Interesting how this all came about.
While the X-Men movies have basically been Wolverine-centric, it was X-Men Origins: Wolverine that featured the first onscreen appearance of the Merc With a Mouth — Deadpool — who eventually got his own solo movie that made a strong case for R-rated comic-book flicks.
Studios have traditionally shied away from restricting comic-book movies to adults because of financial reasons — toys, merchandise, and a larger audience filled with teens and children.
Which is, by James Mangold’s admission, why The Wolverine ended so badly — Logan fights a robot samurai and loses his claws, which somehow grow back.
Anyways, for what it’s worth, The Wolverine was better than Origins — though that’s not saying much. Origins was incredibly bad, and if I had to sit through it, I’d want the leaked version stripped of its special effects for educational reasons.
Batman’s foes have an existential crisis in his latest outing, The LEGO Batman Movie.
Kicking off with an amazing 10-minute song-and-punch introduction, the LEGO Batman Movie not only features a bevy of villains, known and obscure — Crazy Quilt and Killer Moth! — the movie also treads into interesting meta territory.
After Batman saves another day in Gotham City, he drops a bombshell on the Joker — the Dark Knight doesn’t think the Clown Prince of Crime is his greatest foe.
Teary-eyed, the devastated supervillain escapes and begins work on a new plan to get Batman’s attention.
Meanwhile, Bruce Wayne finds himself torn against a potential love interest and a new commissioner who sees Batman as a problem. Between bouts of love and anger at Commissioner Barbara Gordon’s new plans for the city, Bruce agrees to adopt the orphan Dick Grayson.
About 10 minutes into La La Land, I started to worry.
Despite a charming opening scene filled with singing and dancing Los Angeles commuters stuck in traffic, I was still waiting for it to become my favorite movie of last year. After winning a ton of Golden Globes, it’s being touted as a frontrunner to win more than just an armful of Academy Awards, and critics — and all my friends — love it.
A few scenes in, I was starting to feel like I was going to be disappointed — that the hype was just too much. Or maybe it’s the whole musical thing — it’s no secret I’m not the biggest fan of the genre.
And then, Ryan Gosling’s Sebastian came home to find his sister had snuck into his apartment. They discussed, they argued — he’s a jazz musician who hasn’t settled into his new home, and he’s got a pile of unpaid bills. He’s got a chip on his shoulder, and he’s obsessed. He hasn’t gotten over being screwed by a former partner who took their jazz bar and turned it into a samba and tapas restaurant.
Samba and tapas.
I was longer just watching La La Land — Sebastian was a mirror or an alternate dimension of myself.
Not that I’ve ever wanted to own a jazz bar, per se, but I have dreams. Had dreams. Dreams that seemed pure and selfless but were essentially a bit selfish as well.
I want to create real music for people who need to hear it.
It wasn’t my idea to rent The Secret Life of Pets.
My wife, on a whim, brought it home from a Redbox — she had a coupon for a free movie — and since we don’t watch too many movies together anymore because of our busy schedules, I made it a priority to sit down and be in front of the television while it played.
The trailers for the movie seemed uninspired, filled with tired jokes and boring sight gags. The premise — going behind the veil to see what our pets really do when we’re away — only a hair or two from Toy Story. I planned on doing other things while the movie played.
But let me tell you, I was in for a treat — The Secret Life of Pets isn’t half-bad or slightly bad. It’s actually pretty good — especially if you’re owned by a pet or two.
Everything that is wrong with Rogue One: A Star Wars Story can be summed up in one thing.
Well, there are a lot of things wrong with Rogue One: paper-thin characters, a middling pace, a largely forgettable (and, within the mythos, unnecessary) plot.
But the tank – the TX-225w “Occupier” combat assault tank, as Wookiepedia tells me – is the perfect vehicle to address Rogue One’s fundamental problem: a superficial guise and muddled tone.
Because while the film purports to be a gritty war drama – tanks! firefights! no Jedi! – it never fully divorces itself from the character of the rest of the series.
And that has serious repercussions.
Star Wars – despite a misleading title – has never really been about warfare. In the series, wars merely act as backdrop and motivation for the melodramatic blood feuds of space wizards: a former slave is seduced by dark magic and rebels against his mentor (the Prequels); a farmboy learns magic to defeat his fallen father (the Original Trilogy); an orphan scavenger discovers magic and proceeds to beat up some goth kid (The Force Awakens).
The climax of these films usually feature a battle of some kind, yes, but it is the emotionally-charged contest between individuals that form their central focus: Luke vs. Vader (the battle of Yavin), Luke vs. Vader (the occupation of Bespin), Luke vs. Vader vs. Palpatine (the battle of Endor), etc.