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meanstreetspodcasts · 3 years

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Wolfe in Sheep's Clothing

“I rarely leave my house. I do like it here. I would be an idiot to leave this chair, made to fit me.” (Rex Stout, Before I Die)

Nero Wolfe made his first appearance in 1934, and his adventures are still being enjoyed nearly eighty years later in books, TV shows, and - beginning on April 10, 1943 - radio dramas. Not bad for a man who hated leaving his house more than nearly anything in the world.

Wolfe, the eccentric genius who weighs a seventh of a ton, was created by writer Rex Stout. Stout made a tidy sum inventing a system to track the money school children saved in their accounts, and he used his earnings and royalties to travel the world and embark on a career as a writer. His first Wolfe novel, Fer-de-Lance, was published in 1934, and Stout would go on to write 33 novels and 39 stories featuring Wolfe until his death in 1975. Over the course of the novels and stories, Stout fleshed out the character, who enjoyed fine food and good beer, tended to his orchids, and solved mysteries when he had to earn a fee, always with the aid of his assistant (and the narrator of the stories), Archie Goodwin.

Stout’s brilliant stroke was to combine two archetypes of detective fiction into one duo. Nero Wolfe was a classic refined detective in the mold of Sherlock Holmes, right down to his eccentricities, anti-social personality, and acute agoraphobia. He could listen to clues as they were presented to him in his drawing room and deduce the solution to a crime without ever leaving the chair especially designed for his massive weight. At his side was Archie, a more streetwise sleuth in the mold of (though not nearly as hard-boiled) Sam Spade and Philip Marlowe. Archie carried a gun and had an eye for a blonde like his brethren, but he drank milk instead of bourbon and he had a playful demeanor - particularly with his boss and their frequent foil on the police force, Inspector Cramer.

Wolfe came to the screen in 1934 and 1937, but it would take almost ten years for the character to make his radio debut. From 1943 to 1944, ABC aired The Adventures of Nero Wolfe which starred J.B. Williams, Santos Ortega, and Luis Van Rooten as Wolfe during various points in the run. A falling out between ABC and Stout’s representatives prevented the series from continuing, but a new version would premier on the Mutual Network in 1946. Francis X. Bushman starred as Wolfe, with Elliott Lewis, a veteran radio actor who would soon take the director’s chair on Suspense, as Archie.

But it is the 1950 NBC series The New Adventures of Nero Wolfe that is most fondly remembered and which came the closest to capturing the essence of Stout’s stories. First and foremost, they found an actor who could fully embody Wolfe’s larger than life persona - Sydney Greenstreet.

A longtime theater actor, Greenstreet’s big break came as Kasper Gutman (“The Fat Man”) opposite Humphrey Bogart’s Sam Spade in The Maltese Falcon in 1941 at age 62. After receiving an Academy Award nomination for the role, Greenstreet appeared in films like Casablanca, The Mask of Demetrios, and Across the Pacific. At age 71, he was cast as Wolfe, and his trademark characteristics - arched speech, droll laugh, deliberate intonation - perfectly fit Nero Wolfe’s larger than life personality.

Over the course of the series, no fewer than six actors were heard as Archie Goodwin. Each of the first three episodes featured a different Archie: Wally Maher (October 20); Lamont Johnson (October 27); and Herb Ellis (November 10). Beginning on November 24, actor Larry Dobkin assumed the role. Dobkin had previously been heard as Louie the cab driver on The Saint and as Detective Lt. Matthews on The Adventures of Philip Marlowe. After eight episodes, Dobkin left and his old co-star Gerald Mohr voiced Goodwin for the next four episodes. Mohr was on a radio detective roll; he had just wrapped his two-year run as Marlowe and would return for a Marlowe summer series a few months after his gig as Archie came to a close. Harry Bartell, a veteran of Escape and Dragnet as well as the Petri Wine announcer for The New Adventures of Sherlock Holmes, stepped into Archie’s shoes for the final ten episodes of the series.

Why so many Archies to one Nero? There’s no definite answer. Some have said it was because Greenstreet was difficult to work with; others speculate the revolving door of co-stars was a sign of retooling to see if the ratings would improve.

And while the series was well done, with even Rex Stout praising Greenstreet’s performance (he was less complimentary of the program itself), it did not fare well enough in the ratings to earn a second year. The New Adventures of Nero Wolfe wrapped up its run on April 27, 1951. Fortunately for fans, the entire series run are available in great condition. One can listen to the full run and hear Greenstreet lend his one-of-a-kind voice to Wolfe, and even with so many actors playing Archie Goodwin, none is sub-par. Each brings his own style to the character while staying true to Stout’s creation. And backing up Greenstreet and his Goodwins every week are a great cast, including Bill Johnstone as Inspector Cramer, Howard McNear, Betty Lou Gerson, Peter Leeds, and Barney Phillips.

Since the radio era came to an end, Nero Wolfe has continued to entertain fans outside of the books. Several TV shows have aired, including one single-season program starring radio veteran William Conrad as Wolfe and an absolutely delightful but criminally short-lived production on A&E with Timothy Hutton as Archie and Maury Chaykin as Wolfe. And for fans who want more audio adventures of the pair, the CBC mounted an impressive series of adaptations in 1982.

Check out this episode!

#old time radio #golden age of radio

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letterboxd · 4 years

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Animated Enchantment.

A recent restoration of Son of the White Mare sends our animation correspondent Kambole Campbell on a quest for a few words with legendary Hungarian filmmaker Marcell Jankovics, about the external cosmos, inner spiritual worlds, and the latest season of Vikings.

“The true arts are receiving less and less space in every genre.” —Marcell Jankovics

Much adored and highly rated by Letterboxd animation fans, Marcell Jankovics’ 1981 masterpiece Son of the White Mare is, frankly, some of the wildest imagery ever put on the big screen. A swirl of psychedelic depictions of folkloric beings are flattened out into a gorgeous 2D tableau. The titanic figures of the characters twist into impossible and often abstract shapes, all realized with eye-popping and heavily contrasting color.

Arbelos Films recently restored Son of the White Mare to 4K, and it was due for release in cinemas this year. Instead, the film is now available for US animation fans on Vimeo OnDemand, and it’s unmissable. “The restoration made everything pop so much, that at a point I think my brain melted,” writes Bretton, on Letterboxd. “The kind of film that makes me happy to be human,” raves Will. “Appropriately immense imagery for a creation myth,” agrees Lindy.

Hungarian filmmaker Marcell Jankovics.

Based on Hungarian folk tales and poetry, Son of the White Mare begins at the gates of the Underworld, at the base of a massive, cosmic oak tree that holds seventy-seven dragons in its roots. To combat these monsters, a dazzling white mare goddess gives birth to three heroes—the protagonist, Fanyüvő (‘Treeshaker’), and his brothers—who embark on a journey to save the universe. In the telling, Jankovics is clearly only interested in the kind of imagery that, well, only animation can provide.

Son of the White Mare (Fehérlófia) is one of four feature-length films by the animator—his others are Johnny Corncob (János Vitéz, 1973), which was Hungary’s first feature-length animated film, Song of the Miraculous Hind (2002) and the drama The Tragedy of Man (2011), which took Jankovics almost three decades to complete. These features have found continuing acclaim in the animation industry and amongst cult enthusiasts. Jankovics’ shorts are just as celebrated: Sisyphus (1974) was nominated for the Academy Award for Best Animated Short at the 48th Academy Awards, and The Struggle (1977) received a Palme d’Or for short film at the 1977 Cannes Film Festival.

Born in Budapest in 1941, Jankovics began his career almost casually; after realizing his family’s status meant no higher education would be available to him, he passed a test to work at Pannónia Filmstúdió. He has said that the animated Russian film The Humpbacked Horse (1947) directed by Ivan Ivanov-Vano was the first cartoon he remembers watching, but that art books inspired him more than films. His career has traversed post-war Hungary, including the end of the Communist regime in 1989, and Soviet military regime in 1991. These events led to greater storytelling freedom, a shift that can be spied in his art, which has included television documentaries, commercials, books, teaching, and a Disney paycheck (for work that was never seen in The Emperor’s New Groove).

In our interview, Jankovics remains steadfast in his commitment to his “chosen path”, celebrating—but not being distracted by—others in his field, and revealing glimpses of his renowned sense of humor.

This restoration and re-release marks the first time that your film has been distributed in America in decades. Have your views on Son of the White Mare shifted in the time since? Marcell Jankovics: They have not changed.

A lot of Son of the White Mare unfolds on a flat, often circular plane. What inspired you to frame things this way? I never considered 3D. I don’t use it even today. The circularity is a part of what I have to say. A fairy tale (all fairy tales) traverses a particular arc, the year, of the eternal cycle.

Could you run me through the development of the style of Son of the White Mare? Use of the color wheel accompanied the above-mentioned circularity; this was partly adapted to the circle of time and partly to the characters. I wanted to get rid of contours. I could manage this because my characters are illuminated, this is why I could take advantage of light contours.

I notice that a number of your short films have focused on Greek mythology, while your features have mostly drawn from Hungarian folklore or influenced by Judeo-Christian religion. Did your interests shift? Absolutely not! All are projections of a similar spirit of the same world. I’m currently writing a book about Biblical symbolism, and in it I make numerous references to (Hungarian) folk tales.

What fascinates you about these myths and legends? They remain eternally true. They are harmonizations of the external cosmos and man’s inner, spiritual, unconscious world.

Looking at some of the sequences of Fehérlófia, I was reminded of the sequence where Susano’o battles the Fire God in The Little Prince and the Eight-Headed Dragon (1963), directed by Yūgo Serikawa and Toei Dog. Is that a film you’re familiar with? No. And I don’t need to [be]. Tales and myths are universal, the differences are stylistic. Of course, I’d love to see it. When I designed the Fehérlófia figures, I drew countless Japanese woodcuts. I also used Japanese theatrical masks for my heroes’ facial expressions. It’s not common knowledge but the Hungarians and the Japanese consider themselves to be related.

I’ve read in an old interview that you don’t watch much new animation. Is that still true? Yes. I don’t want to be distracted from my chosen path.

What films, live-action or animated, would you say have made the greatest impression on you? I’d rather give you directors: Eisenstein, Kurosawa, Fellini, A. Wajda, Ken Russell. In animation: Frédéric Back, Richard Williams, John Hubley. I don’t know if they influenced me but I have the greatest respect for them and I always enjoy watching their films.

What’s the first film you would suggest to someone looking to discover more animation? My own Sisyphus. It might be particularly shocking for anyone who has never seen animation before.

What was the film that made you fall in love with animation? It was a little different for me, I was rather forced into it as a career. It’s a long story and I’ve told it many times. As a young kid I only watched Soviet cartoons, but still I was enchanted because animation impressed with its own kind of genre surrealism. When I started working in the profession and I had the chance to see others as well, I realized that everything was possible in this world, even what I wanted to do.

Do you have a favorite myth, or one that you’ve been wanting to adapt? Not any more. At the age of 79, I yearn for less laborious work.

Are there any upcoming films you’re excited to see yourself? I haven’t been to the cinema for a very long time. The sort of films that I would be interested in are broadcast on TV late at night. I usually look forward to the latest season of the Vikings series.

How do you feel about the future of animation? The true arts are receiving less and less space in every genre. It is sufficient for me merely to mention the latest restrictive aspects of the Oscars. I hope that the marginalization of the arts and this kind of restriction prove to be only temporary.

Related content

Psychedelic Animation—Peter Hemminger’s list

The 303 Hungarian Films You Must See Before You Die—Bence Bardos’ challenge in progress

Hungarian Films/Magyar Filmek—a list by Máté Tóth

Drawing Closer—Kambole’s preview of ten animated features to look foward to

Follow Kambole on Letterboxd

‘Son of the White Mare’ is available now for online rental in the US via Vimeo OnDemand. ‘Johnny Corncob’ is also available in select virtual cinemas. With thanks to Arbelos and Michael Lieberman.

#animation #animated feature #son of the white mare #hungarian cinema #magyar filmek #kambole campbell #animated film #marcell jankovics #johnny corncob #letterboxd #interview

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thisbluespirit · 3 years

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James Maxwell TV/Film List

More of a guide than a recs list, because old tv/film depends so much on availability. It’s also hard as there’s nothing surviving that’s really like SotT for him (his voice is always slightly different, too & rarely the grand one from SotT) - I found it hard to find where to start back in the day, so I hope this makes it easier. However, I have starred my favourites (rated for JM content only).

I’ve divided things into categories and @jurijurijurious (or anyone) can make up their own mind as to what to go for. (Also @jurijurijurious I have NO idea what old telly you’ve already seen, so forgive me if I’m telling you things you already know.)

Where to find it: Luckily in the UK, it’s not too bad! Network Distributing are the DVD supplier to keep an eye on (they do great online sales), you can find secondhand things cheap on Amazon Marketplace & eBay, and several Freeview channels show old TV & film, especially Talking Pictures. I’ll note if things are on YT or Daily Motion, but they come and go all the time, so it’s always worth searching.

***

Film serials (ITC mainly)

British TV made on film in the US mode with transatlantic cash, so generally pretty light, episodic (continuity is almost unheard of) etc. Some turn up on ITV3 & 4 on a regular basis (colour eps).

*** Dangerman “A Date With Doris” (ITC 1964) James Maxwell is a British spy friend of Drake’s (Patrick MacGoohan) called Peter who gets framed for murder. Drake goes to Fake Cuba to rescue him by which time JM is dying from an infected wound and faints off every available surface, including the roof. It’s great. On YT. (The boxset is v pricey if you just want 2 eps.)

“Fair Exchange” (ITC 1964) JM is a German spy friend of Drake’s called Pieter who helps him out on a case. Not as gloriously hurt/comfort-y as the other, but it does have some excellent undercover dusting. (Why Patrick MacGoohan has JM clones all called variations on Peter dotted around the globeis a mystery.) On YT.

The Saint “The Inescapable Word” (ITC 1965) This is pretty terrible, but entertaining and James Maxwell plays the world’s most hopeless former-cop-turned-security guard. With bonus collapsing. On YT.

“The Art Collectors” (1967). JM is the villain of the week. It does include a v funny bit, though, where the Saint (Roger Moore) goes for JM’s fake hair (and who can blame him? How often I have felt the same!) This one’s in colour so should pop up on ITV3 or 4.

The Champions “The Silent Enemy” (ITC 1968). Surprisingly good JM content as the villain of the week who drugs sailors and steals their clothes before realising that maybe he should have worked out if he could operate a sub before he stole it.

The Protectors “The Bridge” (ITC 1974, 30 mins.) Not worth seeking out on its own, but ITV4 seems fond of it and James Maxwell gets to do some angsting and wears purple, so it’s worth snagging if you can, but too slight otherwise.

*** Thriller “Good Salary, Prospects, Free Coffin” (ITC 1975; 1hr 10mins, I think). James Maxwell moves in with Julian Glover and runs an overcomplicated murdery spy ring where they bicker a lot in between killing girls by advertisement and burying them in the back garden. What could possibly go wrong?? Anyway, it’s solid gold cheese, has bonus Julian Glover and a lot of natty knitwear. What more does an old telly fan want? (tw: Keith Barron being inexplicably the very meanest Thriller boyfriend.) On YT but tends to get taken down fast.

***

Films

Design for Loving (1962; comedy). Can be rented from the BFI online for £3.50. Isn’t that great or that bad (or that funny either), but does have JM as a dim layabout beatnik, which is atypical.

***The Traitors (1962). This is a low-key little 1hr long spy B-movie, but it’s also thoughtful and ambiguous with a nice 60s soundtrack and location work (it’s a bit New Wave-ish) and the central duo of JM and Patrick Allen are sweet and it all winds up with James Maxwell going in the swimming pool. One of the things where JM is actually American. (Talking Pictures show this occasionally & it is out on DVD as an extra on The Wind of Change.) The quality of the surviving film is not great, though.

***Girl on Approval (1962). A Rachel Roberts kitchen sink drama about a couple fostering a difficult teenager. It’s dated, but it’s also really interesting for a 1950s/60s slice of life (and very female-centric) & probably the only time on this list JM played an ordinary person.

***Otley (1969). Comedy that’s generally dated surprisingly well & is good fun, starring Tom Courtenay +cameos from what seems like the whole of British TV. JM is an incompetent red herring & there are more cardies and glasses as well as a random barometer.

Old Vic/Royal Exchange group productions

(Surviving works made by the group that JM was involved in from drama school to his death, made by Michael Elliott or Casper Wrede. I like them a lot mostly, but they are all slow and weird and earnest & not everybody’s cup of tea.)

Brand (BBC 1959). The BBC recording of the 59 Company’s (the name they were then using) landmark production, starring Patrick MacGoohan. This was a big deal in British theatre & launched the careers of everybody involved. It’s very relentless and weird but interesting & I’m glad they decided it was important enough to save. First fake beard alert of this post. It won’t be the last. On YT & there is a DVD, which is sometimes affordable and sometimes £500, depending on the time of day.

***Private Potter (1962). The original TV play is lost and this film has an extraneous storyline, but otherwise has most of the TV cast & gives a pretty good idea of why as a claustrophobic talky TV piece it made such an impact. Tom Courtenay is Private Potter, a soldier who claims to have had a vision of God during a mission & James Maxwell his CO who needs to decide what to do about this strange excuse for disobeying orders. Tw: fake eyebrows (!) and moustaches. Only available on YT.

[???]One Day in the Life of Ivan Denisovitch (1970). Again, no DVD release (no idea why), but it is on YT. I haven’t seen this yet, but it’s another Casper Wrede effort starring Tom Courtenay and apparently JM is especially good in it. (I’m just not good at watching long things on YT and keep hoping for a DVD or TV showing.)

Ransom (1974). A more commercial effort starring Sean Connery & Ian McShane; it gets slated as not being a good action movie, but is clearly meant to be more thinky and political with the edge of a thriller. JM’s part isn’t large but Casper Wrede shoots his friend beautifully, & it’s a pretty decent film with nice cinematography, shot in Norway, as was One Day. I liked it.

[I think this post might be the longest in the world, whoops. Sorry!]

Cardboard TV (the best bit, obv)

One-off plays etc./mini-series

Out of the Unknown “The Dead Planet” Adaptation of an Asimov short story; this is very good for JM, but hard to get hold of unless you want the boxset. I think someone has some of the eps on Daily Motion. (His other OotU ep is sadly burninated.)

The Portrait of a Lady (BBC 1968). Adaptation of the novel; JM is Gilbert Osmond, so it is great for JM in quantity and his performance, but depends how you feel about him being skeevy in truly appalling facial hair. Do the bow ties and hand-holding make up for it? but he’s in 5 whole episodes, and Suzanne Neve, faced with Richard Chamberlain, Edward Fox, and Ed Bishop as suitors, chooses instead to marry the worst possible James Maxwell. Relatable. XD

***Dracula (ITV 1968, part of Mystery & Imagination). JM is Dr Seward, fainty snowflake of vampire hunters, who falls over, sobs and can’t cope for most of the 1 hr 20 mins. More facial hair, but not as offensive as last time. Suzanne Neve is back again, although now JM is nice, she’s married Corin Redgrave, who’s more into Denholm Elliott. Anyway, I love this so much because it turned out that I love Dracula as well as shaky old TV with people I like in getting to fight vampires and all be shippy. Good news - TP keep showing M&I, the DVD is out, and there are two versions of it up on YT.

The Prison (Armchair Cinema 1974). This is the one with Lincoln in it, but it’s not that great & JM isn’t in it that much, so depends how curious you are for the modern AU! (But my Euston films allergy is worse than my ITC allergy, and I watched this when very unwell, so I may have been unfair.)

Crown Court “Fitton vs. Pusey” (1973) - part of the Crown Court series, set in a town full of clones who all keep returning to court. JM is on trial for his behaviour in (the Korean war? I forget?) although he ought to be on trial for his terrible moustache. It’s not that great, but it is nice JM content. He probably did it, but for reasons, and he wibbles & panics whenever his wife leaves the courtroom. Also on YT.

*** Raffles “The Amateur Cracksman” (ITV 1975) - He is Inspector Mckenzie in the Raffles pilot & is a lot of fun. At one point when there was a Raffles fandom someone in it claimed he was too gay for Raffles, which I’m still laughing about, because Raffles. Anyway, watch out if you try to get the DVD because it is NOT included in S1, whatever lies Amazon tells. It is up somewhere online, though, I think.

Bognor “Unbecoming Habits” (1981). Some down marks for possibly the worst 80s theme & incidiental music ever, but fun & has been shown on Talking Pictures lately. JM is an Abbot running a honey-making friary that is actually a hotbed of spies, murder, gay sex and squash playing. This is the point at which he chooses to strip off on screen for the first time, because strong squash-playing abbots do that kind of thing apparently.

Guest of the week in ongoing series/serials

Since even series with a lot of continuity tended to write episodes as self-contained plays (like SotT), these are usually accessible on their own.

Manhunt “Death Wish” (1970). This is one of the most serialised shows here, but this episode is still fairly contained. WWII drama about three Resistance agents on the run across France. JM is... a Nazi agent & former academic trying to break an old friend (one of the series’ three leads, Peter Barkworth) with kindness, possibly?? (Manhunt is very angry and psychological & dark and obv. comes with major WWII warnings (& more if you want to try the whole thing), but it’s also v good.) Up on YT, I think.

Doomwatch “The Iron Doctor” (BBC S2 1971). “Doomwatch” is the nickname of a gov’t dept led by Dr Spencer Quist that investigates new scientific projects for abuse/corruption/things that might cause fish to make men infertile etc. etc. JM is a surgeon who comes to their attention because he’s a bit too in love with his computer for the comfort of one of his more junior colleagues. (I think it’s perfectly comprehensible & a nice guest turn, but it is hard to get hold of outside of the series DVD. Which, being a cult TV person, I loved a lot anyway, but YMMV!)

***Hadleigh “The Caper” (S3 1973). Hadleigh is a very middle of the road show, but watchable enough (lead is Gerald Harper, who’s always entertaining) and this is pretty self-contained as it centres around an old con-man friend (JM) of Hadleigh’s manservant causing trouble by pretending to be Gerald Harper, for reasons. JM seems to be having a ball.

Justice 2 episodes, S3 1974. He guests twice as an opposing barrister & gets to be part of some nice showdown court scenes. Again, a middle of the road drama, but stars Margaret Lockwood, who was still just as awesome in the 1970s as she was in the 1930s & 40s. On YT.

Father Brown “The Curse of the Golden Cross” (1974). JM is an American archaeologist getting death threats; stars Kenneth More as Father Brown. Just a note, though, that 1970s TV adaptations tended to be really really faithful and this is one of the stories where Chesterton comes out with an anti-semitic moment... (JM was unconscious for that bit and, frankly, I envied him.) But otherwise lots of angsting in yet another fake moustache about someone trying to kill him.

The Hanged Man “The Bridge Maker” (1975). Confession time, I have v little idea what this one was about apart from Ray Smith being an unlikely Eastern European dictator, as this whole series went over my head and was not really my thing. (Ask @mariocki they’re cleverer than me and liked it & can probably explain the plot!) I don’t know if it’s available anywhere off the DVD but on a JM scale it was v good/different as he was a coldly villainous head of security & it wouldn’t be too bad to watch alone, but there was an overarching plot going on somewhere.

Doctor Who “Underworld” (1978). This is famously one of the worst serials in the whole of classic Who, but largely because of behind-the-scenes circumstances, not the guest cast. There is some nice stuff, though, esp in Ep1 (JM is a near-immortal alien who’d like to lay down and die but still the Quest is the Quest as they say... a lot) & it’s bound to pop up on YT or Daily Motion. The DVD has extras that include v v brief bits of JM speaking in his actual real accent (which he otherwise does in NONE of these) & making jokes in character. Honestly, though, this is the only DW where the behind-the-scenes doc is genuinely the most exciting bit as they desperately invented whole new technologies & methods of working to bring us this serial, and then everybody wished they hadn’t.

*** Enemy at the Door “Treason” (LWT 1978). This is a weird episode but I love it lots - from a (v v good) series about the occupation of the Channel Islands. (So obv warnings for WWII & Nazis.) JM is a visiting German Generalmajor, but he’s come for a very unusual reason - to ask for help from his brother-in-law, a blackballed British army officer (Joss Ackland). It’s all weird and low key and JM is doomed and nevertheless probably my favourite thing of his that isn’t SotT.

* The Racing Game 2 eps (1979). Adaptation of Dick Francis’s first Sid Halley novel Odds Against (ep1) + 5 original stories for the series. This is an interesting one - JM plays Sid’s father-in-law & they have a lovely relationship that’s central to the book BUT Dick Francis loved this adaptation and Mike Gwilym who played Sid and was inspired to write a sequel Whip Hand, which he tied in with TV canon - and adopted at least three of the cast, including JM. Which means that all the Sid & Charles fanfic is also JM fic by default and it’s quite impressive. (There’s not much but it’s GOOD.) On YT.

Bergerac “Treasure Hunt” (1981). Not a major role, but pretty nice & it’s one a Christmas ep of the detective show (also set on the Channel Islands) that involved Liza Goddard’s cat burglar, which was always the best bit of Bergerac.

His guest spots in Rumpole of the Bailey (1991) “Rumpole a la Carte” and Dr Finlay (1994) are both really just cameos, but both series come round on Freeview; the Rumpole one is funny and the Dr Finlay one his last screen appearance before his death the following year.

Not worth getting just for JM: Subway in the Sky; Bill Brand and Oppenheimer.

These films only have cameos but some quite fun ones and they come around on terrestrial TV: The Damned (1962), The Evil of Frankenstein (1964) & (more briefly) Far From the Madding Crowd (1967). (I think his cameo in Connecting Doors must be at least recognisable as someone spotted him in it just based off my gifs, but it’s not come my way yet.) I’ve never been able to get hold of any of his radio performances, not even the 1990s one.

ETA: I forgot The Power Game! This is the one surviving series where he occurs as a semi-regular (at least until halfway through S1 when he went off to the BBC to be in the now-burninated Hunchback of Notre Dame). This isn’t standalone, but it’s a good series and it is on YT. See how you go with crackly old TV before you brave it but it’s the snarkiest thing ever made about people making concrete and stabbing each other in the back. JM is a civil servant who tries to run the National Export Board and is plagued by Patrick Wymark and Clifford Evans as warring businessmen.

***

[... Well, now I just feel scary. 0_o In my defence, I have been stuck home bored & ill for years, and often unable to watch modern TV while trying to cheer myself up with James Maxwell, so I didn’t watch all of this at once. It just... happened eventually after SotT. /waves hand

But if anyone feels the need to unfriend my quietly at this point, I understand. /o\]

#james maxwell #masterlist #rec list #well sort of #1950s #1960s #1970s #1980s #there are some things i haven't seen #and some things i know to be extant but unreleased #everything else is burninated or status unknown

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wazafam · 3 years

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The success of the 2021 Mortal Kombat reboot shows that Joey Ansah and Christian Howard's Street Fighter: World Warrior project needs to be realized. The Mortal Kombat adaptation has seen a decidedly mixed reception, but it was popular enough to launch a new movie franchise. The groundwork has been set for the franchise's onscreen future, with actor Joe Taslim being game for a Sub-Zero centered prequel and Ludi Lin and Max Huang sharing their hopes for a Mortal Kombat: Shaolin Monks spin-off. Meanwhile, Ansah and Howard's unrealized series Street Fighter: World Warrior already has all the building blocks in place.

Beginning with the YouTube short Street Fighter: Legacy in 2010, Ansah and Howard returned to the franchise with 2014's Street Fighter: Assassins' Fist; the project was a web series written by the duo, with Ansah directing and playing Akuma and Howard playing Ken Masters. More akin in tone and style to a Kurosawa film than a typical video game movie adaptation, Assassin's Fist was an instant hit. It didn't take long for development to be announced on their real endgame, the TV series Street Fighter: World Warrior, and while Ansah and Howard produced the 2016 interquel Street Fighter: Resurrection as a tie-in to the-then releasing Street Fighter V, a lack of studio movement led to World Warrior falling through the cracks.

RELATED: Mortal Kombat 2021: How Raiden's Powers Work

In an interview with Scott Adkins on his YouTube series The Art of Action, Ansah stated that his insistence on being World Warrior's showrunner was born out of his desire to maintain creative control on the series in order to avoid a situation where it would "end up with Legend of Chun-Li again." Suicide Squad director David Ayer was also aboard to direct the pilot, but Ansah felt that it was beginning to be "steered away from what I want it to be and what I know will be a success." The studio that Ansah had signed up with ultimately failed to get World Warrior rolling before the rights relapsed to Capcom. Ansah further elaborated that while "the fight's not over," there is no currently active movement on World Warrior — but a look back on Assassin's Fist and comparing it to the return of Mortal Kombat shows why it should be finally be revived.

In the expansive history of bad video game movies, Street Fighter has been at both the bottom and the top of the barrel. 1994's Street Fighter and 2009 Street Fighter: The Legend of Chun Li were both disasters on every level. Meanwhile, Assassin's Fist not only did the Street Fighter games justice, but brought more depth, drama, and emotional resonance than almost any other video game adaptation ever made. It also had some of the best fight scenes ever showcased in a video game film, with Ansah, Howard, and Mike Moh as Ryu needing hardly any wire-fu or CGI assistance in bringing the fighting moves of Street Fighter to life (outside of Hadoukens and Shoryukens reaching thirty feet in height, of course.)

The work of Ansah, Howard, and Moh made Assassin's Fist into not just a great video game movie, but a surprisingly impactful and humanized martial arts drama that showed the true storytelling potential of Street Fighter as a cinematic property. Just like how Mortal Kombat 2021 fixed mistakes of the original '90s movie, Street Fighter: World Warrior has the potential to essentially do the same. Everything is already laid out in Ansah's 100-page treatment to astonish viewers, following how exceptional Assassin's Fist was among video game movies. As a bonus, Ansah has also previouly listed Scott Adkins as his first choice for Guile, and THAT would be some excellent casting!

NEXT: Mortal Kombat 2021: How & Why Hanzo Became Scorpion

Mortal Kombat 2021 Proves That Street Fighter Reboot Should Be Revived from https://ift.tt/3vXQ39O

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beneaththetangles · 3 years

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Light Novel Club, Chapter 28: Rascal Does Not Dream of Bunny Girl Senpai, Vol. 1

Welcome to our Light Novel Club discussion of Rascal Does Not Dream of Bunny Girl Senpai!

As a reminder, the Light Novel Club discussions are now held publicly on the Beneath the Tangles Discord server. I bring this up because this time around, we actually have a number of participants in our discussion on Discord, which made for a very lively discussion this time around! That said, because of the sheer volume of the discussion, we cannot post the entire discussion here without making the post way too long, so we instead have a highlight reel of our discussion. So let’s jump in to the discussion on this light novel that inspired a popular anime, featuring a rascal, a bunny girl, and a strange take on Schrödinger’s cat!

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1. What are your overall thoughts on the novel?

Firefox789: My overall thoughts on the novel can be summarized like this: it was an enjoyable and addictive light novel to read. The character interactions really made me enjoy the novel even more than I expected, as some parts of the novel couldn’t be adapted into the anime whether due to the challenge of including them or time/budget contraints (ex. Sakuta’s inner monologue). Character interactions were definitely one of the strong points of the light novel.

Closet0taku: It’s interesting to approach a light novel after having seen the anime (and movie). I enjoyed the LN as it gave more depth to all of the characters I encountered in the anime while also setting up the mysteries that would take another half-dozen light novels to solve. I think, though, that had I read LN #1 first before the anime was released, I’m not sure I would have continued on with the books; the scars on Sakuta’s chest and Kaede’s syndrome might not have intrigued me enough to continue. On the other hand, the denoument with Koga might have been the hook to keep me going. Having very much enjoyed the anime and movie, I find the LNs are indispensable in fully appreciating the whole story, and what points the author was trying to make about culture and relationships.

stardf29: I definitely liked the whole idea of various socio-psychological issues being reflected in the real, physical world. It’s the sort of teenage drama I enjoy from all these anime/manga/light novels in high school settings, since they are issues that people struggle with even after their teenage years, and the novels definitely worked in those struggles well. The novel could also be fun when it wanted to be fun, and the relationship between Sakuta and Mai was also nice, so yeah, definitely a great read overall.

RyanDH: I thought the novel was very fun and relatable. Lots of times, depictions of teenagers can be cringey or out-of-touch, but I found all of the dialogue and characters to be believable and well-written.

Twwk: I mostly enjoyed it! I sometimes got caught up in how poorly the series functions as science fiction—more on that later— and in what I felt was novice-level writing from the author, but when I wasn’t tripped up by those foibles, I blazed through the volume, ravenous for one page after another. It was a fun read.

BambiBethy: I have a confession…I’m only on chapter two because busy mom life! So it’s too soon for me to assess the book as a whole.

2. What made the light novel an enjoyable read for you? (via Firefox789)

stardf29: One reason I like light novels as a medium is how we get to see the thought processes of the characters, and getting into Sakuta’s head here definitely added to how much I enjoyed the novel.

RyanDH: Sakuta was an extremely relatable protagonist for me. I was in a similar situation while still in high school: no phone and a bit of a cynical view of the atmosphere and politics involved in being a teenager. Phones open up so many doors for social interaction, but it also means that nearly every second of young peoples’ lives is now dedicated to maintaining and improving their relationships with their classmates. Look at Kaede’s situation: one missed message and suddenly her friends and her whole class had turned on her. They never get to be truly alone, and I find the whole concept really interesting to try to understand at a deeper level.

BambiBethy: So far I am really enjoying the banter between Mai and Sakuta.

3. If both an anime and LN/manga for the series is available, do you have a preference as to which order you approach them? (via Closet0taku)

FIrefox789: I have learned that my best approach for getting into a title is see how the community reacts to how well the source material is being adapted. If the community thinks that a light novel has a decent to above average adaptation, I will usually watch the anime first and then decide whether I want to read the novels. Bunny Girl Senpai is a case where I was sold on the series to the point I decided to fork out $140 on buying the TV series and movie on Blu-ray and also buying the novels as they released in English officially. However, if it’s the case I hear that the anime isn’t doing the best job at adapting the source material (ex. Horimiya 2021), I will most likely stick with the source material whether it’s the manga or light novel. Manga is sometimes a debatable option for me because I have never liked manga adaptations of light novels as most of the time, they deviate from the novels.

stardf29: So I’ve had the opportunity to approach anime adaptations from all angles: seeing the anime first and then reading the novel, reading the novel first and then watching the anime, and a “hybrid” approach where I read some of the novel, and then watch the anime which goes beyond the point where I read. While I would generally prefer to read as much of the novel as will be adapted in the anime before watching said anime, realistically I often don’t have the time to read that much with all the other stuff there is to read. So the “hybrid” approach is a nice way to see how much I might be interested in an anime adaptation in the first place, and get a feel for how good the adaptation is.

RyanDH: I definitely like to read something before watching it, if possible. It gives my imagination more creative freedom to create the world and characters on my own, rather than just imagine the ones I’m already used to seeing.

BambiBethy: I actually just finished the anime and movie. I usually don’t like reading books if I’ve already seen the live or animated adaptation, but in this case it’s ok since I can imagine the characters from the anime. Also there’s a lot more depth in the LN.

4. In the first chapters of volume, it’s revealed that this novel would be almost a nonlinear story. What was your reaction to this literary writing style? (via Firefox789)

Close0taku: I personally like non-linear novels, films, anime, and other media. It’s a challenge to the viewer to make sense of it. I know some viewers do not like it and find it distracting or confusing—tell me a story, don’t make it convoluted—since it’s obvious that the narrator knows exactly what has happened. But that’s really not how we live life, is it? We often find out “the rest of the story” after we’ve been introduced to people or places; besides, if we were (in Bunny Girl Senpai) to learn at the start exactly the reason for Kaede’s illness or Sakuta’s scars, it wouldn’t be nearly as dramatic. I like mysteries, and while the classic mystery seems linear, it shares the same sort of twists and turns as you discover more information. So, I have no issue with it.

RyanDH: I found the story easy to follow, and it moved at a pace that was just fast enough to progress, but also slow enough to have solid characterization of the main couple, as well as some of the side characters.

stardf29: The funny thing is, this series shares some similarities with Bakemonogatari, which is also non-linear in nature and starts after the protagonist has experienced supernatural events already. (I even read the first Bakemonogatari novel soon after reading this novel…) I think it’s an interesting setup for various reasons. First of all, you don’t have to waste much time with the protagonist getting shocked that supernatural events are happening in the first place. Second, it provides some hooks for future content to revisit the past. Perhaps the most notable thing is yet another thing that Rascal shares with Monogatari: The first story that is told is the one focusing on the girl that the guy is primarily romatically interested in. Because other girls are involved with what happened to them beforehand, this helps “keep them out” of the romance picture; I don’t have to worry about getting too attached to those other girls and not being able to support the “main girl.”

Twwk: That’s really interesting that you make that connection to Monogatari, stardf29. I don’t recall thinking it when I watched the anime series, but while reading the light novel, I kept returning to Monogatari and thinking that it must have influenced it. Rascal is almost a more palatable version of Monogatari, easy to engage with but also less creative (not that a bunny girl isn’t an interesting way to begin a novel series!).

5. The novels get a lot of praise for portraying the relationship between our main duo, Sakuta and Mai, very well and with an entertaining writing style. What do you think makes their relationship so special? (via Firefox789)

RyanDH: What was so funny and likable about their synergy was the shock factor involved in some of their banter. I could NEVER imagine saying to a girl some of the things Sakuta says while poking fun at Mai, but the fact that she responded similarly always made me laugh.

Closet0taku: Sakuta has almost no filter. He often says what he feels. He has a lot of respect and integrity where Mai is concerned, but he can’t turn off his teenage self, either. He’s unapologetic about trying to steal a kiss from Mai (he’s unsuccessful in LN 1), if not more. Mai tries to match Sakuta’s frankness, but falls short, and embarrasses herself when she does. It’s this twisted repartee where both are learning about the other through a variety of trying circumstances as they both come to grips with the strange goings-on.

stardf29: There’s something to be said for the gap in Sakuta’s and Mai’s statuses: Sakuta is kind of the loser guy in school (for various reasons), while Mai is a famous actress. Under normal circumstances, the two shouldn’t even ever talk with each other, but because of the whole Adolescence Syndrome, they find not only a reason to talk, but also a chance to understand each other beyond the statuses they have. As others have said, they also play off each other well, which helps balance out the more serious moments between the two.

BambiBethy: Their personalities are amazing! The way they just clicked when they first met is really special. I love imagining their banter and facial expressions.

6. What do you think of Sakuta and Mai individually as characters?

Firefox789: Sakuta is definitely a great portrayal of a non-typical male teenage light novel protagonist. What makes Sakuta a great character isn’t that he manages to get the girl, but how he does. Sakuta has enough self confidence in himself that he can approach the beautiful actress, Mai Sakurajima, without having second doubts about how he sees himself in comparison to others. He never compares himself to Mai or gets down on himself for wanting to approach her. Sakuta felt attracted to Mai and just approached her without any second thoughts. A reason why Mai was willing to open up to Sakuta was because he was honest to her about why he was approaching her and why he wanted to help her. If Sakuta had lied to Mai even once, it would have been game over for him, so him being honest to her was the one reason why his relationship with her was so successful. A minor complaint about Sakuta is that he can sometimes blurt out the most blatant and inappropriate comments known to a teenage boy, but he has enough good qualities to himself that most readers can overlook his flaws.

Closet0taku: Sakuta is a noble soul trapped in a teenager’s body. “I just can’t ignore someone in trouble,” is his life philosophy. He’s proven it with Kaede, and will demonstrate it again with Mai. I think the consistency of his character is maintained throughout the LN. As far as Mai is concerned…she’s a little more undefined as a person—we don’t get to hear her inner monologue, so we have to take her at face value. I can’t say whether a celebrity would really act this way, but I am happy Mai is doing so.

7. What do you think of the other characters that appear in this volume?

Closet0taku: I like how all the other characters have their quirks—the dismissive Futaba, vulnerable Kaede, brash Koga, reliable Kunimi. They’re not terribly well-developed yet—that will happen in the future—but they are good touchstones for Sakuta to interact with as he moves throughout his day trying to get to the bottom of Mai’s Adolescent Syndrome.

stardf29: I don’t have too much to add about the main characters; they’re both good protagonists for this story as others have said. There sure are some fun side characters, though, which is good because they will be in focus in later volumes. Kaede is your classic Overly Attached Little Sister, though perhaps she has more reason of being so attached given her past. Kunimi is a nice guy friend to support Sakuta (his girlfriend is kind of a jerk, though, to put it nicely). Tomoe is… silly. I mean, it’s one thing to kick a guy because you misunderstood when he was helping a kid, but to ask him to kick you back as penance? Definitely an amusing first impression. And Rio provides the scientific info dumps and assistance with figuring the whole “Adolescent Syndrome” out, and I do like these sorts of “professor” characters like her.

Twwk: Aside from the mains, I definitely found myself liking Tomoe. As stardf29 notes…so silly. What an unusual introduction!

8. What do you think of how the story uses the idea of “Adolescent Syndrome” in general, and the concept of Schrödinger’s cat in this volume?

Twwk: It confused me—though that’s not the novelist’s fault. I thought Adolescent Syndrome was a referrence to being a chuunibyou, as if these occurrences were chuunibyou come to life. But I later gathered that the syndrome is actually completely made up for this series. I do think that using this invented syndrome though, along with the use science elements, weakens the story. Before the discussion above comparing the series to Monogatari, it was more The Melancholy of Haruhi Suzumiya that I was most reminded of. That series—and Monogatari as well—uses the supernatural in a way that makes the science fiction possible, and thus veers it toward a direction where the novel doesn’t much have to explain its science. But here, it feels like we’re supposed to accept the science presented, and that’s problematic because it’s not written particularly well. It feels like the writer did about an hour of research and just went with it, which is fine if your story involves espers and goddesses along with aliens and time travelers, but not when Sakuta turns to Rio for “hard science” advice. If the author just forgot the science angle and say, made Rio into some other type of character (she doesn’t particularly seem a good scientist as she is, by the way, guzzling coffee from beakers), I would have more readily accepted Schrödinger’s cat as an idea just put forward by an adolescent, and it would work in this supernatural environment.

stardf29: I actually liked the usage of Schrödinger’s cat in the story; maybe I’m just more interested in science overall, but I thought the reflection of this bit of quantum mechanics into real-world phenomenon was done pretty well. It’s not so much science working in weird ways to me as it is some kind of supernatural force that has “hijacked” scientific concepts. In that sense it does make me curious as to what this whole “Adolescent Syndrome” actually is, and if we’ll learn more about where it comes from.

RyanDH: So well said stardf29, I agree 100%. A supernatural force “hijacking” science is exactly the vibe I got from that portion of the book, and that theme definitely carried over into the second book as well. I believe our intrinsic need to understand and classify the world and wrap up all of these findings into what we call “science” can leave us with certain biases when we experience something so out of the ordinary

Twwk: So you both like how science is woven into the plot? “Hijacking” science is an interesting way of seeing it, but it’s use in this novel remains a wall for me. When you allow your work to enter the realm of science fiction, it needs to feature a sense of realism related to that science, and somehow talking science without letting it guide the principles of the story feels like a cheap plot device, like, “Let’s throw science in this story to make it distinct! One of the girls can even be a science nerd!” But perhaps that’s just coming from someone with way too much bias for sci-fi novels.

stardf29: Maybe likewise because I’m more of a fantasy person, I can think of this more as “the fantasy-zation of science” rather than science in and of itself?

Closet0taku: I’m fine with the scientific parallels to quantum theory and relativity, and in particular the theories of observation (which go beyond physics and into philosophy) that give rise to Mai’s manifestation of the syndrome.

9. How much can you relate to the struggles that Sakuta or Mai go through?

Twwk: Related to the question earlier about their relationship, I like “watching” Sakuta and Mai. They have a fun report. I don’t necessarily relate to them because I find them a bit idealized—Sakuta is a little too self-aware, confident, and strong, and is too easily able to charm Mai, who on the other hand is walking wish fulfillment—though if I had to pick one, I find her more relateable in the sense that she’s struggling under a weight that she doesn’t necessarily need to carry, but still is unable to lift off herself. I don’t think that’s unusual for people to experience, especially when you’re a teenager.

stardf29: I think what I relate to most, moreso than the characters’ Adolescent Syndrome-related issues, is the whole idea that there’s some kind of “atmosphere” within a certain group (like the students at a school) and how people will get looked down upon for trying to ruin that atmosphere by doing something that “stands out.” That is definitely something that I feel is stifling about socializing, and Sakuta breaking past that to confess his love for Mai was a great “ruin the atmosphere” moment in the book.

Closet0taku: I don’t know that I can relate to their particular struggles, as I think high schools in the U.S. are somewhat less focused on the “atmosphere” and the impenetrable cliques that form. I won’t say it’s unique to Japan, but it is certainly endorsed by its culture.

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Thanks for reading, and special thanks to everyone who participated in the discussion! I would love for future discussions to also have readers like you joining in, so if you are interested, join our Discord server and check out the Light Novel Club channels! You can also join to peek in on our discussions live, to make sure you don’t miss anything we talk about.

For March 2021, we will be reading Tearmoon Empire, Vol. 3! Our discussion will begin on March 20th. We will also be announcing our April 2021 title on the Discord soon!

#Light Novels #Rascal Does Not Dream of Bunny Girl Senpai #Seishun Buta Yarou wa Bunny Girl Senpai no Yume wo Minai #J Novel Club #Discord #BtT Light Novel Club #Articles #Author: stardf29 #Author: Firefox789 #Author: Closet0taku #Author: RyanDH #Author: TWWK #Author: Bambibethy

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shinygoku · 3 years

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Thunderbirds (2004)

A review by me, CutCat! This is 8-ish pages long!

Spoiler for the end of the film warning: Alan is in International Rescue. What a twist!

Totally Turbulent

Soooo, Tbirds ‘04 is one of those Infamous Adaptations, at least among those who enjoyed Thunderbirds (’65) and of more recent times, Thunderbirds are Go (’15). It’s one of those Bad Live Action Adaptations to a near sacred property, making it dubious contemporaries with Dragon Ball [Evolution], Avatar [The Last Airbender] and suchlike.

But wait, is it really That Bad?? Why is it as divisive as it is? What caused the film to be the way it is, and quite unpopular at that?

First I’m gonna make a long story very short by saying that a Live Action Thunderbirds movie was on and off production for many years, and that the script we ended up with is apparently better than another one that was pitched... but there are reports of cooler scripts further back that never made it, for various reasons. It’s almost a story of it’s own right but I’m only going by 2nd hand information at best, so I’d rather just link them at the end for Additional Reading if y’all felt so inclined.

With that out of the way, we have the Takes from the Andersons to look at. Sylvia had a very favourable reception to it:

"I felt that I'd been on a wonderful Thunderbirds adventure. You, the fans, will I'm sure, appreciate the sensitive adaptation and I'm personally thrilled that the production team have paid us the great compliment of bringing to life our original concept for the big screen. If we had made it ourselves (and we have had over 30 years to do it!) we could not have improved on this new version. It is a great tribute to the original creative team who inspired the movie all those years ago. It was a personal thrill for me to see my characters come to life on the big screen."

Whereas Gerry had a considerably blunter response at the opposite end of the scale:

"the biggest load of crap I have ever seen in my entire life."

As for me, a mere fan of predominantly the TAG series with limited but fond memories of the 90’s TOS reruns, I’d been inclined to ignore it and write it off as a DBE or TLA lost cause. But the combined effect of me deciding to check out unpopular media for myself, namely Dragon Ball GT and the live action Super Mario Bros. movie, and thoroughly enjoying both; and the other effect of TAG finishing but my fixation reawakening with the need to consume More, I dived deeper into the fan base than I had dared to before, in which I found more reasons to watch it and make up my own mind fairly.

Find out what I thought, and a review of the movie itself, below the Cut! ✂

Stormy Story

Ok, enough teasing, I see good things in the movie but not enough for it to be a secret masterpiece, not by a long shot.

1/3 Stars from Me. That’s Poor. (Compare with 2/3 being Good, and 3/3 being Excellent)

My main beef is unfortunately kinda the crux of the whole story, so while there were aspects I really liked, it had permanently set the bar low, and other issues were not helping matters. I’ll go into the problems after I sum up the plot.

[sitcom harp music]

14 Year Old Alan Tracy is stuck in a stuffy school with only his nerd friend to confide in. Something’s eating him up, and it’s jealousy over how his family are International Rescue, the secret rescue workers whole pilot the Thunderbirds, impossibly cool craft with capabilities vastly exceeding standard technology. Even when he’s allowed out of school and back to the Island, his envy and barely repressed resentment over not being a member himself causes him to go off and sulk and to try taking Thunderbird 1, the hypersonic jet plane, for a joyride.

His father and the leader of International Rescue, Jeff Tracy chews Alan out for almost compromising the need for the organisation to remain secret, lest their advanced technology falling into the wrong hands. Alas, said wrong hands are already working against IR: The Hood, a diabolical, cold blooded criminal with psychic powers and a grudge against Jeff. After successfully tracking the location of Tracy Island, he launches a missile towards Thunderbird 5, the Space Station where IR monitor potential disasters to prevent as much damage as possible, manned by John Tracy.

With TB5 crippled and John injured, Jeff and his other three older sons all scramble to the disaster zone via Thunderbird 3, the Rocket Ship. But with Tracy Island largely unmanned, The Hood moves in and aims to use the Thunderbirds to rob bank vaults while simultaneously smearing International Rescue’s good name. As the only Tracy brother left on Earth, it’s up to Alan and his 2 friends, Fermat and Tin-Tin, to foil the Hood and save his family, proving himself worthy in the process. He is also assisted by IR’s London Agent, Lady Penelope, and her driver/butler/lockpicker, Parker.

...

Ok, so that’s a summary you may read on the back of a DVD box, maybe it’s a bit long but whatever. Do you see what’s wrong with the story? The massive rift in the formula that should be within a template set by the hugely popular TV Series?

Critical Crux

For me, the main issue with the movie is that the Tracy family are thrown under a bus, or perhaps it’s more like being locked in a closet, in order for Alan to rise up and be The Hero. A show that was about each of them having different roles and personalities to the others, and the movie sees the best way to adapt the premise is to reduce 3 of them to cardboard cutouts who aren’t allowed to do or say anything meaningful, with the exception to this getting the dubious honour of getting a missile and exploding space station to the face.

I can’t clearly express how much this pisses me off! It’s downright insulting and baffling as well. They had pre established characters right there for the taking but go NO! Let’s make OCs to fill this newly created void instead and make the main Message of the film Friendship Teamwork.

Why does every child-skewed media hafta have the Friendship message? It’s a good one, sure, but nothing said in this film about it was fresh or original. Y’know what I see far, far less? Not just in Kid Flavoured Media, but all sorts? The importance of Brotherly Bonds between actual brothers!! I don’t subscribe to the massively misunderstood message version of ‘Blood is thicker than water’, but a story with the siblings actually pushed and stressed and coming out stronger at the end would have ruled!!

[For what it’s worth, the actual saying is “The blood of the covenant is thicker than the water of the womb”, i.e. the bonds you choose to forge are more important than happening to be born to certain people. This correct message is still compatible with literal siblings though!]

The other, somewhat lesser Large Issue with the movie is simply that we don’t see much in the way of Rescues with the titular Thunderbirds. We only get the tail end of the Oil Rig in Act 1, and then the ‘Birds are used predominantly to get to London and save 1 Monorail Car with TB4.

Watsonian Woes & Doylist Dilemma

When looking at Media, there’s 2 main angles to consider; Doylist and Watsonian. Doylist is the “real life / meta” angle, the structure of the story or interests of the author being in the plot, that kinda thing. Watsonian is the reason given within the story.

All stories have Watsonian and Doylist reasonings, the trick is to blend them in and not use a weedy Watsonian reason for something stupid happening.

Why bring this up? Because it’s still part of the Huge Problem I have with the film; the Doylist reason for all of IR being incapacitated so easily is so Alan can shine without fighting for focus in a large group. I don’t like it, but let’s go along with it for now.

Believe it or not, but I can accept that a Movie format isn’t going to be the same as an ongoing series. There’s way less time and you gotta hit certain beats. Ideally you also condense the essence of the show into the film while being more than just a long episode. They didn’t hit this note in my opinion...

But other than ‘It has to happen for he story to work’, there’s no damn reason for all the Non-Alan Tracys to be cooped up in the crippled TB5! They put all their eggs into one basket when a considerably more sensible choice woulda been to have a small crew, and the others remain on base. Because even without factoring in a worst case scenario where another missile hits them while in space, killing them all, which totally could have happened for all they know, there’s also the part about them being International Rescue! They gotta be ready to respond to other disasters should those develop. TB1, 2 and 4 were still available for use!

If I was Jeff making the boneheaded decision, I would have taken a second to think about it and have 1 of the Bros come up in 3 with me. Seeing to John shouldn’t be something 4 people are needed for, it would just get more crowded and the oxygen would be used way faster! Considering they all come close to asphyxiating, 2 less people would mean things weren’t so damn close to the wire! (Granted, the movie also has them falling into Earth’s atmosphere and burning up as a hazard, but the whole crew being there doesn’t affect that.)

Jeff! You’re the patriarch and supposedly most experienced dude in the whole movie! Why didja run into that trap with both eyes open? Stressful situation, sure, but in the Rescue Business you need to be able to listen to the cold, clinical angle. You’re risking more of your sons’ lives making such a rash judgement!!

Character Conundrums

This is the part of the review where I begin to really emphasise the differences between TOS and this movie. I’ll hold off TAG for now in the interest of fairness.

The movie is a mixed bag when it comes to the individuals within it. Some have been refreshing updates to stuffy 60′s tropes, but several draw the short straw, feeling even stiffer than their marionette precursors.

Alan - Hoo, boy. The plot follows Alan.... for the third time if you’re factoring in the Supermarionation movies, which was quite the baffling choice as Puppet!Alan is quite the obnoxious jerk. But whatever, new movie, new canon, new Alan. While the Alan of the 60′s was a bizarrely whiny brat of a character considering he was supposed to at least be in his early 20′s this Alan at least makes more sense to be annoying. But yes, he starts off as a sullen jerk with unclearly defined jealousy towards his own brothers and seemingly a lack of grasping the stakes behind International Rescue, viewing being one of the crew as a Cool Job rather than a gruelling, life-risking ordeal. Over the course of the movie (mostly Act 3) he becomes less of a berk and a better team player, even going as far as to save the Hood personally.

Jeff - One of the stronger characters in the movie, even with this poor choice I’ve gone on about already, haha. You get the real impression the job means the world to him, but still secondary to his sons. An update and improvement to the sometimes stodgy and holier-than-thou character from the 60′s, plus his proactive role makes him way less of a backseat driver.

Lady Penelope - Best character and a splendid update to the 60′s Socialite. This Penny is always a delight to see, although her ability to change clothes offscreen sometimes pushes plausibility, haha. She and Jeff also have very natural and endearing chemistry, so for this iteration at least, I’m up for shipping them, something I can’t say for TOS.

Parker - Remarkably true to the beloved puppet version and another highlight. His interplay with Penelope is some of the best dialogue in the whole movie, and was written by Richard Curtis in an uncredited role, or so I’ve read.

The Hood - A shockingly sadistic and cold blooded so-and-so. His Psychic powers have been given a huge boost, and the depths of his spite generates all the tense scenes the movie has to offer. His performance may be the best in the whole film, simultaneously over the top while also completely deadly.

Tin-Tin - Y’know, Tin-Tin is a funny character, in how she’s very different in all versions. I enjoy her in TOS, but her potential as an engineering assistant, mathematician and member of IR are quickly discarded to make her a secretary, which is further demoted to bringing coffee. Ahh, The Sixties! One of her other defining features was the sometimes bickering sexual tension with Alan. Movie!Tin-Tin is still the implied love interest [and the same age] with him, but she’s also an Action Girl extraordinaire, with abilities bordering on metahuman. She can trek through the jungle without slowing down, she can dive underwater for prolonged sequences, and has a variation of her Evil Uncle’s Psychic capabilities, but used for good. Notably, the Kayo of TAG takes significantly more from this Tin-Tin to the original, sadly sans Telekinesis.

Fermat - The only OC I’m gonna dignify with a section here lol. He’s basically mini-Brains, complete with the way he t-ta-tal- -distinctive speech patterns. But yeah, as the hypersmart and nerdy pal, I feel that his role is pretty superfluous, though his performance in the movie got me to soften up, he’s a good kid. Just one who, like, is part of the deal breaking issue I have with the whole film. In a way I think he’d have made a better lead than Alan lmao

Brains - Not much to say here, he’s also a dude in distress for a majority of his screentime. Seems to be older than his TOS self and a bit less subservient to Jeff, but also a father ....or Fermat is his clone. They never make that clear. He’s hit on by the Hood’s Female Scientist and it’s played for comedy, more on that later.

John - In TOS, his role was infamously minimal, as Gerry Anderson took such a strong disliking to the John puppet and the TB5 model that he exiled both into space with a few token shots per episode. So in comparison, this movie is far kinder to John! He has a nice, genuine chat with Jeff, without any mission to initiate said videocall. The movie is also quite mean to John in how he gets bombed by the Hood, his space station in tatters, his arm hurt and then near suffocation with Jeff and most of his brothers. Ahh, the conundrum of being John.

Scott, Virgil and Gordon - No, they don’t even get their own paragraphs in my review. Their lack of presence and importance in the movie is my giant gripe (have you noticed yet?) and it got to the extent that I feel they could have been combined into one character to save casting money. They get maybe 5 lines each, if that. I literally can’t tell Scott and Virgil apart (I know they have name tags on their uniforms, but in most scenes I couldn’t even read that) other than knowing 1 of them is taller. Which that one is, is a mystery.

The only one with a slightly distinctive appearance and air is Gordon, which is another can of worms because he seems to be the designated Doubtful Jerk Brother and that drives me mad!! In TOS he wasn’t as main a character as Scott, Virgil or Alan, but he was still a defined person with his own abilities. And his personality was as a slightly mouthy but the most lighthearted character! Why didn’t they carry that over?!

And yeah, Scott and Virgil are pretty much the Main Two of the brothers in TOS, so their roles being reduced to 1 token act during the oil rig rescue each [Gordon didn’t even get that!] is all the more mind boggling.

Hood’s Minions - Can’t be assed to write their names out, I refer to them as Heavy Dude and Science Woman. Heavy Dude is the Heavy, and his character consists of Dumb and somewhat Sadistic Muscle. Science Woman is first objectified (we see her ass first. Yes, really.) but then it’s ‘revealed’ that as she has Austin Powers level teeth, she’s uuuuuglyyyyy and her otherwise genuine attraction towards Brains is played for laughs with this angle. And that’s still female on male sexual harassment, which doesn’t fly with me. Eeeesh. Bad writing! She does Science Things for Hood.

The Rest - Kyrano and his wife are in this. Wife is Original but basically Grandma’s role, though she doesn’t even get a single word to say. Rip. Also the Hood has a few more generic mooks from somewhere, but seemingly only for part of the movie. Kyrano didn’t do much in the show except get bullied by the Hood and little has changed.

Tone Trouble

I feel like the movie has a bit of an issue with balancing a consistent Tone. Again, let’s look back at TOS. It was a Family Show, designed to not just appeal to little kids, but to also keep their parent and other adult amused. Maybe some of it was also the result of the times, but striking to me is that they allowed the characters to get pretty hurt, complete with red paint being applied to look like realistic blood. Some of the criminals, including the Hood himself, would be very vicious, how he treats Brains in Desperate Intruder comes to mind. There was even firefights resulting in death, like the memorable climax of Operation Crash-Dive, where Gordon has to shoot a saboteur in the back, into the open sea below the compromised plane. He then proceeds to hold the cut wires together with his bare hands. Don’t try this at home, kids!

So while I can understand some of that being removed from the Movie (and TAG), there’s still the irritating going down to a perceived kid’s level for the majority of the film, which is probably also a large reason for the massive structural change. But then, there’s shockingly dark implications here and there, and the haunting sight of the crew trapped on TB5 floating lifelessly in the dark, asphyxiating. But then, again, we have goofy choreographed fight scenes with juvenile stock cartoon sounds. And then, we have Hood force choking Alan?! It has been mostly consistent until Act 3, then the tone goes up and down more than the flying machines.

Revamped Rockets

I’m mostly talking about the main craft here, though I know the Pod vehicles got modified too, I’m not sufficiently a TOS Pod Buff to go over them.

TB1 - Looks real nice! Maintains and even enhances the sleekness, and the idea of a glass cockpit is much better than having 1 tiny window and a dinky TV screen to see by. Oddly dark inside the cockpit considering how much glass there is, though. Probably my fav of the Movie Fleet.

TB2 - Oof. Looks bad, man. Like, really ugly. What have they done to the glorious design that was the Original Big Green? The unofficial mascot from her importance and unorthodox style? They turned her into a stubby, too glossy, chunky bar of green soap. The thick ass legs are a good idea but it sure ain’t enough. Also, she carries 3 smaller pods insteada 1 big one.

TB3 - Like TB1, pretty much the same design but streamlined a little. Docks with 5 sidewise instead of like pen going into its lid.

TB4 - I’m mixed. I like the idea of giving her a glass canopy and extendable arms, but the movie’s version is so boxy she looks more like a small yellow Greenhouse with the rear half of the old Four, haha. The arms also look a little stiff, can they bend? Now, if there was a sleek, glass hulled, variable armed, demolition charges-loaded Four, that would be my favourite possible version ;3 Four is my fav craft in TOS and TAG, for what it’s worth.

TB5 - I say it’s quite a visual improvement over TOS and the odds and ends jumbled look that had, though I do appreciate a bit of Chunkiness. This one really needs to have better defence too, TOS 5 may’ve been able to tank that missile lmao

FAB1 - I know that she would have been a Rolls Royce in the film, but BMW said no, so that’s not a point against the movie. And failing the classic image, it’s cute that it’s a Ford Thunderbird, though I’d have preferred one with those 50′s/60′s stylish fins personally lol. Her ability to fly is new here unless you count the Dream Sequence in Are Go (’66) and the water mode was also seen in that before this, and she gets the job done, though we don’t get to see as many gadgets and gizmos in the course of the film.

Unlikely Uniforms

I really don’t understand these. Why are they off white with minimal accent colours? What was wrong with the blueness of their suits and the broad stripe of a secondary colour? I sure ain’t saying the 60’s costumes were practical or even that fashionable, but they were very distinctive and striking!

Not only that, but for some strange unexplained reason, their uniforms all correspond not to their own speciality, but to which craft they’re currently piloting. Even if they’re all in the same Bird...! So like, four out of five are wearing identical looking red accented suits while locked in TB5. I already find the elder brothers to be the Similar Squad, and their microscopic name tags don’t help!

Why don’t they wear their own coloured uniforms all the time? Then ya don’t need the name tag at all! And the silly implication from the way there’s apparently a whole set of Craft Specific uniforms is that there’s piles of clothes that ain’t getting used in all of them, like the tiny TB4 probably having 6 whole sets on board at the end of the film.

Between that, no blue and the outfits looking like Generic Sports Wear, the only nice thing to say is the THUNDERBIRDS down the sleeve is a cool touch. Which should really say International Rescue or IR...

Mingled Misc.

Yeah, The conflation of Thunderbirds and International Rescue is a tad irritating but it’s actually something I can overlook. It’s not a dealbreaker and it makes sense the Dumbass Public would misunderstand and call them the wrong thing.

Jeff refuses Alan early access into IR and cites “No shortcuts”. Then at the end he echoes this when he is making Alan an official member, saying he did it with no shortcuts. The whole faffing scenario was a giant shortcut!!! Fuck training and being a suitable age, am I right?!

Amazingly I didn’t cover this already, but when Alan shortcuts his way onto the team he’s made pilot of ... TB4. That’s why he’s in yellow accents in the pic. Gordon is seemingly the main pilot of TB3 instead, but the movie doesn’t deign to make that clear. While I appreciate that the 14 year old with no Astronaut training isn’t put in charge of 3 instantly, I resent the careless removal of characterisation. Obviously movie Gordon never served with WASP or won the gold medal in swimming or had a massive hydrofoil crash to nearly kill him but ggggghgggaaahhhhhhhhh

Also what’s with the implication that Four is the Babby’s First Machine? She’s a highly specialised craft that would require different training to flying or Space shit! How dare you?! The most charitable link is that Alan stood around in 4 as Tin-Tin did most of the work herself, but I guess it coulda as some level of experience.

Ford Sponsorship - Gets a bit much! It’s one thing for all the cars to be Ford, but them seemingly owning the News is like an unpleasant look into a world where corporations run everything.... hahahaahaaaaaa........

Marvellous Music

Something the movie really excells at is the tunes! The remix of the Thunderbirds March is good in it’s own right and very welcome, and the new music is all solid. Special mention to Busted’s outro song for slapping so hard even people who hate the movie leave warm youtube comments about the song. I have a habit of listening to it set to TAG footage myself, haha

Sincere Summation

Look, I’ve come off negative in this, but I honestly have a lot of respect for a lot of the parts of this picture. Hood, Penelope, Parker and Jeff are fantastic, the physical models and sets have a lot of care and loving detail poured in, the music is all bangers and other little nods and homages to the show shine brightly. The director got a lot of good work in and I hold him no ill will.

I think the problem is in the Writing and probably Studio Mandates, I’m not 100% sure, but things often get snaggy when the studio you’re working under gets bought out by a bigger company partway through. Again, I’ll refer to the info I’ve seen instead of trying to relay it in my own words.

And they made a real bad call snubbing Gerry as a Creative Consultant. Some of his venom towards the film may be from that, as well as his alleged preference to Team America: World Police as a theatrical homage. And I’ve seen that before and wouldn’t really say that’s true to the spirit of Thunderbirds, but yeah...

I’d be interested in any future Thunderbirds Movies, if that’s ever on the cards again. I’d probably be even more up for continuation of the TAG series, or newer new Captain Scarlet with International Rescue involved. Either way, I want new footage of the Birds taking off again, be it puppet, people, CGI, or something new~

Extra Reading

https://securityhazard.net/2017/05/19/thunderbirds-2004/ Full movie review, warm reception. Contains photos of set pieces and costumes.

http://groovyfokker.blogspot.com/2013/02/thunderbirds-arent-go-unfilmed-versions.html Insight into some of the past issues developing a Movie, but gets some basic information wrong (Since when is Gordon the youngest and TB3 orange??)

Thanks if ya’ve been reading the whole thing! <3

#Thunderbirds 2004 #Thunderbirds #Thunderbirds TOS #Thunderbirds Movie #Movie Review #can't really tag it with TAG because I deliberately kept that minimal lol #I care so much about Tbirds so I had much to say #I hope the links don't mess up it appearing in the tags :v

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animatedminds · 4 years

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Scoob! Review

Apologies: I watched the movie two weeks ago, but forgot to write this because I was so busy doing the Dragonball FighterZ thing. But, with that out of the way...

An interesting ride. As a longtime Scooby Doo fan, it was pretty much a given that I would watch this installment by the Warner Animation Group as soon as possible, and I had a pretty good time - albeit with some issue. It’s a fun Scooby adventure, mostly focusing on Scooby and Shaggy, as they go on a new kind of adventure. It’s full of fun references, super charmingly animated action scenes, and lots of humor that actually nails the characters’ goofball antics without diminishing them as the butt of the joke - which is something the previous theatrical series was hit or miss about - which which is also hampered by the fact that it doesn’t really give itself enough time or space to really make any of those things shine.

Spoilers, but only a couple.

The first thing we ever heard about this movie years ago was that it was conceived as a dramatic retool of Scooby Doo into a out-and-out spy series, in order to set up a Hanna Barbera cinematic universe a la the MCU (which, given that they already had a shared universe they could adapt in Future Quest, hit a little hard), giving the impression that Scooby was going to be a pastiche of James Bond. It’s very obvious from the finished product that this concept was since heavily changed, but you still see it in the film. The gang is still the same-old gang - a bunch of kooky teen mystery solvers - but plotwise it’s very much “what if instead of solving a mystery, the gang just fought a supervillain?” Which, let’s be clear, is not unheard of for the franchise: see Scooby Doo and the Cyber Chase for another story that’s mostly just “fight a cool bad guy, with a tacked on mystery,” or the other Shaggy and Scooby-centric stuff like Ghoul School or Reluctant Werewolf for other movies that just plain eschew their usual setting entirely - this is a lot like those. It’s centered around the two characters’ relationship, like pretty much every theatrical Scooby release it seems, as this new challenge almost breaks their union, and the group as usual does very well in that kind of action. Faced with an army of dimwitted robots that can go from silly to terrifying multiple times in the same scene, Scoob and Shag’s typical mix of silly bumbling with surprisingly - and destructively - clever antics make for some great scenes, my favorite being a madcap chase through an amusement park that ends with them getting away on a ferris wheel that’s been knocked of its hinges.

This is very much a movie that wants to be a Hanna Barbera crossover, but is trying hard to restrain itself. As a kid Shaggy was a fan of the Impossibles (who, iirc, were once intended to get a movie as part of this universe) with models and posters that the camera never completely focuses on, you see Laff-a-Lympics on an arcade machine, references to classic Scooby writers and actors as location names (I laughed at Messick Mountain, and the Takamoto Bowl outright went over my head at first), even little things like Scooby bowling like Fred Flintstone or the blink and you’ll miss it appearance of Yankee Doodle Pigeon - and yes, Captain Caveman shows up, fully voiced by Tracy Morgan and kicking butt for a very short scene, with one of his show’s supporting characters (Dee Dee Skyes) as a prominent in this movie’s plot. There’s even musical references in addition to visible ones: at one point, the movie even orchestrates one of the classic bits of Scooby Doo background music. I was hoping for a reference to the classic Scooby Doo / Blue Falcon theme, but alas that was one nod we didn’t get.

However, this approach does work especially well with Blue Falcon - who was originally built up through Scooby Doo, sharing a timeslot, advertisement and technically a theme song, and in time has more or less become to Scooby Doo what Donkey Kong is to Mario: technically a supporting character, but able to do his own stuff every once in a while. There have been several Blue Falcon Scooby Doo crossovers in the last few years (though in terms of sheer number of references this movie’s got nothing on Mask of the Blue Falcon), and they’ve all been very fun as each show, movie or comic reinterpreted the character to fit their specific world - and this movie’s novice Blue Falcon who is kind of an egoistical loser, but turns out to have a lot to learn even from Scooby and Shaggy’s brand of cowardly bravery, grows on you even if he has kind of a rough initial landing.

Unfortunately, this is also a movie that very much wants that rigid hour and a half timeslot, and has absolutely no interest in a going a second longer - and that’s where it’s problems come in. I’ve said before that animated films have become more and more written with expediency in mind: plot points are rushed, denouements are minimized, side or even main characters might not get much utilization, and sometimes things come of as just kind of happening to the protagonists without much set-up. Even the best or the best animation companies fall into these traps at times, and this movie is a good example of what it looks like if you fall into that too much. Take the Scooby gang - Velma, Daphne, and Fred. They’re not really fleshed out that much in this movie, even if they were tweaked a bit with their new VAs - but that’s not necessarily a problem in itself, given the heavy focus on Scooby and Shaggy. What’s more noticeable is where this intersects the plot: for example - one of the better examples of what I’m talking about - the scene that kicks off the whole story. Fred, Velma and Daphne want to expand Mystery Inc, and call Simon Cowell to invest in them. Cowell decides Scooby and Shaggy are incompetent because reasons, and the two storm off. This is later framed as the gang abandoning the duo, that’s not really what happens. Once Cowell hits the scene, beyond one or two lines the rest of the gang essentially ceases to exist, and barely reacts to anything: there’s no moments with them where they seem to buy into what Cowell is saying, there’s nothing beforehand that implies that they’re dissatisfied with Scooby and Shaggy, there’s isn’t even really a status quo for what their dynamic is like. We cut straight from them meeting as kids to them having a supposed fight as adults - this is something that wouldn’t have taken a lot of time, but would have strengthened pretty much everything, from Scooby and Shaggy’s reaction to the trio’s guilt later, but is skipped over entirely. The others get very little beyond being summed up as “the muscle” (Fred), “the face” (Daphne) and “the brains” (Velma), and it feels less like expediency and more like we missed a scene somewhere.

Granted, this particular thing also runs a unique problem that the Scooby gang face. As characters who just turned fifty and who are well entrenched in pop culture, adaptations often assume you know who they already - and this movie definitely assumes you can do its work for it and establish a baseline for the Scooby gang on your own... and on that front, I suppose it does better than the previous film series, which based a lot of its humor on fandom in-jokes they poorly assumed everyone agreed with. But... there’s a degree to which every film needs to establish a baseline for that it itself to trying to do, and I think skipping this hurt the film more than it should have. And it’s hardly the only point where the need for speed cuts out the flow of the film. Scooby and Shaggy get abducted by Blue Falcon, whose assistant then promptly exposits on everything the audience doesn’t know yet about the plot so that they can just skip straight to more action - basically setting up a question and then answering it immediately without set-up. This essentially robs Dick Dastardy - definitely the best thing about the movie - of a strong introduction, in favor of, again, expediency, and it’s kind of baffling given that there’s later scenes where the rest follows the mystery and so repeats that exposition anyway. I mentioned that Blue Falcon himself got a rough initial landing, and that’s because his intro scene is just a lot of new element popping in with exposition, interspersed with pop culture references - and that exposition just stops the whole thing cold for a while. We hit again the “expects you to know” angle with Falcon himself, who is a legacy character of the original Falcon - who we never see, which raises the question of why they bothered to make him a legacy and not just a novice hero in the first place. I’ve always been a strong believer that you can introduce elements without needless explanation unless who introduce concepts that suggest explanation: Scoob and Shag being a fan of the original Blue Falcon, Dynomutt constantly reminiscing about him, and there being a full Falcon organization around which the movie pivots, along with lots of reference, suggest the need for at least a little more than we got - even if it’s just a thirty clip of the way Blue Falcon worked before Brian (the new Falcon) came along - but the movie just wants to rush past it. The entire quest on which the plot is centered it halfway through when we first encounter it, and doesn’t get any explanation at all until halfway through the movie. And then there’s little things like Captain Caveman cameo, which just leave you wanting more.

This happens again and again, with plot points, characters, all sorts - things introduced halfway and then brushed past as though they’re not. People don’t expect much from animated movies, and stuff like this is one of the reasons why - this movie feels sometimes like it was written for tv, which is ironic given how it ended up being released. But the movies that were themselves DTV or released to TV, like Shaggy’s Showdown or Legend of the Phantasaur, the aforementioned Mask of the Blue Falcon or - my perosnal favorite - Moon Monster Madness, even tend to not have these problems themselves, because they’re more measured and precise about what they want to introduce and why. It’s great to be childish, as long you do childish well.

But now that the criticism portion of the review is done, I will say that this doesn’t hamper the movie’s desire to be fun and easy to follow, it just makes it not as much so as it clearly could have been. If you wanted more Falcon, or more Scooby and Shaggy, more Mystery Inc shenangians, more Dastardly, more adventure, more of a certain gag or humor, more of really any of the movie’s best points, you weren’t getting them that much because the movie was trying to do all of them all at once. But one the movie starts getting traction, about halfway through, that starts to fade as everything coalesces. All the characters meet, we finally know what the heck is going on, and it’s just a straight shot to the end with lots of what this movie does best: cool visuals, silly characters doing silly things, and brave characters doing brave things. Much as I wish there was more to the Captain Caveman segment, it’s one of the most visually hilarious parts of the movie, with the stark contrast of these hi-tech, modern character colliding with these explicitly more cartoony prehistoric designs and antics, and its just wonderful. Everything about Dick Dastardly’s story is great - though I was wishing for a Penelope Pitstop reference - and he even gets a heartwarming conclusion to the whole thing.

I don’t know where the series is going after this - whether they do indeed intend to make more Hanna Barbera movies in this vein. The credits teased Johnny Quest, Frankenstein Jr, Grape Ape (who according to concept art was supposed to be in this one), Atom Ant, and even a bit of Wacky Races, and it’s clear they have the love for classic Hanna Barbera to make it happen. I just hope that if they do, they go with a series who can expand this in a more concise way, with a little better character introduction. I’ve still got my fingers crossed for Future Quest.

The film is still very recommended by me. I loved it, I watched it twice, and it a heck of a lot of fun even with its hang-ups. If you haven’t seen it, there are worse ways for a parent, a kid, or just a big ol’ child at heart to spend an afternoon.

#scooby doo #scoob #movie review #animation review #shaggy #daphne blake #velma dinkley #fred jones #hanna barbera #warner animation group #blue falcon #dynomutt #dick dastardly #animated film #review #animated minds

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theanarchistfaery · 4 years

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Netflix’ “The Witcher” Season One Review

It has been almost three months since its release so it is long overdue. Here is my opinion on season one of Netflix's „The Witcher“. There will be spoilers for the whole series, as well as the first two books of the Witcher series so ye be warned.

Toss a coin to your Witcher, oh valley of plenty!

Someone who has read the books can't help but compare the series to them and some will easily judge the adaptation based on how faithful it is. But a novel or short story is not the same thing as a screenplay. A 100% depiction of a book isn't possible in most cases, because a TV show is a different medium that communicates with its audience in a completely different way.

It also has a limited runtime, so it is necessary to make some changes.

The important thing is to extract the essential information from the source material and to find the best possible way to bring that information onto the screen. This review, while of course comparing the series to the books, is not about faithfulness.

It rather is about how well Netflix's „The Witcher“ catches the essence of Andrzej Sapkowski's book series.

The season is an adapation of the first two books „The Last Wish“ and „Sword of Destiny“ which consist of short stories surrounding the witcher Geralt of Rivia, while also establishing the world in which they take place, as well as setting up characters who play important roles in the following books.

Geralt, like all witchers, is a professional monster hunter with special physical and magical abilities. Ciri, daughter of Pavetta and granddaughter of Queen Calanthe of Cintra was promised to him as a contribution due to the Law of Surprise, which allows a witcher to take anything the person who hired him posesses, but did not expect. Years later, Cintra is being attacked by the Empire of Nilfgaard. The city is being destroyed but Ciri manages to escape.

We also learn how Geralt gets his infamous nickname „Butcher of Blaviken“, how he meets the bard Jaskier („Dandelion“ in the books) and a lot of backstory for Geralt's love interest,Yennefer.

After being heavily wounded by a bunch of ghouls, Geralt gets saved by a merchant who brings him to his home, where he finally finds Ciri.

The casting choices are very good. I like Henry Cavill's portrayal of Geralt. He totally nails the stoic, often grumpy attitude. The light hearted bard Jaskier balances it out, making the two of them the perfect comedic duo. With the overall cast I have no complaints, except the fact that Ciri might be a little too old. But that's a minor pet peeve and it is no rarity that child characters from books get aged up due to possible inappropriate scenes.

Same thing with the special effects. The monsters are very well depicted, though I sometimes had different pictures in mind, especially for the striga and the dragons. Again, a minor pet peeve.

Now I need to talk about the biggest problem the show has: the timeline.

I know this has been discussed a lot, but it is one of the great weak points and I would like to point out what the series in my opinion could have done better.

People who aren't familiar with the source material will have trouble keeping up.

It doesn't really help that Witchers age much slower than regular humans and that Geralt looks the same in every timeline.

Yeah, the show was meant to be something different, something challenging, something that doesn't want to spell everything out for the audience. A noble intention.

But when I google The Witcher I get tons of sites explaining the timeline of the series as a result. To me this is a clear sign that something went wrong.

Take Lord of the Rings – The Two Towers for example. The book consists of two parts of which one describes the complete journey of Aragorn, Legolas and Gimli, while the other one tells us about Frodo, Sam and Gollum. Both parts take place at the same time so it makes complete sense for the film adaptation to switch between the two parts chapter by chapter. But you can point to every scene in the movie, telling exactly where in the book it takes place. It is all well structured and it works. During the Witcher series I missed this kind of structure. Sure, most of the time I could tell which part of the book was adapted but if I hadn't read the books before I probably would have been totally lost.

Geralt is the titular hero but this doesn't mean he always needs to be the protagonist. I would have preferred to see some episodes more dedicated to a specific character's perspective. For example one episode could have told the story of the invasion of Cintra through the eyes of Calanthe, while also telling „A Question of Price“ through flashbacks.

Yennefer's backstory, which is not really discussed in great detail in the books, could have been told in a similar way, slowly revealing the mystery of how she turned from a disfigured young lady with a heart of gold into this enigmatic, beautiful sorceress and what price she paid.

Overall Geralt's story could have been shown chronologically, from his fight with the striga to the events of Blaviken to how he met Jaskier, Yennefer and ultimately Ciri.

And don't get me started on how easy it was for a doppler to go inside the Brokilon and take Ciri from the oh so untrusting dryads. This happened way too fast. Sure, they had a lot of story to tell, but instead of the whole „Geralt is your destiny“ talk which was repeated way too often (WE GET IT! MOVE ON!) her journey could have taken more room and to her relationship with Geralt. When they finally see each other by the end of the last episode they instantly fall into each others arms without having seen each other before and without saying anything. This is supposed to be a dramatic moment but without any former encounter, without chemistry, without even establishing anything other than how it is „destinyᵀᴹ“ it feels forced and it contradicts the title that claims that it needs more than destiny.

It is already confirmed that season two will be much more linear and I am very much looking foreward to it. Maybe they learned a thing or two from their mistakes. Season one hasn't been awful by any means. It could have been a great adaptation but something was missing. Something more, so to speak.

#thewitcherspoilers #thewitcherseries #netflixthewitcher #geralt #ciri #yennefer #jaskier #tissaiadevries #vilgefortz #cintra #calanthe #pavetta #nilfgaard

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rosarios-thoughts-blog · 4 years

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Examining Youth Culture

A character I identify with is Janis Ian from Mean Girls because she was PETTY. We both have the ability to hold a grunge and exact our petty revenge. Although I don’t think I have the dedication Janis has, I found many similarities between her and I.

Janis is creative and smart. She does art and came up with the brilliant plan to ruin Regina George. She’s a caring and loyal friend but a bit of a hot head.

I find these qualities in myself as I consider myself creative.I started learning to sew in an attempt to up-cycle my clothes. I like doing DIY’s and am currently working on my newest project, which consists of me painting a chair, and I am also attempting to interior design my bedroom. I’ve also been told on numerous occasions that I can be a hot head and stubborn. Some people know their flaws in character traits, for me it’s my need for petty revenge. I was raised with three older siblings and one younger one. We all share similar interests and like the same things. If one of us did something we consider fun and exciting, the rest of us would want to try it. This made me develop the mentality that we all have to have the same experience in order to be even. This mentality mutated into the idea that if I was wronged, I needed to get ‘even’ in order for it to be fair. Regina George ruined Janis Ian’s life and in Janis’s eyes in order for her to return to the favor, Janis had to ruin Regina’s life. I had a similar experience to wanting to get revenge on my brother Jeffrey. About a month ago, my mother asked me to pick up her new glasses from Walmart and I obliged. I drove to Walmart, they showed me her glasses and I took them home with me. My brother hard accompanied me on this errand, but he didn’t see my mothers’ glasses. I asked Jeffrey if he wanted to see the glasses on the car ride home and he said he would see them later since he was driving. Jeffrey then asked me “Why? Are they ugly?” And although I didn’t say yes, I didn’t say no either. The next day my mom was struggling to see something, and I asked her why she wasn’t wearing her glasses. Jeffrey then approached us and told my mom “Rosario said your glasses are ugly.” In utter disbelief I literally gasped, and my jaw dropped as he EXPOSED ME. Although an opportunity hasn’t presented itself, I am still waiting pertinently for my revenge. Similar to how Janis waited for an opportunity at revenge when and found it in Regina’s desire to be friends with Cady.

I’ve recently watched films like MID-90’s, KIDS, Mean Girls, The Breakfast Club, and shows like Euphoria, along with Saved By The Bell.

One of the common themes in the stories present is sexual promiscuity among youth. Sexual promiscuity is prevalent in all of the films and shows we watched In the movie Mean Girls, Regina jumped from Aaron to Shane, Aaron jumped from Regina to Cady, Gretchen appeared to have been ghosted by two different boys, Karen Smith even made out with her first cousin.

In the film MID-90’s, Fuck-shit appeared to be a chick magnet the girl Stevie was sexually involved with told him that all her friends wanted to hook up with him. Even 12-year-old Stevie had a short lived sexual relationship. The film KIDS, it was clear that all the kids were very sexually active, especially Ruby who had been with multiple sexual partners. Telly appeared to be just as sexually active since he hunted down girls to sleep with.

In Saved By The Bell, it’s clear that Slater and Zack are good with the ladies. They are both charming and suave. Zack is seen with a new girl in many of the episodes and so is Slater until he finally gets a girlfriend.

In The Breakfast Club, although they don’t talk about sex much, the audience can tell that not having sex is a big deal when John asks if Claire if she is a pristine girl and Clair feels the need to lie. In this case, when John asks Claire if she’s pristine, he’s really asking if she is a virgin.

In Euphoria, all the characters seemed to be extremely sexually active. Rue and Jules get together, Jules and Ana sleep together in New York. Maddy and Nate sleep together and with other people when they are broken up. McKay and Cassie are sexually active almost instantly. These teens appear to be more sexually active than most and go through partners as if they were all in a race to see who could sleep with more people. In reality, teens are just as sexually active and often fall in and out of love easily. I knew girls in high school that had new boyfriends every week.

Another common theme found in these stories is teens trying to fit in.

Mean Girls character Cady does a full 180 on her appearance in order to fit in with her friends, Plastics and otherwise. When Janis tells Cady to work as a spy in Regina’s friend group Cady obliges simply because they are friends. Cady then changed her appearance in order to adapt to the Plastics.

Rue from Euphoria stopped doing drugs in order to remain friends with Jules, who put that condition on their friendship. Zack From Saved By The Bell tells a college girl he is also a college student in the hopes they might date or more.

Claire goes along with everything her friends do even though she hates it because she wants to fit in and remain a popular kid.

In MID-90’s Stevie started smoking in order to fit into his group of skater friends. In KIDS, Jennie participated in drugs when she wasn’t entirely sure she wanted to but was encouraged by a friend to do so.

All these teens had some form of transformation as they struggled to fit into the groups, they desperately wanted to be a part of. The concept of teens struggling to fit in not new or far from the truth. My friend joined her school’s soccer team to fit in because everyone in her neighborhood played soccer. She continued playing for years even though she hated the sport. Her need to be friends with the kids in her neighborhood made her continue playing a sport she despised.

Lastly, a common theme found in these stories are friendship. Although all the characters in each story did fall into some form of peer pressure or struggle to fit in, they did find real friendships.

Cady, Janis, and Damian seem to have a genuine friendship as Janis made a plan to exact revenge for Regina stealing the boy that Cady liked. (plan seen in image below)

Rue and Jules are the type of friends that would do anything for each other. This was made clear when Jules peed in a bottle for Rue to pass a drug test.

The kids at detention in The Breakfast Club created a special bond as they share intimate details of their life.

In MID 90’s Stevie’s friends cared about him they way someone would for their little brother. When the kids got in a car accident, they all stayed at the hospital until they could visit him.

Zack and his friends tried to protect Kelly’s feelings when they found out her boyfriend was cheating on her because they cared about how she would react and feel.

In KIDS, Telly’s Friend let him borrow his parents’ room so that he could have sex with a girl which was something that was really important to him.

Teen' friendships are like their second family. They bond in their common struggles and passion and grow up together. People often say that you won’t remain friends with the people you go to high school with, but I disagree. Although I did not remain friends with everyone I went to high school with, I did remain close with a few that I made my second family. Since we grew up together and share so many memories, we will always have love for each other, and that love began when we became best friends in our teenage years.

I’ve recently noticed that soundtracks can impact a film or tv series by using the music to help guide the audience on how they should feel. Shows and movies use soundtracks to let an audience know when to feel happy, sad, or scared. It can even add some drama with dramatic music. In reality tv shows, producers will often play incredibly dramatic music when two people have even the smallest fight. The music elevates the experience of the viewer, as well as enhances the effect of the emotion they are trying to convey.

In an effort to add a more comedic effect to the film Mean Girls, here are the songs I would add to the soundtrack and why: Mean Girls 1. Regina’s theme song would be the song ‘Obsessed’ by Mariah Carey because everyone in her school was obsessed with her and because she was convinced that Janis Ian was obsessed with her. 2. The plastics theme songs after they ditch Regina and temporarily name Cady the new queen bee would be the song ‘Loyal’ by Chris Brown ft Lil Wayne & Tyga. More specifically the lines “these hoes ain’t loyal” would play every time Karen Smith and Gretchen Wieners appeared on the screen. 3. Cady’s theme song when she looks at Aaron- Come And Get Your Love by Redbone

4. Cady when she gets outed as a spy in Regina’s friend group by Janis in the gym- Everybody plays the fool by The Main Ingredient 5. Cady when she is constantly reminded to join the mathletes- I Forgot that you existed 6. Cady when she saw Regina and Aaron kiss at the Halloween party- I’m Upset by Drake 7. Cady when she first saw Aaron- L-O-V-E by Nat King 8. When Karen Smith does the weather report with her boobs- Rain On Me by Lady Gaga and Ariana Grande

9. Regina five seconds after Aaron dumps her and she moved on with Shane Oman- Thank U, Next 10. After the trust fall scene, where all the gilt’s go to the gym and express their feelings and Janis’s confesses to convincing Cady to infiltrate Regina’s friend group - Look What You Made Me Do

With the playlist i made i think this would make a good “crack” youtube video. I always find those entertaining with their funny captions of scenes and updated soundtrack.

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faneliacosplay · 5 years

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Top 10 of 2018

C2018 was a year is this nicest way I can sum it up. My precious fur-baby passed away after fighting a horrible illness and is in a happier place, my health went crazy (still is as of writing), and I finally broke free from an abusive toxic person who had been controlling me for a huge chunk of my life. Despite the bad things that happened, I want to focus on the good things of 2018. One of things I began doing in January of 2018 was at the end of every week, I would write down all of the good things that happened to me, be it sewing, watched a good movie, spending time with a friend, etc. So without further ado, here’s my Top 10 of 2018! (I CAN’T BELIEVE IT’S ALREADY MARCH!!)

1. The Ancient Magus’ Bride

- I’ve been a lifelong fan of Beauty and the Beast-like stories ever since I watched the classic Disney film. The manga kept popping up in my recommendations for the majority of 2017 and I remember seeing a poster at my local theater for a premiere showing of the first 3 episodes of the then-upcoming anime (I have since regretted not going to this showing). I finally caved and bought the first two volumes of the manga and literally went back to the store two days later and bought the next 2 volumes. I’ve always been a very picky person with my romance be it movie, novel, anime, manga, etc., but this quickly became one of my favorites with it’s excellent world-building, relationships, and don’t even get me started on how gorgeous the animation is! If you want an excellent Beauty & the Beast adaptation, you won’t be disappointed. (I am unashamed of crying happy tears in public while watching the final episode)

2. Satoshi Kon’s Filmography

- My New Year’s resolution was to watch all of the late Satoshi Kon’s works, starting with his debut film Perfect Blue. I had wanted to watch this film for several years, and it did not disappoint. (I kept spamming for people to go and see it when it got a theatrical re-release in Fall 2018) Next was Kon’s final project Paprika, which I watched about 3 times in May and many times over 2018 and still notice something new every time I watch it. Finally, I watched *the* film that I have wanted to watch for many, many years (since 2004 to be exact): Millennium Actress. I was not prepared for how moving this film would be with its themes of the past vs. present, how an ordinary encounter can lead to something so much more, and lastly: love transcends time. If you could only watch one of Satoshi Kon’s works, please choose to watch Millennium Actress. Unfortunately, I wasn’t able to watch Kon’s other two works, but I aim to in 2019 (along with reading his works)

3. Slayers

- I watched some of Slayers back in middle school and in summer 2016, but never took off with it until in 2018. I knew I would like this funny series about the adventures of a fiery sorceress, dumb as a stump swordsman, optimistic hero-in-training, and an overly-serious chimera, but I had no idea it would become one of my top 10 favorite anime series! I haven’t laughed so much with an anime in a while, and I greatly appreciated it since my fur-baby passed away and this was one of the last anime we watched together. There’s just something about 90s fantasy anime that’s just so appealing. I will throw in that while I love the tv series, the films are worth watching too, with The Motion Picture being my favorite. If you need something to cheer you up, I highly recommend Slayers!

4. Venom

- Confession: I did not have high hopes for this movie. I was the only one among my friends who was uninterested in this film whenever we would watch the trailers/promos/etc. Eventually after this movie came out, my friends and best friend convinced me to see it. My sociology buddy told me “This movie wasn’t marketed right! Go see it!!” and another told me “This is the best action rom-com of 2018.” The next day my family asked me if I wanted to see it and Bohemian Rhapsody (also an excellent film) and I said “Sure!” This film has since spawned never-ending jokes between me and my best friend. (I ended up making her a Venom scarf for Christmas!) If you’re trying to get someone to see this film, don’t show them the trailers depicting it as a dark, gritty, action thriller, show them the home video trailer depicting it as a rom-com because that’s exactly what it is. I still can’t believe that a movie about a human falling in love with a man-eating gooey alien is real.

5. The Shape of Water

- “2017 will be remembered as the year men screwed up so badly, women started dating fish.”- Jimmy Kimmel, 2018 Oscars. I’m beginning to see a pattern for stories of humans falling in love with monsters. My mom and I wanted to see this film after the trailer dropped in summer 2017 and were disappointed when the film didn’t play here. However, sometime in February 2018, this film played in our town for one weekend, so we dashed to the theater. I don’t even know where to start with how beautiful this film is and since several people I know still haven’t watched it I’ll just state this: Please watch this film. It earned the 4 Oscars it won. (It earned all 10 it was nominated for!)

6. Spider-Man: Into the Spider-verse

- I almost didn’t see this film. 2018 was a pretty hectic year for me and I didn’t really keep up with films/entertainment news, so I saw no trailers for this film (except for a really short tv ad). All I knew was what my best friend had said: “Brianna, let’s go see Spider-verse. In 3D.” (y’all, 2018 was the year of listening to my best friend) It was so nice not only to see a different Spider-Man, a diverse cast, a well-curated soundtrack, and a completely new style of animation that makes you feel as though you’re reading/watching a comic book??? Sign me up! I’m so happy this film won the Oscar!!

7. Macross Frontier Movies

- I’ve fallen deep into the Macross hole in the past year or two and have no plans of crawling out. The 2008 series Macross Frontier was my first and favorite entry in the series so far. I knew that there were two recap/alternate retelling films made, so when I was free one day I watched them and I was really surprised that I enjoyed them more than the tv series!? I haven’t really mentioned this, but my big problem with the tv series of Frontier was it’s ending being not too good. I don’t want to ruin it since Macross (particularly made after 2001) is a bit unknown in the USA, but I will say that if you want to get into this franchise, start with the Frontier movies or with the iconic Macross: Do you remember love? film. The music is just as good as the tv series, same with the costumes, and the writing is much better! The performance of Northern Cross at the climax of The Wings of Goodbye was really moving. Not “Do you remember love?” moving, but pretty close.

8. Sailor Moon Theatrical Double-Feature

- Everyone who knows me knows that I’ve loved Sailor Moon for pretty much all of my life (ever since the 3rd & 4th seasons aired on Toonami back in the day!) A holiday tradition for me was to watch the 2nd theatrical every Christmas Eve, unfortunately my two VHS tapes finally gave out in 2016. Thanks to Viz Media, this past summer saw theatrical re-releases of all 3 Sailor Moon films. Shockingly, my local theater was showing the films subbed so my mom and I bought our tickets right away. It was so surreal seeing these films that I grew up with on the big screen, and I know non-Sailor Moon fans won’t get this, but hearing/watching the whole “Moon Revenge” sequence in the theater was so intense. This part never got to me as a kid for some weird reason and I had no idea I was crying until my mom pointed it out at the end of the film. With the 2nd film, seeing Luna transform into a human was emotionally moving as always, just 10 times more since it was on the big screen with that nice surround sound system. That night when I got home, I didn’t get any sleep since I still couldn’t believe that this happened. The now 20+ years old Sailor Moon movies got released for the first time in USA theaters. This is an experience I’m going to remember for the rest of my life.

9. Cardcaptor Sakura: Clear Card Arc

- I was so excited when a sequel to Cardcaptor Sakura was announced. Like Sailor Moon, I watched this series as the heavily-edited Cardcaptors on Toonami. When I got older and learned that there was more anime out there besides the ones I saw on TV, I went back and watched Cardcaptor Sakura to get the whole, magical story and even read the manga, which I believe is the greatest children’s manga ever made. I loved every single moment of the new series and felt as though I were watching another episode of the classic series. The only thing that felt different was that the animation is no longer hand-drawn. (it’s still good) When you reboot or make a sequel to a series be it tv, film, or book, sometimes it’ll miss the charm that made it so enjoyable in the first place. Clear Card thankfully still carries the charm its predecessor had.

10. Little Witch Academia

- I had started this anime around holiday 2017 but didn’t finish it until early 2018. This was one of the most optimistic series I’d ever had the pleasure of watching. I don’t want to compare the two, but the inspirational message that Kiki’s Delivery Service gave me when I was 10, was the exact inspirational message you will find in Little Witch Academia. (and that I needed to hear as a 20-year-old) I was starting to get a bit depressed and losing confidence in myself with my science grades getting lower no matter what I tried, as well as other things in my personal life. After dropping Science, I had a long wait between classes, so I decided to start watching Little Witch Academia again. Seeing our protagonist Akko trying her best at flying a broom and failing was me with my science grades, but her determination to get her broom just a few centimeters off the ground was so inspiring to watch. After this I watched the other Studio Trigger works I had yet to see, and while they’re all good in their own way, none of them have left the imprint LWA left on me. Sometimes when I get frustrated or lack confidence in myself, I tell myself Shiny Chariot’s words of wisdom that motivated Akko throughout the series: “Never forget your beautiful dreams. Believing is your magic!!”

#2018 #2018 in review #The Ancient Magus Bride #millennium actress #satoshi kon #slayers anime #lina inverse #venom #the shape of water #into the spider verse #macross frontier #sailor moon #cardcaptor sakura clear card #clear card arc #little witch academia #brianna talks #slayers

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drooliasnott · 5 years

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Return To Dust, My Love

Very recently, the last few evenings of my relaxation time have been spent languorously re-digesting my views as an adult on the Barry Sonnenfeld feature films, The Addams Family (1991) and The Addams Family Values (1993), based on the original characters by artist Charles Addams. Although there have been many adaptations over the years of the distinctly macabre and darkly wonderful family life of the Addams clan, no other cinematic versions grasp the mythology quite like these movies do. And in light of the brand spanking new trailer for the 2019 animated feature, which I admit had caught me completely off guard and a little alarmed, I thought no better time exists than now to delve back into exactly what kind of black magic it is that makes this source material just so enjoyable and unique.

Though the Sonnenfeld films are nearly undeniably the jewel of the franchise, one cannot examine the Addams Family appropriately without appreciation for its origin. The energy and attitude generated at its inception by Charles (Chas) Addams for The New Yorker in the late 30′s feels unique even for the time. At 150 single panels, the original comic was a divisive satire on the modern 20th century family that was not only cheeky and clever, but also at times very beautifully rendered. Chas himself was an enthusiastic if not sometimes obsessive artist, often described as drawing with “a happy vengeance.” The through line of the story continues to this day to be positive relationships found within a family. All this plus a heavy splash of aristocratic dignity thrown into the mix, and The Addams Family has proven from the beginning to be a very distinct and sometimes even delightfully surprising blend of flavors.

Despite the fact that Chas Addams had already well established his characters by the time he came in contact with writer Ray Bradbury, their connection is felt in every further adaptation of the title. While Addams continued to serialize his strip in The New Yorker, Bradbury separately had begun his own endeavor in creating a monster family of sorts, The Elliotts, beginning their narrative with the short story “Homecoming” in 1946. All tales concerning the Elliotts involve the clan slowly gathering together in a mysterious house at the top of a hill, while each short focuses more intimately on the powers of a different, particular family relative. All Elliot stories were later collected in a book, From The Dust Returned, published in 2001, but portions of it have existed in different publications long before then, most notably Bradbury’s famous The October Country. Finding a kinship between them, Addams and Bradbury discussed a potential long-format collaboration, though unfortunately this never came to fruition. However, Addams did supply an original illustration for Bradbury’s “Homecoming”, which is still in use as a dust cover today. The striking resemblance the Elliott House shares with the Addams house is but one of many aesthetic touch points which will last for the rest of the series.

The groundwork for the series was strong enough to launch several adaptations over the subsequent several decades, finding more palatable viewing content in the mostly forgettable and very safe 60′s television show, which was plain enough to get the Addams Family strip banned from The New Yorker for banal taste, until editor William Shawn’s retirement in 1987. Meanwhile, the 70′s offered an explosion of further efforts to market the title to children and average american joes, producing TV specials and animated crossovers to mixed results.

It wasn’t until the 90′s when Orion, who by then had inherited the production rights, decided to begin work on a feature film. With a simple return to the story’s roots, the company assigned first timer Barry Sonnenfeld to direct 1991′s The Addams Family. The process was fraught with setbacks and pitfalls, and when the budget rose too high for the struggling company to justify continuing further, the decision was made to sell the film to Paramount, who finished the production and handled distribution. Though it was also met with mixed reviews, it was commercially successful enough to merit the stranger, longer, and bizarrely even brighter sequel, The Addams Family Values.

Returning to the core of what made the original content special, both 90′s films focused heavily, if not borderline exclusively on matters of familial struggle. However, unlike many of the earlier adaptations, the 90′s films also took great care to place special emphasis on elements of the family which do function well, something which is delightfully counter-intuitive overall. A particular portion of that credit goes to the fantastic casting of the films, the warm and vivacious Raul Julia as the erratic, sensual, and often charmingly innocent Gomez, Anjelica Houston as the ageless, witchy, white-marbled Morticia, Christina Ricci as the irreverent, sharp-witted outlier Wednesday, and Christopher Loyd as the bug-eyed, emotionally un-tethered uncle Fester all make for a very difficult call on whose performance is best above all. Dana Ivey is a delight to hate as Margaret, and Judith Malina is a joy to laugh at as Grandma, but it is really the core cast that shines beyond any previous actors, and it is because of this chemistry that the family relationships can really resonate. Two dynamics in particular stand out as specifically exceptional;

GOMEZ AND MORTICIA ADDAMS

Opposite most long term monogamous relationships portrayed in media, Gomez and Morticia have a sustained romance which continues to burn more and more fiercely as time goes on. However, what makes their marriage unique as a film element is not necessarily their passion (and subsequently very active sex life,) but the equality found present within the marriage. They not only share common interests, (and possibly distant relatives?) but also take into consideration the same moral and social obligations. They value each other’s opinions, and both seek to create situations where the other can live as their best possible self. They are uninhibited in their public declarations of affection, and are adamantly devoted to their children, the family as a whole, and preserving the generations-long Addams way of doing things. They strongly adhere to old traditions, but as a couple they also are surprisingly malleable, attempting to navigate difficulties as a unit, though admittedly Gomez is occasionally a bit less good at doing this.

Gomez and Morticia consistently present a unified front to the Addams clan, and serve as the centerpiece in any scene they inhabit together, even in the very Ray Bradbury-esque gathering of Addamses for Uncle Fester’s surprise party during the finale of The Addams Family. The party is in celebration of Fester, but it is really Gomez and Morticia who serve as the jewels of the scene. It is the strength of their affection on which the emotional crux of the finale swings. What further enhances the succor of this particular relationship again falls to the actors, as time and time again Raul Julia shows a rending vulnerability in the way he portrays Gomez. It seems Gomez is still half-stuck in childhood, or maybe he lives in some tumultuous place inbetween as his innocent heart tet-a-tets with the passionate desires of a man. Morticia in turn seems ageless and timeless, a solid rock on which Gomez can throw his emotions again and again, and it is their intense and unique personality peculiarities that in the end fit them together in perfect harmony. For a family as bizarre as the Addamses, their relationship is healthier than any other relationship found in canon, or in general just in film at large.

WEDNESDAY ADDAMS

An interesting blend of sociopathy, pragmatism, nihilism, isolationism, and just plain attitude exists in tandem inside Wednesday Addams. It would be too basic to call her an outsider, because though she is aware of her differences, she makes no effort to enhance, emphasize, or change them in any way. She differs even from the Addamses in her nuclear family, citing specifically in The Addams Family Values to her dorky crush Joel that if a man were to ever love her unconditionally, to devote his life completely to her, that she would pity him. This seems a direct call-out of her father Gomez, the coldness of which is both cutting and fitting. She follows up by rebuffing Joel’s clumsy advances with saying she would murder that same, loving man. A literal death threat is as true to her character as much as it is a dime-turn from her behavior towards Joel in the film leading up to that moment. As a young woman, she has already begun to clearly define herself as free and independent, even within the context of the family.

Wednesday’s views on the relationship her parents share is one of cautious distance, while she also still has her own loving, healthy relationships with both parents individually. Though they love one another, in almost every case Wednesday tends to slant slightly darker, taking the more macabre path of her own accord in a family already well-suited to that kind of thinking. She is both sharper and wittier than her father, and crueler than her mother, and often interacts with Pugsley as if he were a sort of accessory at worst, or sidekick at best. She shows him solidarity as an Addams, but also constantly tries to expunge him so she can be the only child, which is a vendetta she furthers at the birth of Pubert in The Addams Family Values. Many comparisons have been drawn to similar characters of the time, of Lydia from Beetlejuice and Nancy from The Craft, but I would argue Wesnesday’s alignment falls closer to the Daria camp, as she is already firmly established in her thoughts about the neutral impact of family, the trouble with idiot boys, and the negative experience of outside society. Wednesday is purely independent, and resonates a sense of deep internal knowledge and self-worth that extends beyond the parameters of her identity as merely an Addams, and in that way she makes a strangely excellent role model.

Following the success of both The Addams Family and The Addams Family Values, the series moved on to a saturday morning cartoon of parallel quality with the animated Beetlejuice cartoon. A following additional live TV series, The New Addams Family, also made it to broadcast, but the opinion of most viewers is that the entirety of it should be thrown in a river and destroyed forever. A cancelled Tim Burton adaptation also briefly existed, counteracting the 90′s film aesthetic which seemed pretty much already to be a restrained version of his personal flavor of set design. This leads to today, and the beginning of this meta, when this afternoon I saw the trailer for the 2019 CG animated reboot of the franchise, inexplicably also titled The Addams Family.

Though I respect the nature of some reboots, stylistic updates for one thing seeming somewhat necessary to keep old content fresh, the new trailer immediately had me skeptical. Though the new designs very closely resemble Chas Addam’s orginal designs from The New Yorker strip, something vital seems to be missing, and there is a strange liberty taken with some of the new character models which feels disharmonious, and even borderline disrespectful. And though The Addams Family has a rich and storied history of zany one-liners and satirical cheekiness, the lines delivered in the trailer seem to fall flat. Though many series in this franchise in past have been saltine cracker level boring, one would expect a reboot this late in the game in the popular Pixar-launched CG style would be an opportunity to inject new life back into the old series. But something seems off, and this in turn brings me at last finally back around to the 90′s films.

The reason the Sonnenfeld 90′s films were good is easy; they have a subterranean classiness. Pulling Bradbury back into it, the earliest and best iteration of the series is infused with a rich, sensual, and genuine darkness. Bradbury's stink is all over the films, from the set design to the Addams Family reunion ball, to the serious performances given to obscene, ludicrous roles and a questionably weak script, by very talented actors. The suburbs seem more ridiculous when the pastel, unfeeling beastliness of uniformity is stood up next to dark, dank, meaty, loving weirdness of oddballs. To make satire work, one has to play a game of balance. Without salty, sweet will never taste quite right, but balance in storytelling has many levels. Visual balance is one thing, but one must also have careful emotional balance. The 90′s films maintain an underlying level of sincerity and integrity, which is what is required to counter the punchy, often goofy scripts and scenarios. The films were good because they had just as much heart as the Addamses themselves, and without heart, a movie will never have any true substance.

The track record this franchise has with creatively successful projects is pretty poor, but one can hope the example of cult excellence set by the 90′s movies will infuse into some part of the future film, and maybe into further projects later down the line. Voicing your opinion on pop culture subject material is something I believe in as a means to guide new content created in the future, so if you have thoughts on the new movie after it airs, let the world know! Help create the kind of content you want to see in the world by building a healthy, respectful discourse. Only time will tell if the 2019 Addams Family will be any good, but I’ll keep watching till then.

If you enjoyed reading this, drop me a line and let me know! I’m considering writing more meta for other films, and have dabbled up until this point with TV meta, so if you’d like more content in this vein I’d be glad to hear it. Suggestions welcome, though no timetable is attached. Thanks for reading!

#the addams family #the addams family values #the addams family 2019 #wednesday addams #gomez addams #morticia addams #chas addams #ray bradbury #from the dust returned #the october country #the new yorker #meta #movie meta

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ramajmedia · 5 years

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Ben Schwartz’s 10 Best Roles (So Far), Ranked | ScreenRant

Most people know Ben Schwartz for his hilarious and layered performance as Jean-Ralphio Saperstein on Parks & Recreation. But he’s been doing comedy, especially improv, for years now. He currently voices Leo in Rise of the Teenage Mutant Ninja Turtles and appears in Bojack Horseman as Rutabaga Rabitowitz. Right now, we’re all awaiting his first starring role in a big studio movie: Sonic the Hedgehog.

We won’t know enough to rate his performance as Sonic in Sonic the Hedgehog until the film is (finally) released a few months from now. Until then, here are Ben Schwartz’s top ten roles, so far.

RELATED: BoJack Horseman's 10 Saddest Moments, Ranked

10 BB8 — Star Wars: The Force Awakens (2015)

Hardcore Star Wars fans might have looked this up by now, but for the rest of us who didn’t know, the initial work for BB8’s personality and conversations with the other characters was first acted out by Ben Schwartz. In initial run-throughs, he worked with actors like Daisy Ridley and John Boyega, responding to their lines in English, and then those lines were translated into the beeps and boops that make up BB8’s lines.

It took a lot of rounds of trying to get the sounds just right. Apparently, the initial try sounded too human. Schwartz has said he isn’t sure how much of his voice is in the movie and how much of BB8 was digitally created, but he will always be one of the people who helped create BB8’s persona.

9 Bill Hoyt — Undercovers (2010-2012)

This comedic take on undercover spies was created by J.J. Abrams and Josh Reims. It only lasted for 13 episodes, 2 of which didn’t even air until years after the first 11. It was canceled pretty quickly, before it was really given a chance to breathe, and Abrams has taken the blame for that, saying he was trying to do something light and frivolous when that’s simply not in his wheelhouse.

RELATED: Parks & Rec: 10 Episodes That Actually Tackled Deep Issues

Nevertheless, Schwartz is hilarious as the awkward computer nerd Bill Hoyt. Bill worships the leading male spy, Steven Bloom, and is so into the whole spy gimmick that he insists on using all the “lingo.” If you’ve ever wanted a comedic James Bond, this is the right show.

8 Milk Man - Jake & Amir (2009-2014)

There are several episodes of CollegeHumor’s web comedy show Jake & Amir that Ben Schwartz has guest-starred in over the years. His role as Milk Man (and doctor) in 2012 is probably his most iconic episode though. He comes in as a milkman who pours rotten milk all over Amir then helps him deliver a shoe. Schwartz does a lot of improv comedy and it really shines through in his Jake & Amir appearances.

Because Ben Schwartz kept making up his own hilarious character names in Jake & Amir, Redditors have actually created a Ben Schwartz Name Generator inspired by the insane combinations of phonemes he’d put together.

7 Josh Bath — The Earliest Show (2016)

In this miniseries, Ben Schwartz stars with Lauren Lapkus as two co-hosts of an early morning TV show. Guest stars on the show include comedians like Jake Johnson, Eugene Cordero, Reggie Watts, and Thomas Middleditch.

Josh Bath gets dumped live on air, and he and Samantha Newman (Lapkus) have to struggle through the rest of the show as he deals with the seven stages of grief. They hilariously harass, comfort, and are comforted by the guests that take a risk on this weird morning talk show. Schwartz is hilarious and heartfelt. He won an Emmy for Outstanding Actor in a Short Form Comedy or Drama Series.

6 Rutabaga Rabitowitz — Bojack Horseman (2015-2017)

This fluffy bunny is not at all that he seems. Schwartz plays Rabitowitz, a scheming, sarcastic, and relentlessly cheerful agent on Bojack Horseman. The character has a romantic relationship with another agent, Princess Carolyn, who he then hurts by not divorcing his wife. He also has a tendency to steal roles for Princess Carolyn’s clients right out from under her nose, something which drives her crazy.

RELATED: The 10 Best Guest Stars from Bojack Horseman, Ranked

For people used to the high-pitched sing-song voice he’s done for other roles, Schwartz’s voice is almost unrecognizable here. But he brings so much life to this character that we’re glad the part didn’t go to someone else.

5 Clyde Oberholt — House of Lies (2012-2016)

Don Cheadle and Kristen Bell also star in this comedic take on a group of management consultants who get the job done, no matter the cost. Schwartz plays a consultant who specializes in marketing and spin. He is often cruel, jealous, and beyond arrogant. One of the only emotions he ever shows is anger, but he’s always down for a good time. He can read people like a book and uses their weaknesses against them.

Schwartz’s normally silly brand of comedy works surprisingly well with a darker spin. His presence pulls the show toward a helplessly darker while the rest of the characters largely pull him back from the dark side.

4 Leo — Rise of the Teenage Mutant Ninja Turtles (2018—)

The new remake of Teenage Mutant Ninja Turtles was greeted with skepticism, but has been steadily getting better and better reviews as the shows continues. The show’s brighter colors accompany a lighter adaptation, something a bit more fun and humorous than previous versions.

Leonardo is normally the taskmaster of the turtles, but in this new take on the characters, Leo actually gets to have fun as a teenager. He still retains his leadership and analytical qualities, but he isn’t annoying or domineering. It’s that fun-loving spirit that Schwartz brings to the voice. He gives Leo the brevity he needs to be a fun teen once again.

3 Dewey Duck — DuckTales (2017-2019)

In this adaptation of DuckTales David Tennant stars as Scrooge McDuck and Ben Schwartz plays his grandnephew Dewey, the adventurous and funny triplet. He’s a classic middle child, always trying to stand out from the crowd, including starting his own internet talk show. As always, Schwartz brings depth to the role. We see hints of Dewey’s deep-seated fear that he’s just an ordinary duck. He is constantly trying to prove himself by throwing himself into dangerous situations.

RELATED: David Tennant's 10 Best Roles, Ranked

This role and Schwartz’s role as Leo (see previous) only rank as 3 and 4 on our list because so much of the hilarity of Ben Schwartz is the physicality he brings to his comedy. While these roles are great—and he deserves every leading role—the next to let us see the full spectrum of Schwartz’s comedic talents.

2 Rabbi Charles “Boner” Grodner — This is Where I Leave You (2014)

This movie is a powerhouse of comedic talent. Ben Schwartz plays Rabbi Charles Grodner, who was friends with Adam Driver’s character in high school and earned the nickname Boner, for obvious reasons. After the four Altman siblings moved away to start their lives, he stayed behind and became a rabbi. When he handles their father’s funeral, they struggle to take him seriously and he falls back to his old high school insecurities as he tries to earn their respect.

Even though he’s a side character, Schwartz does so much with the time he’s given. He has heart and brings so much warmth to a role that would have come off as pathetic in the wrong hands.

1 Jean-Ralphio Saperstein — Parks & Recreation (2010-2015)

This is the role Ben Schwartz is most recognized for, and deservedly so. Every time Jean-Ralphio appears on screen as Tom’s ridiculous, grossly sexual, and trouble-plagued friend the comedy soars to new heights. He is outlandish and ridiculous, but also has so much heart. Jean-Ralphio always thinks he’s killing it and never seems to realize that he is his own worst enemy. He’s basically a puppy, and no matter what terrible thing he does, it’s impossible to be mad at him. He’s maybe not the best friend anyone wants to have, but everyone needs a Jean-Ralphio in their corner to cheer for them and encourage them to let loose sometimes.

Schwartz appears in 21 episodes of the show and each one is a brilliant performance. In anyone’s hands, the character would be frustrating, but Schwartz makes him a memorable and amazing character.

NEXT: 10 Amy Poehler Quotes That Are Too Funny For Words

source https://screenrant.com/ben-schwartz-best-roles-ranked/

#screenrant

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mariocki · 5 years

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Mariocki's 2018 Top 5s

Top 5 films (previously unseen)

Hachijikan No Kyôfu (Eight Hours Of Terror, 1957). An entirely atypical Seijun Suzuki film, its basically The Lady Vanishes mixed up with The Wages Of Fear, all shaken about and told with Suzuki's unique blend of irreverence and humanity.

Die Blechtrommel (The Tin Drum, 1979). Volker Schlöndorff's adaptation of Günter Grass' seminal novel dispenses with much of the third act, making for a leaner, more coherent film. Magical realism walks hand in hand with the banality of evil in a visually stunning, difficult, funny and distressing film. Unique.

The Offence (1973). Sidney Lumet adapts a minor play and transforms it into a cinematic masterpiece. A gruelling, exhausting study of one man's destruction - or is it two men, or neither? In replaying the same scenes, with slight variations and a little more revealed each time, Lumet twists the plot and the characters until everything is either revealed or obscured - depending on your reading of events. Undoubtedly Sean Connery's finest performance.

Alice, Sweet Alice (1976). A cheaply made, independent slasher film - but so intelligently made, so thoughtfully put together, that to call it a slasher feels insulting. Full of symbolism, amazing visuals, and one of the most frightening knife attacks in all horror cinema.

The Shape Of Water (2017). The only time I ventured to the cinema this year, I think, and I was well rewarded. Guillermo del Toro's fairy tale is at once very modern and thoroughly old fashioned, a warm and rosy love letter to both Old Hollywood and modern love. Beautifully acted, directed, scored, costumed...

Top 5 films (rewatched)

Point Blank (1967). John Boorman tackles the familiar film noir tropes, only to pick them apart and produce something entirely new. Incredibly stylish, and towered over by Lee Marvin's amazing central performance as the inscrutable, unreadable, intense Walker.

A Man For All Seasons (1966). Robert Bolt adapts his own play, streamlining some elements and redistributing the Chorus to produce a powerful polemic on hypocrisy, politics, and ambition. Paul Scofield fully deserved his Oscar for playing More.

Butley (1974). Part of the American Film Theatre, Simon Gray's study of a verbose, embittered, drunken academic on the day his life falls apart, is both brilliantly witty and heartbreakingly sad. Alan Bates barely draws breath for two hours, but it doesn't drag for a second.

Night Of The Demon (Curse Of The Demon, 1957). Jacques Tourneur approaches the ghost story as film noir. Where the film suffers from special effects limitations of the time, it succeeds in producing an air of pure terror and suspense.

Operazione Paura (Kill, Baby... Kill!, 1966). A relatively tight and simple plot by Mario Bava's standards, but perhaps his most visually experimental film. Drawing on a wealth of sources, Bava weaves a gothic tale of dread in a lurid kaleidoscope of greens and purples.

Top 5 TV shows (new)

Sharp Objects (HBO). Had the audacity to tear me apart, then stitch me back together, only to tear me apart again. Truly one of the most impressive bits of television ever produced, perfect in design, casting, direction and every other aspect. I'm honestly not sure I've recovered from it yet.

Killing Eve (BBC America). Big, shiny, funny as hell, Gay ™, a brilliant cast work tirelessly to produce a show that works on multiple levels, all of them awesome.

Vic & Bobs Big Night Out (BBC). Its always a joy to have the dynamic duo back on tv, but to have them revisit some of their oldest and most beloved creations (The Man With The Stick! It's been nearly thirty years!!) felt very special. Undeniably an acquired taste, the pair are part of my childhood and nobody can do unbridled, joyful anarchy quite like them.

Derry Girls (Channel 4). Deeply funny, bitingly honest and at times truly moving. The young cast are excellent, and if you made it through the finale without a tear in your eye, you're a stronger viewer than I.

Doctor Who (BBC). Not, perhaps, the strongest series New Who has had - but Jodie Whittaker made, for my money, the strongest and most confident debut. She was The Doctor within seconds, and what the series might have sometimes lacked in depth and maturity it more than made up for with one of the strongest TARDIS teams the show has ever had, in New Who and Classic Who.

Top 5 TV shows (old)

The Fellows (Granada, 1967). Establishing itself as a formulaic, criminal-of-the-week crime show, about half way through this series creator Robin Chapman pulls the rug out from under the viewer, culminating in one of the most singularly impressive episodes of old telly I've ever seen - fifty minutes in which the two leads, irrevocably changed by a seemingly minor infraction, debate their own worth, the nature of crime, the relevance of justice and the very existence of evil. Spellbinding.

Callan (ABC/Thames, 1967 - 1972, rewatch). Was there ever a more anti-authoritarian series than this? Dispensing with black and white for shades of grey, and deep, dark shades of grey at that. Fantastic scripts, flawlessly cast, and with moments of genuine shock that will stay with you long after the series has finished.

Out (Thames, 1978). Trevor Preston shook off his association with children's television to produce this decidedly adult study of a career criminal deeply affected by his time in prison. Sticking rigidly to the 'show don't tell' school of storytelling, Preston slowly paints in the background to Tom Bells intense loner Frankie Bell, ending with a morose portrait of a man both damaged and damaging to those around him.

Mr. Palfrey Of Westminster (Thames, 1984 - 1985). Supported by scripts that are dense, literary, but often very funny, Alec McCowen makes Mr. Palfrey a truly unique figure in the world of spy fiction. Always witty, always clever, but sometimes devastating - like all the best TV should be.

The Nearly Man (Granada, 1974 - 1975). Unashamedly wordy scripts full of monologues and complex, barbed conversations. A fascinating insight into British politics in the 1970s, held together by Tony Britton's powerhouse performance as Labour MP Christopher Collinson - an arrogant, selfish, committed, honest, manipulative, courageous, decent bastard.

Top 5 books

Sense and Sensibility - Jane Austen. A lot funnier than I was expecting, quickly became my second favourite Austen novel. Considering we never really get inside his head, Brandon is a brilliantly realised, three dimensionsal character.

Selected Literary Criticism - D. H. Lawrence. I have a lot of issues with Lawrence, and almost as many with his writing, which is frustrating and irritating just as often as its beautiful and moving. His criticism, although far from perfect, is perhaps the best way to get to know the man behind the words - part genius, part raving zealot, insightful, clever, conceited and baffling.

To The Lighthouse - Virginia Woolf (reread). Light on plot, heavy on everything else, Woolf's masterpiece. Hauntingly beautiful, a semi-conscious daydream of a book which is about nothing much at all, but also what it means to be, what a soul is, and the nature of love.

The Dig - Cynan Jones. In style, Jones is the polar opposite of Woolf - short, clipped, without fanfare or decoration. At times an ugly book about ugly things, but there are moments of sheer joy - and of real shock.

Feet of Clay - Terry Pratchett (reread). What can I say? It's TP, and it's The Watch, a sheer joy. The man knew how to use words just right, so that you're laughing one minute, and the next you feel distinctly uncomfortable.

#top 5 #2018 #not sure why i did this?#probably more for my own reference #time... blurs #also i still don't know how to do read mores #so sorry for the long post

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bishreview · 6 years

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Lots of Quickies

Hi, I’ve been real busy lately and have started a heap of reviews that I’ve been unable to finish because of time restraints and stress. University can get on my back quickly but I’m finished now so I’m going to finish the ones I started before getting into a top 10 for films, albums and singles for the mid year (probably released before the end of June).

Avengers: Infinity War

The biggest crossover movie event ever pitted together the 20+ heroes against the big bad villain of the Marvel universe, Thanos. With a giant cast full of big names, a range of genres and a massive story to deal with, there were a lot of risks that the Russo brothers faced to make this movie. Despite it feeling supersaturated with characters and having some pacing issues, they were successful in creating a massive, climatic film, and Infinity War is close to the MCU’s best.

Avengers: Infinity War gets an A-

Breath

Simon Baker’s adaptation of the highly acclaimed Tim Winton novel of the same name had a surprising amount of hype for an Australian film. Although there is some gorgeous cinematography, especially with some of the surfing shots, the movie is bogged down by stale acting, shocking character development, inconsistent pacing, and a directionless plot. With the movie just coming under the 2hr mark, it feels overly long and bland, lacking originality in both the surfing genre and the coming-of-age genre.

Breath gets a D

Deadpool 2

Deadpool was an unbelievable success in 2016, shattering records and expectations as it became one of the most successful R-rated films ever. With the sequel they have expanded the universe, introducing ‘the X Force’ for the future of the franchise. This introduces many new strong characters, including Domino (Zazie Beetz) who steals every scene she’s in, and Firefist/Rusty Collins (Julian Dennison) who is works well with the titular character (Ryan Reynolds). Thankfully they haven’t sacrificed the quality of the film in order to universe build, with the sequel being almost as hilarious as the first, whilst digging into deeper themes of mortality and family.

Deadpool 2 gets an A

Hereditary

I generally split horror films into three categories; the aim to scare, the aim to gross out, and the aim to unsettle. Hereditary falls into the last category. It’s been a long time since a film has me shook by the end of it. This isn’t an enjoyable film at all, instead being a tiresome experience of slowly increasing tension and uncomfortableness. This makes it one of the best horror films I’ve ever seen. Toni Collette and Alex Wolff are both incredible and the cinematography and score are perfect, complimenting the story and giving the tension exactly what it needs to flourish. The use of shadows and wide shots create an atmosphere which is unlike any horror movie I’ve ever seen, giving you enough to be scared but not enough to know why. Hereditary isn’t for anyone, it is slow and there are no payoffs for the tension (like jumpscares), but its a testament to how one can build tension on film and up there with the greats of the genre.

Hereditary gets an A+

Solo: A Star Wars Story

Solo isn’t a complex movie. It doesn’t try to be a massive connection story like Rogue One, nor an epic adventure like The Force Awakens or The Last Jedi. Instead it plays to its strength, a low stakes origin story which gives a few characters some extra screen time. And it works to that extent, Han, Lando and Chewie being introduced well and having a fun adventure. It does have issues with pacing and the overcooked “shock betrayals” towards the climax starts getting cringy more than surprising but the journey is enjoyable fun, becoming a simple popcorn flick with a lot of replay value.

Solo: A Star Wars Story gets a B-

13 Reasons Why

13 Reasons Why has quickly become on the most decisive and controversial TV shows in recent memory. Season One had its issues but still held itself up due to its characters and story development. To put it simple, Season Two didn’t need to be made and it’s very clear that it was forced out. Only three of the characters remain interesting with their story arcs, the script is derivative and banal, and events happen only for the purpose of the plot. This all leads up to terribly cringey moments and a predictable ending (which follows one of the most disturbing and unneeded scenes in TV). I will give the show props though for attempting a realistic court hearing and a beautiful moment in which the main cast come together in memory of their deceased friend, a moment which really should’ve ended the series.

13 Reasons Why gets a D-

Atlanta: Robbin’ Season

Donald Glover’s Atlanta is something else. The debut season explored the African American life, relationships, the Hip Hop scene, poverty and young parenthood in such a unique and fresh way. With Robbin’ Season Glover gets deeper into his characters, exploring their flaws with a realistic lens. It works as well, with each episode making a range of statements, varying from depression and grief, to dating and ‘investments’. By the end of the season the main ensemble has changed so much that season three is a complete unknown. What the show doesn’t pretend to do though is become cliched, with success still an unobtainable goal and their desire to reach it getting more desperate. To summarise, this is honestly one of the best seasons of television ever produced. Also, bonus points for Teddy Perkins being the scariest character ever conceived in a hip hop story.

Atlanta: Robbin’ Season gets an A+

Arctic Monkeys - Tranquillity Base Hotel & Casino

With album number six, Arctic Monkeys attempted to completely re-image themselves. Diverting from their previous, guitar driven, indie rock, TBH&C delves into a smoother, 70s psychedelic inspired direction, with most songs utilising a keyboard to accompany Alex Turner’s almost mindless ramblings (at times successful, other times forced)). Although the band have changed the direction, it seems they’ve changed it to a familiar territory, with a lot of the songs sounds like Alex Turner’s recent The Last Shadow Puppets materiel (and some seeming like the B-sides of them). Although there are stronger moments, there’s a lot of filler and some of the weakest material of the band’s quite consistent career.

Favourite song: ‘The Ultracheese’

Tranquillity Base Hotel & Casino gets a C

A$AP Rocky - Testing

The A$AP mob’s most successful mainstream member, Rocky, has been moving at a rapid rate. His popularity and critical acclaim has been moving up with every release. Testing is both a step in the right direction and the wrong direction. Although it’s is most ambitious record to date, influenced by psychedelic, electronica and ambient music, it’s quite messy and inconsistent. Songs start well to just fall away in their second half and there’s simply too many tracks to keep interest high. A$AP Rocky is doing very different things in hip hop and Testing will hopefully continue to lead him on his path, it’s just disappointing the album couldn’t be stronger.

Favourite track: ‘Purity (feat. Frank Ocean)’

Testing gets a C+

Courtney Barnett - Tell Me How You Really Feel

I’m one of those people that didn’t rate Courtney Barnett’s breakout debut. I found it redundant and pretentious. With her sophomore though she takes a lot of what was strong from her debut and worked with it. Although there’s a clunky and repetitive middle section, the first third of the album is very good music. Barnett has a wonderful way with melodies when she tries to write melodic music and her voice, although not the strongest, can be really emotive. There’s still some rambling tracks but her development is quite noticeable and from someone who couldn’t get through multiple listens of her debut, this was an enjoyable album.

Favourite track: ‘Hopefulessness’

Tell Me How You Really Feel gets a C+

DMAs - For Now

DMAs’ debut was something special in 2016. A 90s Brit-Pop revival album which was better than most 90s Brit-Pop. For Now continues their journey through British music, sharing similarities with bands like The Cure, The Smiths, Boomtown Rats and The Stone Roses. It’s very successful, with a wide range of influences and styles being incorporated in their sound. The album is much more consistent their debut, with each track being different yet based around the general ‘feel’ of the album. Unfortunately, it doesn’t have that big moment that their debut had, with no tracks really standing out as something incredible. That doesn’t weaken the album too much though, being one of the strongest releases of the year.

Favourite track: ‘Tape Deck Sick’

For Now gets an A-

Kanye West - Ye

I love this album cover. It’s very simple but very effective, representing both the minimalist, emotional, and cold album that is to come. Ye isn’t the first Kanye album to be lowkey, or sad, or left of field. It isn’t something special in his career though, an album where it really seems he condenses his talent into a short time (it is only seven songs) and really lets the production of the tracks take over, with some of the best moments being when he’s not on the mic (’Ghost Town’ has an outro which is just brilliant thanks to 070 Shake). That’s not to say Kanye’s voice doesn’t shine, ‘Wouldn’t Leave’ is a testament to his lyrical and rapping strengths, but his production is his best in nearly a decade. Although there are some weaker tracks and some cheesy lyrical moments, Ye reminds us why we continue to love Kanye, because he continues to release some of the best hip hop available.

Favourite track: ‘Ghost Town’

Ye gets a B+

Kids See Ghosts - Kids See Ghosts

If someone gave me a list of all the albums released this year before the year started, a collaboration between Kanye and Kid Cudi would definitely be my most anticipated. An album combining two of the most important voices in hip hop during the late 00s, both of them being instrumental in bringing topics of mental illness into mainstream hip hop. Where I expected Kids See Ghosts to be a darker album though, the album is almost a celebration of overcoming their demons. There are still some darker tracks, like the album closer ‘Cudi Montage’, there’s a lot of fiery tracks (like the conveniently titled ‘Fire’) and uplifting tracks (the album standout ‘Reborn’). There are some brilliant moments on this album, whether it comes from the strangely funny yet creepy sample of Louis Prima’s ‘What Will Santa Claus Say’ in ‘4th Dimension’, the ballsy attempt at scat rap in ‘Feel the Love’, or the gorgeous chorus in ‘Cudi Montage’ which features the beloved noise of Cudi humming (God bless Cudi and his biblical humming). Although the track listing works in its disadvantage some tracks do have some strange choices in direction (the end of ‘Fire’ sounds great but doesn’t fit with the song, nor the album), Kids See Ghosts is a contender for album of the year.

Favourite track: ‘Reborn’

Kids See Ghosts gets an A

Lily Allen - No Shame

Lily Allen will always be one of the most lovable cynics in music. Her career has been largely satirical takes of political and societal issues through upbeat, pop songs. With No Shame she seems to direct her satire on to herself, literally roasting herself, focusing on her recent divorce, motherhood, drug addiction, and balancing her fame and career with family life. This makes for a very deep, and at times dark, listen. Somehow though, through all this, Lily Allen has made her best album, and maybe the best album this year. Lead single ‘Trigger Bang’ is a brilliant pop song, reminding us of her humble beginnings whilst delving into criticisms of the industry and her place in it. Tracks like ‘Lost My Mind’ and ‘Everything to Feel Something’ are some of her saddest, roughly criticising her lifestyle with some beautiful production and instrumentation. And the gorgeous piano-ballad, ‘Three’, is as beautiful as it is rough, the lyrics being from her daughter’s perspective of Allen not being around for her kids. The album does allow a lighter ending, the final few tracks feeling upbeat and optimistic, something rare from albums which explore such dark themes. Although there are a couple of tracks where the dancehall vibe feels slightly too strong considering the lyrical content, No Shame is something special, and a sign of unbelievable growth for an artist over a decade old.

Favourite track: ‘Everything to Feel Something’

No Shame gets an A

Middle Kids - Lost Friends

Middle Kids are slowly becoming the most underappreciated act in Australia. Their critical acclaim and industry cred are both high but their commercial success hasn’t blossomed in Australia. Their debut album looks to be their big push (it reached #10 on the ARIA album charts), and for good reason. It’s a really consistent album, with each song being a good alternative rock song. There are some lyrical moments which are average and some songs go for a little too long but each track fits well on the album and are enjoyable. For a debut, it’s a good one and really builds up anticipation to hear more from the band and see where they go.

Favourite track: ‘Edge of Town’

Lost Friends get a B

Nas - Nasir

Nasir is another good release from the recent G.O.O.D Music output with Kanye West, although it’s probably the weakest so far. The production on it is really good, with the beats driving most of the songs, but Nas seems misguided and confused on a lot of the tracks. He has good messages behind the songs, referencing themes from police brutality to finances, but he doesn’t seem to really push his ideas, mostly feeling like there is a lack of passion or interest. It’s still an enjoyable album but the feeling of going through the motions is littered throughout and thus is quite disappointing.

Favourite track: ‘Everything’

Nasir gets a C+

Parkway Drive - Reverence

Australia’s premier Metalcore band, Parkway Drive, have has a mixed career for me. Their previous album, Ire, was one of their best, with the songs being meatier and relentless, not holding back at all whilst bringing new influences in. With album number six I’m not sure whether they’ve gone backwards or forwards. It’s different from their previous releases, leaning on cleaner singing much more often, and the influences are clearly from the heavy metal genre of the late 70′s to the early 90′s, but it doesn’t have a strong identity. At times it seems like a tribute album and really doesn’t standout or have its own image and sound. There are still some strong songs but a lot of the album feels like filler and for a band which has been leading the way in the genre in Australia for so long, it seems like they are now falling behind.

Favourite track: ‘The Void’

Reverence gets a C-

Post Malone - Beerbongs and Bentley’s

Every now and then Post Malone nails it and he’s definitely ridden off the success of these moments (think the songs ‘Congratulations’ and ‘I Fall Apart’). There is a hidden talent there which is covered up by the cheesy songwriting and cliched style that he presents. On Beerbongs and Bentley’s he hides this talent better than ever. This is a very mediocre album, which is made even worse since it has 18 songs and drags for over an hour. He seems to run out of things to say very quickly and there’s few moments that really standout as interesting or fresh. It’s definitely a step backwards after the far more interesting Stoney.

Favourite track: ‘Stay’

Beerbongs and Bentley’s gets a D-

The Presets - Hi Viz

One of my first introductions to music was Apocalypso, The Presets breakout sophomore album which blew away the Australian dance scene. It’s been about 10 years since that release and other than the left-of-field Pacifica, The Presets have been relatively quiet besides festival appearances. Hi Viz is the album they needed though. There are so many certified bangers on this album, from the lead single ‘Do What You Want’ to the giant album closer ‘Until the Dark’. They also bring in some really strong features, with both Alison Wonderland and DMAs shining on both their feature tracks. Although there are some filler in the album, and it does get repetitive towards the middle, it’s an excellent return to form from the band and establish them back at the top of the Australian dance scene.

Favourite track: ‘Feel Alone’

Hi Viz gets a B+

Pusha T - Daytona

Daytona was the first album from the G.O.O.D Music trail of releases of the past month and it really kicked off the project well. The production is really strong, the instrumentals on each track are solid, Pusha T’s lyrics are great (like usual) and the features fit nicely. I think the major weakness is that at times Pusha T’s voice doesn’t fit nicely with the music, especially with the mixing of his vocals at times. It seems to sit too high in the mix and seems out of place. Other than that though it’s a really solid album and an enjoyable listen.

Favourite track: ‘If You Know You Know

Daytona gets a B

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brobi-wanwrites · 6 years

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Out-Dated Review: Iron Man

A decade ago life was a bit more simple. I was turning 15 and besides finding time to play GTA IV and high school I didn't have a care in the world. My birthday was never a big deal but earlier that year I got my first PS3 and was desperate to start a Blu Ray collection. I told my mother the one thing I wanted for a gift that year was Iron Man. She delivered. That night after reading the case over a dozen times me and my best friend would sit down and watch the movie that jump started the Marvel Cinematic Universe.

At the time I knew as little as you could about Ironman. I spent most of my time reading Spider-Man, X-men and Batman comics so the only things I really knew about Tony Stark was that he was a rich alcoholic and was really prevalent in 2006s Civil War which was in my backlog of comics. Going into this movie I really had nothing to go on besides the great reviews it was getting and that I was always excited to see a comic book character get their chance on the big screen. After credits rolled like many people my expectations were blown away. I watched it again and again enjoying every minute of it. I then dove into my comic backlog and read Civil War and any other Ironman story I could find. It’s safe to say that the first Ironman reinvigorated my and many others love for comics, all while starting a universe that would have as deep of lore as the comics they adapted from.

So ten years later, does Ironman hold up?

(SPOILERS)

Lets start things off with the story.

We’re introduced to Playboy Billionaire Weapons Designer/Manufacturer Tony Stark and he’s just as much as cocky jerk as you would think he’d be. Skipping out on an award presented to him so he could gamble, sleeping with a reporter who’s writing a hit piece on his company and giving little care to the crew of his private plane as he arrives late for its departure. Couple this with how he almost gloats at the amount of death and destruction his weapons bring you would be safe to assume that Tony is unremarkable cliche villain, except he’s not.

I don’t know if it’s his charm alone, his acting chops or how relatable he is to the character but Robert Downy Jr. makes Tony Stark probably one of the most believable and entertaining personality in the MCU. He brings so much life and fun to Tony even before his good guy turn in this movie. Easily stealing every scene he’s in, RDJ was undoubtedly destined to play Tony Stark.

Speaking of good guy turns.

Things go astray for Tony after a weapon presentation in Afghanistan as he’s fatally injured and kidnapped by a terrorist group known as The Ten Rings (more on them later). He awakes in a cave with a car battery attached to his chest, powering an electromagnet that’s keeping the shrapnel away from his heart and other vital organs. Parties amirite? He’s made aware that The Ten Rings are his “loyal customers” and have been using all his weaponry and is then forced to build them his latest weapon. Tony reluctantly agrees and uses the supplies and resources to build something a bit more powerful, a miniaturized Arch Reactor. An invention of his fathers that’s used to power a factory, Tony designed his to be a little more compact. It has enough power to keep the magnet [in his chest] charged for a thousand lifetimes or something big for ten minutes.

Thus Ironman is born.

Even for ten years old at this point, the CGI still holds up. The suits in this movie, whether it’s the Mk I, II or III all look fantastic and just completely seamless. I never once even questioned if they built an actual prop suit or not, it looked so good i assumed they did. Coincidentally the first Ironman is the only movie they actually built the full suit, every subsequent movie they used mo-cap primarily.

After 3 months using only weapon parts and presumably some scrap metal Tony builds the Mk I and kicks some serious ass in his escape. He’s quickly reunited with his friends and coworkers back in the States and damn does he want a burger. Also he announces very publicly he’s done with making and selling weapons. This is Tony’s big turn, he realizes the real cost of him profitting off war with his weapons and decides he is alone responsible for making things right. His business partner and his deceased fathers long time friend Obadiah Stane advises him to lay low for awhile after crashing his companies stock with his big announcement.

The Stark Employee Roster.

RDJ may steal the whole show but Ironman boasts a pretty big and talented cast. Gwenneth Paltrow as the remarkable and composed assistant to Stark Pepper Potts, she’s a joy to have on screen and perfectly bounces dialogue off RDJ. Terrence Howard plays Stark's best friend and military liaison Colonel James “Rhodey” Rhodes, Howard plays this character really cool and I have a hard time seeing Rhodey as much as I see Terrence Howard. His chemistry with RDJ is phenomenal off the bat though, something that takes Cheadle & RDJ about another movie or so to get right. Paul Bettany lends his soothing voice to articulate Siri knock-off known as JARVIS. While his role obviously becomes more expanded upon in later films, Bettany brings a simple yet appealing approached to the A.I. here that pairs well with Tony’s persona. Rounding it out you have the rugged Jeff Bridges playing Tony’s mentor and eventual madman Obadiah Stane. Bridges brings something to this role that I can’t quite put my finger on, he just fully leans into this character and I can feel his presence on screen. He does however have a very sudden change of character entering the third act, he goes from conniving business man to super villain so abruptly I may have whiplash (wink) now.

Bored and nothing to do.

Stark finds himself in isolation and does the only thing his obsessive brain lets him do, work. He begins designing and testing an updated version of the suit he escaped imprisonment with. The Mk II is a thinner, shinier and more airborne suit than its predecessor. It just isn't up to snuff for Tony though, so after a quick flight test with some icing issues, he completely redesigns the suit. After seeing on TV that someone is throwing a party without him, Tony decides laying low just isn’t for him and crashes the party. Thankfully the party is hosted by Stark Industries so Tony can just walk in with no real problem. It’s here that Tony learns that his mentor and friend Obadiah Stane filed an injunction against him and is trying to force him out of the company and may be dealing weapons under the table.

Tony decides take the moral high ground and hops in his new suit the MkIII which must be the coolest getting dressed montage I’ve ever seen, then flies for 6 hours back to Afghanistan. He proceeds to just ruin the Ten Rings day by destroying their weapon caches, which include plenty of Tony's own weapons. After surely making the locals think he’s some sort of alien or metal angel he flies back home, only to be intercepted by two fighter jets. What ensues is an entertaining little game of cat and mouse for a minute until Rhodey, whose job is seemingly just to be convenient to Tony shows up and Tony informs him he is in the suit that the fighters are chasing. Rhodes clears everything up as a trainig exorcise and Tony makes it home.

It’s here our big reveal happens, Obadiah is a bad guy and he hired the Ten Rings to kill Tony but they didn’t like the deal, so they altered it like Vader. Now they want to alter it even further and have Obadiah build them Metal Soldiers like the one Tony escaped with. Obidiah smiles and politely kills this faction of the Ten Rings and figures he might as well build his own suit with his own arch reactor.

Back at the factory while speaking to his team of scientists about their inability to replicate Tony’s miniaturized Arch Reactor, Jeff Bridges delivers the best line in the movie.

“TONY STARK WAS ABLE TO BUILD THIS IN A CAAAVE, WITH A BOX OF SCRAPS”

After this everything starts to happen real fast. Pepper finds a video that directly incriminates Obadiah, he panics and politely tries to kill tony, Rhodes shows up to try and save a dying Tony but he already saved him self. Once he catches his breath Tony hops in his suit to go find Obadiah. Terrence Howard takes a look at the MkII and decides it’s better that Don Cheadle gets to use it. Pepper while accompanied by some agents finds Obadiah's lab only then to be ambushed by Obadiah in a what can only be described as the offspring on the hulk-buster armour and war machine, Iron Monger.

Tony flies in with no time to spare and saves Pepper. A street fight ensues between Iron Man and Iron Monger with them chucking cars at one another. This fight seems oddly small scale now, having been spoiled by the massive fights we’ve seen in recent MCU movies. The smaller scale and one on one fight does feel more personal though and given that this is Iron Mans first outing it makes sense.

The fight goes airborne after Tony realizes he’s no match for the strength of the Iron Monger suit. Much to Tony’s surprise Obadiah has upgraded his suit as well and its now able sustain flight but as a call back to earlier in the film, the Iron Monger suit has an icing problem in higher atmosphere. Tony's suit begins to lose power as they fall back to the roof of the Stark factory. Tony sabotages Obadiah's suit so he cant shoot straight and Obadiah squishes Tony's helmet. Rude. The two men begin to fight with there wits and the bare minimum of their suits. Tony tells pepper to overload the Arch Reactor beneath him and Obadiah and after Tony begs she pushes the bug red button. Boom. Obadiah's suit short circuits and he falls to his death into the Arch Reactor causing it to explode.

I am Iron Man

I gotta give credit to this movies ending. Setting itself up like Tony is going to become your average secret identity super hero but in perfect Tony Stark fashion it subverts that by Tony declaring to the world he is Iron Man. It’s easily one the most memorable moments in all of the MCU. We also get our first name drop of SHIELD here, which at the time blew my mind because up until then super hero movies were so self contained. Credits roll and a Marvel tradition is born as the credits finish and we’re given another scene as Tony walks into his house to see a someone standing in his living room. NICK MF FURY.

“Think you’re the only super hero in the world? Mr.Stark you’ve become part of a bigger universe, you just don’t know it yet.”

One of the single most important lines in all of the MCU. When I saw this my 15 year old brain melted and while at the time I was ignorant to who owned what in regards to film rights my mouth foamed over the idea of all marvel characters existing together in a shared movie universe. It only took ten years and a couple billion dollars but all the marvel are finally gonna share a universe together.

Does it work?

With full retrospective Iron Man is your cut and paste Phase 1 MCU origin movie where the bad guy is basically just a different color pallet than the good guy, which is totally fine. There’s a reason they use that formula, it establishes characters perspective and personality along with their skill set to the audience. It could be because it was the first or just the combination of Favreau and RDJ and all the other cogs in the machine but no movie uses that formula better than Iron Man. I’m in awe of how much fun I had with this movie, I highly recommend going back and watching it again if you haven't recently. It holds up as it’s own movie but with the added benefit that you can clearly see how the whole MCU evolved from the style of Iron Man.

VERDICT

You should already own this, go make some pop corn and watch this./10

#marvel mcu #marvel #iron man #infinty war #mcu #review #movie review #tony stark #robert downy jr #shield #nick fury

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