Thor Odinson (Chris Hemsworth) tries to stop the end of the world in Thor: Ragnarok, a conflicted mess of a film that showcases some of the best that Marvel Studios has to offer along with some of their cringiest.
If you’ve seen the trailers, you have the main gist of it all — Hela (Cate Blanchett), the goddess of death, has come to take her place on the throne of Asgard after Odin’s death releases her from the prison his life-force created.
As Odin’s firstborn, she is the strongest of his children, and she makes her mark within moments by destroying Mjolnir and sending Thor and Loki (Tom Hiddleston) into retreat. As the brothers attempt to teleport back to their homeworld with the help of the Bifröst Bridge, Hela follows them and send them off course.
Hela appears in Asgard, where her claim to the throne hits deaf ears — that’s what happens when an entire era’s history is wiped away or covered up. Viewed as an invading force, Asgard’s army tries to hold her at bay but fails miserably.
It only took 35 years for Hollywood to create a sequel to Ridley Scott’s Blade Runner — a critical and commercial failure at launch that eventually turned into one of the most influential culture pieces this side of the 20th century.
Not that we asked for a continuation or a reboot — we all know know how those have turned out. Look at what’s happened to the Alien franchise. See Alien: Covenant review here.
When it was first announced, I had my reservations. Blade Runner is one of my most favorite movies. And while I was resigned to accept the notion that no sequel — spiritual or otherwise — would be as good as the first, news of Denis Villeneuve being attached to direct gave me hope that it could come close.
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.
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.