friday, March 9 to deliver an important message to a rapt audience of cinephiles: read your comics.
During their hour-long presentation, they went through all of the various stories and creative artists and writers who inspired the blockbusters of today. No real surprises, (and no, they were most definitely NOT signalling the end of Marvel Comics) but essentially presented a greatest hits collection of the various IP that has been mined to bring us the MCU.
First, Dear SXSW, this needed to be in a bigger room. This was one of the most hotly attended panels of SXSW Day 1, and while seats remained plentiful in some of the keynotes in the larger venues, this was packed to capacity. Second, given the giant interest and hype around all things MCU in the film world right now, Marvel should’ve brought their A-game. Cebulski and Quesda did just fine, all things considered, (they usually do) but they basically talked over a slideshow. Past Marvel presentations at SXSW have literally broken the internet (ok, well, just a few websites) when they rolled out major digital comics initiatives. And they did a great job in years past bringing in surprise guests– including Clark Gregg (Agent Coulson himself!) via Skype. Compared to that, this just felt anti-climactic.
Plus, given the panel taking place on the release date of Captain Marvel and International Women’s Day, there was a relative paucity of representation of women. Perhaps my view is tinged by the fact that Marvel followed a presentation by the editors of Cherrypicks, the critical aggregator of female film critics, and the general “Up With Women” vibe of SXSW Day 1 in general, but it still felt odd to just have sort of the same old show we’d expect at any old comic convention. They did make a small news splash (pardon the pun) by announcing a new character, Wave, who will be the first Filipina character in Marvel’s roster, so that’s nothing to sneeze at, but the way it was tossed off in the room sort of non-chalantly made it feel like a less big deal than it could have been.
This was a squandered opportunity for both SXSW and Marvel, even though there was nothing technically wrong or bad about it.
Ok, so enough of the kvetching– the panel was actually pretty fun and would be a great introduction to the world of comics for more casual MCU fans who only know the characters from the screen, which, ostensibly, a lot of the Film Festival attendees are. I’ve had a lot of great conversations in line the last few days talking with other folks, especially about Captain Marvel and Avengers: Endgame, and even among a lot of these rank cinephiles, not many have actually read the books they’re based on.
However, the crowd in attendance may have been a little more in the know, as there were cheers for luminaries like Jack Kirby and how their visual style inspired so much of the look of comics and our films. But, perhaps surprisingly, the biggest cheers came for Christopher Priest, as Quesada explained how much of last year’s blockbuster was inspired by Priest’s run on the Black Panther comic.
There were also a few fun nods to other Marvel adaptation and how they’ve inspired the cinematic universe. The 90’s X-Men cartoon was a gateway for so many people who now work in comics and in the movies. Storm, specifically, was a touchstone for so many young women to see a leader who is a black woman. The value in that representation can’t be understated.
Speaking of animation, they also pointed to the turning point in time when the “Infinity Gems” of the comics were re-branded as “Infinity Stones” and it just so happened to be. . . The Super Hero Squad Show? Indeed. Luckily, Quesada was otherwise mum on the cringy moment in the cartoon when Reptil and Hulk make a joke about their “cheesy friend” Joe (who served as Executive Producer). Good thing. We didn’t need to be reminded of that. Wait. Yes, yes we do:
Another interesting and unexpected break was a discussion of Blade, which almost everyone forgets was a Marvel comic. Quesada pointed out that Blade never sold comic books, but the success of the first film led other studios to produce more comic book movies. Those first two Blade movies are pretty good, especially the Guillermo Del Toro helmed second one.
This was a fun panel and a nice walk down memory lane of all of the comics that inspired the films that we love so much. But SXSW can do much better by putting this is the larger venue it deserves and bringing in a broader subset of Marvel talent. The panel begged the question of “Which Marvel storyline from today will inspire the movies of a few years from now?” Let’s bring in the creative teams behind The House of Ideas– even if just in a video montage let’s hear from folks working on some of their top stories. You know who would draw a GIANT crowd at SXSW (especially as politically-oriented as the festival is this year?) Ta-Nehisi Coates. Or here’s an idea– get some of the filmmakers from the MCU to talk about their favorite comic books. Don’t just tell us how much of a comic book nerd Kevin Feige is– do a trivia contest between him and Tom Breevort and let’s see how he does! Bring in Ryan Penagos and Lorraine Cink and have some banter. (Not that Quesada and Cebulski aren’t fine, but. . .) Look, we know Ike Perlmutter, CEO of Marvel, is notoriously thrifty and probably doesn’t want to shell out big bucks to promote their company. As the saying goes, you have to spend money to make money– and when tv shows like American Gods and Good Omens are doing their best to take over downtown Austin, you need to get in the game!
I’m glad I attended the panel. But I hope if Marvel returns in 2020 they do so more like they have done in the past, and they bring in newer, more diverse talent. And SXSW better put them in the biggest room possible.
Jordan Peele‘s newest movie Us is a haunting horror film by a director with a lot to say. Premiering at the SXSW film festival, Peele was in attendance to introduce the thriller which presents the Wilson family, lead by Adelaide (Lupita Nyong’o) and Gabe (Winston Duke). They return to a summer vacation at her parents’ home near Santa Cruz.
As we find out, she had some sort of traumatic experience getting lost in a creepy boardwalk attraction while there as a child, and after returning to the same beach near there while on vacation she begins to experience a lot of anxiety and wants to leave. At that point a family of shadowy figures appears in their driveway–murderous doppelgangers–and if you know anything more than that it is literally a spoiler.
What comes after is one of the scariest and most fun thrillers in recent memory. Peele shows that his visual sense and pacing and director’s eye is incredibly sophisticated.
But it’s Nyong’o who really sets herself apart here. She should immediately be the top of everyone’s Oscar list for Best Actress. We’ve seen her be great before, but what she does here is beyond any of that. What she does here on screen is indescribable without spoiling the film, but it is so nuanced and layered, it will take multiple viewings to fully get the depths of how good she truly is. There are seeds planted early on that blossom late in the third act. There are some just straight up intense moments that are an immediate gut punch. And there are moments you will want to revisit once you know the entire scope of the film to watch the additional bits she is adding to her performance to appreciate what she (and Peele) have done.
Also, completely forget everything you thought you knew from Get Out. Don’t let your views or expectations from that film color in any way your ideas about this film or what it is. First, let’s just go to Peele’s own words in how he describes his works:
While Peele tweeted this in response to Get Out being nominated for the Golden Globe as a “Comedy or Musical,” and this was a sort of puckish response to the “controversy” over its classification, he’s very clearly saying something important: that film was about real life.
Us is just a straight-up horror/thriller, unapologetically so, because there literally isn’t anything wrong with that. Peele’s point is well, taken, though: while many horror films have at their base some sort of social commentary (Romero’s zombie movies, The Purge films, etc) that’s not necessarily a needed ingredient.
I kept waiting for there to be something more. I wanted the social commentary. I wanted to know what the said about our moment in 2019, or more about what it meant to be black in America. But this isn’t that film and going in with such expectations and trying to put Peele into that same box is as much of a folly as expecting Get Out to be funny because of Peele’s previous success in comedy.
If anything, the social commentary of Us is not in the film at all (although there are a few lines and bits worth deconstructing). But just because the actors are black, and the director and writer is black, it doesn’t mean that we are going to get a movie about black identity with social justice themes. (Although, it’s hard to imagine many other films being able to get away with violent murder sprees set to NWA’s “F@#$ Tha Police”) Sometimes a thriller is just a thriller.
The social commentary of Us may also simply be that isn’t a true meritocracy in Hollywood. Duke and Nyong’o are so. good. here. but are often relegated to supporting roles in other films. Not that we didn’t love them in Black Panther, and it’s not like we didn’t recognize how amazing Nyong’o was in her breakthrough role in Twelve Years a Slave, and we’ve loved her in Star Wars, but it’s clear that their acting chops go for miles beyond this.
What we get is a film could have been cast with anyone. Any other director might have filled this with white actors, approved by Hollywood bean counters who have decided that that met the requisite amount of star power for the film. Two decades ago, this would’ve been Harrison Ford and Michelle Pfieffer in What Lies Beneath.
Instead the casting of black actors is a testament to the universality of the film and that in a truly colorblind society, the complexion of the actors would matter so incredibly little. Let’s hope the box office agrees, showing that black-led films are a great investment for the big studios (not sure why there’s any doubt after recent dominance by Marvel, Star Wars, but yet, here we are)
It’s not a perfect movie, but it’s close. It’s not Get Out levels of genius with layered social commentary, nor does it need to be. But like Get Out, which hit the top of my best films of 2017, it serves as an early high water mark for greatness for the year. It’s a great film and one of the scariest things you’ll see in theaters anytime soon.
No matter how you feel about Captain Marvel, (I personally liked it very much, thank you!) you have to respect its soundtrack. As a child of the 80’s and an adolescent of the 90’s, this took some of the best of my high school years and put it up on screen beside a character from some of my favorite comics of the same time. Of course, she had a slightly different costume then. . .
But it was the 90’s! Everything was a little weird. Back then everyone wanted Jennifer Aniston’s haircut from Friends for some reason, acceptable fashion included overalls or flannel, we played with pogs, Pokemon, connecting to the internet made a weird noise, and we impeached presidents for basically nothing!
Times have changed, but that soundtrack from Captain Marvel lives on. This is a mixtape Meredith Quill would be proud of. It’s a mixtape I would’ve listened to. And hearing from some of our other Graphic Policy writers, people are really into it. For instance:
Can I just say how glad I am that there’s a movie that acknowledges that women love rock music? It seems like the discourse has floated so far to the “all those years I was just pretending to like rock to keep my boyfriend from complaining but now I’m free and just want to listen to Taylor Swift” type narrative. I’m sure that’s true for a lot of women and I’m happy they can feel free to embrace their love of dreck now. But a lot of us just genuinely love rock music. I liked seeing that on screen.
AGREED. 100%. This soundtrack is grounded in great 90’s rock and alternative, but it’s also got this great energy that comes into it from the inclusion of some soulful r&b. But Carol Danvers is a rocker. And despite maybe a few of the songs being a bit on the nose, it’s overall incredibly enjoyable.
But, because we just can’t get enough here, scroll to the bottom to find a Spotify playlist where I’m also adding my own list of 90’s songs “fit” with Captain Marvel (sort of, at least in my logic) as well as a special list of songs from other 90’s soundtracks that belong on this soundtrack because omg it’s meta-inception.
But beware, dear reader, I warn you that reading this article may spoil some of the best surprises of the film. It’s not that the songs themselves are spoilers in any way, but that how they get used and their reveal in the film is so beautiful, you may want to go into your first viewing not knowing. In searching for songs they may have used in the soundtrack, there was only one that I found confirmed on a website, but I almost wish I hadn’t known because the reveal was so good. But, if you want to read further, here’s your giant[SPOILER ALERT!!!]
I’ll do these in the order they appear in the film:
Heart – Crazy On You
Technically not a 90’s song, but when they flash back to Carol Danvers’ past, there is literally no better song than an anthem like this from the First Ladies of Rock, Ann and Nancy Wilson.
Lita Ford – Kiss Me Deadly
Here’s another unconventional choice (and another holdover from 80’s hair metal), but given the context (a brief flash of karaoke) this totally makes sense. Uh huh, it ain’t no big thing. But I know what I like. . .
Salt N Pepa ft. En Vogue – Whatta Man
While Deadpool got to “Shoop” first, this is the real deal. I wasn’t even really into rap or r&b in the early 90’s, but I still loved this song. Still do. Whatta song. Whatta video. Whatta collaboration.
Elastica – Connection
Confession time: from the moment this song ended up in a trailer, I was 99% sold on Captain Marvel as a 90’s period piece, even moreso than the Blockbuster Video or other easter eggs. This song was everything that a slightly depressed teenage me wanted circa 1995.
Garbage – Only Happy When It Rains
Did I mentioned what slightly depressed me in 1995 loved to listen to? This album didn’t leave my 5-disc cd changer for a year. (See kids, back in the day, music came on compact discs. . .) Literally any track from the first two Garbage albums would’ve been perfect in this movie. Seriously. Any of them. My pick would’ve been “Vow,” but going with the iconic, radio-friendly song isn’t so bad. Also, I may have had a crush on comic book Carol Danvers in the mid-90’s, but I was madly in love with Shirley Manson. Plus Butch Vig, the keystone of 90’s grunge. I’m riding high on a deep depression. Pour some misery down on me.
TLC – Waterfalls
And then sometimes you just had to chill out. This song has hooks for days, and the rap breakdown by Left Eye remains amazing. Again, even as someone who wasn’t that much into r&b/rap, this song was ubiquitous. And that wasn’t a bad thing.
Des’ree – You Gotta Be
This is not a song in a million years I would’ve thought to put in this movie. And so it’s a good thing I wasn’t in charge of the soundtrack, because the lyrics to this pretty much tell the lesson of the second half of this movie. This is now my favorite.
Nirvana – Come As You Are
Again, not the Nirvana song I would’ve picked for this soundtrack (“Been a Son” seems actually more apt, especially to address the throngs of fragile manbabies triggered by the idea of a female superhero– she should’ve been a son. Get it?) but but but this song more than any other is used so effectively to set a very specific mood that it is a gamechanger. Literally, after this song played, I didn’t have any more gripes about the movie after that. It took it to a next level. Which leads me to. . .
No Doubt – Just a Girl
I’d complain this song is a little too on the nose, especially for the scene it’s used in, but it’s just so infectious and perfect. It’s a move I would’ve made if I was making the movie. I was tickled. True story: I saw No Doubt play in a converted airplane hangar in Orem, Utah in 1994 when they were just part of the local/regional ska scene. I was jarred, but not surprised, when they broke through with this poppy crossover. And here I sit snuggling my Dance Hall Crashers cds wondering why they didn’t break out (there’s some of them on the Spotify playlist below),
R.E.M. – Man on the Moon
Now Andy did you hear about this one? Yeah yeah yeah yeah. While REM was certainly everywhere at this point in the 90’s, this one may have been a little on the nose. And there’s so many others to pull from this album or Monster or (bold choice) New Adventures in Hi-Fi. Again, the soundtrack makes the safer choice of the more mainstream and ubiquitous song, and that’s fine. At least it wasn’t Shiny Happy People?
The Marvelettes – Please Mr. Postman
Do you count this as being in the soundtrack if we just got Sam Jackson singing a few bars of it? I do. I most certainly do. Also, this has nothing to do with the 90’s or the rest of the movie. I love how left-field it is. And is that how she gets her name? Ironically, if Carol Danvers tries to explain it to everyone, old man Steve Rogers still won’t get it. . . unless he ever got past that “Troubleman” album. Or if he was on Vine, which was how my kids knew it:
Hole – Celebrity Skin
Ok, confession time. I don’t like Courtney Love. I probably never will. But if you’re going to choose a Hole song, get Malibu or Bruise Violet. Ok, fine, fine, I concede that Celebrity Skin is actually pretty good and a fair choice to play over the closing credits. It’s fine, it’s great actually, I just have to get rid of my distaste for Hole.
And so that’s it! If you want more, I’ve made a Spotify playlist with these dozen songs as well as a bunch more. I will take the blame for anything you hate, but whatever you love on the playlist know that it was carefully curated from among a bunch of our Graphic Policy writers.
What’s in it? A lot more rock/alternative, especially skewing towards female artists (Liz Phair, The Breeders, Veruca Salt), a bunch of Riot Grrl stuff, a little more hip hop, and because it’s a tragedy she wears a Nine Inch Nails shirt the whole time and never listens to NIN, we have some of that. And starting with track 50, the last songs are very special songs from other soundtracks because the 90’s was full of great movie soundtracks. So, so meta.
What did we miss? Hop in the comments and tell us. Maybe we’ll even add it to the playlist!
Note: No songs from any of the Batman soundtracks because I’m not mixing Marvel and DC. Nope. (Even though “Trust” by Prince is amazing. So is “Partyman.” But still nope.) And also no Space Jame because ewwwww even small proximity to R. Kelly. . . NOPE.
Foo Fighters – Breakout – Me, Myself and Irene Sneaker Pimps – Six Underground – The Saint Coolio – Gangsta’s Paradise – Dangerous Minds Green Day – J.A.R. – Angus The Crystal Method – The Name of the Game (ok, bending the rules here as this was from 2001, but it still sounds super 90’s and was in another Marvel movie and I can’t resist) – Blade II Edwyn Collins – A Girl Like You – Empire Records Daft Punk – Da Funk – The Saint Dr. Dre – Keep Their Heads Ringin’ – Friday Nine Inch Nails – Dead Souls – The Crow Dance Hall Crashers – Enough – Angus (what is this Angus movie and how did it have such a great soundtrack?!?) Metric – Black Sheep (Ok, REALLY breaking the rules here, but if you don’t get the joke, I’m not going to explain it) Guns n Roses – You Could Be Mine – Terminator 2 Nine Inch Nails – The Perfect Drug – Lost Highway Filter – Hey Man, Nice Shot – The Cable Guy The Cardigans – Lovefool – Romeo+Juliet Chris Cornell – Seasons – Singles