The battle and escape at Dunkirk was a defining point during the first stages of World War II — it ultimately rallied the British who were at one point considering a conditional surrender to Germany. The safe return of 330,000 British and allied soldiers with the help of civilian forces spurred a counterpoint to Germany’s blitzkrieg that was pushing its way through Europe with relative ease.
But the movie is a collection of parables that uses the event as a backdrop to explore the paradigm of human existence. Compressing time and space, Dunkirk is a microcosm of chaos, beauty, and the circle of human life.
The movie opens with a literal bang as German soldiers open fire on Allied troops who have, so far, maintained an uneasy and untenable position with their backs to the French oceanside in Dunkirk. A few hundred-thousand troops wait on the beach as, one by one, ships pick up the wounded first.
Marvel Studios brought home a big prize back in 2015 when they announced they had partnered with Sony Pictures to bring Spider-Man into the MCU. The Internet broke, and hope was renewed that Marvel could one day bring back other franchises sold off to other studios during a time of financial crisis.
As celebration turned into speculation, Marvel explained they weren’t going to explore Spider-Man’s origin story and that his introduction would come in Captain America: Civil War. The cameo was stellar, and the hype for Homecoming (the title, not so much) went through the roof.
The single best decision for the movie was the exclusion of an origin story — which would have made it the third retelling in 15 years. Spider-Man: Homecoming arrives ready to go, and he’s a bit more evolved than any previous version’s first single-movie appearance.
When an argument divides the Underground, will hope survive?
Now that Rick Jones’ cellphone has been decrypted, the Underground hears out what he found out about Steve Rogers and the Cosmic Cube that rewrote history. By gathering the pieces of the Cube, which have been scattered all over the planet, our heroes can restore history and return Captain America to the man he once was.
But they’ll have to beat Rogers to it. Sitting atop his throne, Captain America believes he can bring back the dead and set things right — his way of right — by restoring the Cube and using its power to make the world a better place according to Hydra’s precepts. Rogers orders Baron Zemo to scour the Earth and retrieve the fragments, no matter the cost — foreshadowing all sorts of things to come.
With the search begun, both sides now face a clock. Natasha Romanoff has her own ideas on how to stop Rogers, and it means assassinating him. Spider-Man Miles Morales joins her, accepting whatever fate may come. In case you missed it — Back in Civil War II, a vision of Morales standing over a dead Captain America left Miles and the Avengers team shaken and in disbelief. Morales knows he’s no killer, but he’s ready to see what the future holds.
Never has an Alien movie felt so rote — so … familiar.
Looking back, each film in the series had something new or original to offer, even if the overall package was hit or miss.
The first two films are considered classics — rightly so and each for varying reasons. The first film, Alien, was a gripping horror movie that gave science fiction movies a new angle. Its sequel, James Cameron’s Aliens, went the more-is-better route, giving audiences a war movie pitting human forces against an overwhelming and superior company of predators.
Subsequent movies weren’t as well-received — Alien 3 went through numerous rewrites, and the final result felt like a letdown in contrast to what could have been. Alien: Resurrection went far into the future with a cloned Ripley and an interesting cast of characters, but it lacked the spirit of previous films.
And the prequel Prometheus tried to expand the lore while exploring religious and moral plot points. Many felt it was too convoluted and messy, while others critiqued it for silly characters who just couldn’t keep themselves from dying.
The first Guardians of the Galaxy was a huge success for Marvel, and I’m not just talking about box office receipts.
Naysayers worried about “the big risk” of making a movie with a talking raccoon and his companion, a talking tree with only one scripted line. It was the comic-book movie projected it to fail — a potentially huge failure to launch that had Hollywood analysts holding their heads in fear of the impending collapse of Marvel Studios’ cinematic universe.
But Guardians of the Galaxy soared despite being one of Marvel’s lesser-known comic book titles, and viewers were treated to the best Star Wars movie of this generation (Rogue One included). That raccoon and talking tree became the talk of the town, and merchandise sales added more to Disney’s coffers. A sequel was inevitable — failure, or no — and thanks to the successes of the first, the onus to get audiences to buy in has been tabled and replaced with the freedom to build up and off characters, settings, and major threats.
Guardians of the Galaxy vol. 2 kicks off just as Peter Quill, aka Star-Lord (Chris Pratt), and company get ready to fulfill their latest job — inter-dimensional pest-control. Buoyed by their success in taking out Rohan the Accuser, the team has become the go-to group for solving galaxy-sized problems.