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praphit · 2 years

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Spider-Man NWH: “Oops” (no spoilers)

I like Tom Holland a lot. I love him as Spider-Man!

I mean, he looks like someone who'd be a good friend... or someone you'd like to beat up and shove into a locker... I'm conflicted; perhaps both... a delightful, complicated friendship is what he looks like. But, he seems charming. He's adorable as he keeps trying to be an action hero.

And who isn't on team "Tomdaya"??

(ZenHolland?) idk. Like I said, I love his Spider-man, but that dude is always getting into trouble.

No Avenger has bleeped-up more than Peter Parker (well, except for maybe Iron-Man).

Though I will say, that normally he's bleeping up cuz he's trying to do the right thing. While other times he bleeps up simply because he's a kid. This time around, he botched a super-villain-ass-beating by allowing the villain to reveal his secret identity (in the last movie).

You wouldn't think it's that big of a deal, being that everyone knows who all the Avengers are... they're all kind of attention-whores.

It's not just the sharing of the identity, but the poses, the press conferences, and when there isn’t a crisis around, they just create them.

But, with Peter, it seems like he could have just denied that he's Spider-Man, right?. People with mountains of hard evidence against them deny it all of the time. I don't think they even have any pics/vids of Spider-Man. But, sure, let's all take the word of a dude with a fish bowl on his head.

And with his identity revealed, there are all kinds of issues that arise: the media demonized him, the media politicized him (root for him and you're a "snowflake", we need more guns on the streets to take these vigilantes down), the fans made things awkward for him (especially at school), plus there’s always TMZ, and there were probably nude leaks or something... cuz why not?? - and most importantly, his family and friends were put in danger. When most people get stressed they turn to binge-eating, or binge-drinking, or binge-watching, or hit up their weed guy/gal. Peter on the other hand has a "magic guy" in Dr. Strange.

And if you've seen the trailer, then you know that there's a spell cast to make everyone forget that Peter is Spider-Man, and that Peter screws it up. This isn't your typical "oops, I destroyed some property" or "oops, I missed with my webbing, and hit a kid in the eye, and now there's a lawsuit against me." this was "oops, I cracked open other dimensions, and now villains from those worlds are after me."

From this point forward, we're pretty much going down memory lane (past Spidey movies). They kinda used this as a way to correct mistakes.

Jamie Foxx's "Electro" is here ,

but this time his character isn't lame, and HE'S NOT BLUE!

The Lizard makes an appearance... meh.

They can’t fix the bad cgi/design job of that movie he was in.

They start to get into some mental health/illness issues with all of them, but especially Doctor Octopus and The Green Goblin. Though most of our mental health's would be poor if we turned ourselves into some sort of monster.

Speaking of The Green Goblin, Willem Dafoe is great! By great I mean creepy AF (as he should be). Age has not made him lose any creepiness at all.

Oh, and there was a Sand Guy, but he was forgettable.

You might as well of had James Franco up in there. I would love James Franco to simply play himself. How to fix THAT guy, there's a real challenge.

And it's at this point when the movie becomes a video game. Spidey has to track villains down and try to set things right. I don't necessarily mean it's a video game in a bad way. It's exciting, but it feels like you're going through levels without much character development. If I had any complaints about this movie, this would be it. Also, there's a minor mental health bend to the story. Peter is trying as hard as he can to "cure" these villains. So, it's kinda one more movie where a mental illness equals being a villain or a burden. We just need to lock you up, until we can find a serum to make it all better. I wish! - though if there was a shot to be taken to cure bipolar, dementia, etc etc... people probably wouldn't take it. All that being said, this is just a movie; a comic book one at that, so I will not take any points away.

This movie is a exceptionally enjoyable: the Spidey-Action that’s still creative after like 20 movies, the CGI is better than it’s ever been (except for Lizard :), Dr. Strange scenes making us salivate for "The Multiverse of Madness". If you've watched all of the Spider-Man films up to this point, I can't see how you wouldn't love this. It’s a shower of fan-appreciation and easter eggs. The problem is, if you haven't done your Spidey-homework... you might be a lil lost. They play all of the emotionally high hits of every Spidey movie ( and I mean that in the best way).

They also play the emotionally low hits of every Spidey movie, and it's very good, but sad... (I also mean this in the best way).

(I’m don’t remember which scene or movie this gif is from. He looks like he’s watching Zendaya cheat on him.)

Holland be acting his ass off towards the end of the film. You can really see how Peter has grown and how he will grow for future movies. I even had to fight back a half a tear or two, cuz I sure as hell ain't crying in no Spider-flick. But, the stakes are real.

Ok, so... I lied.

Slight spoiler...

VERY SLIGHT...

VERY VERY SLIGHT...

Seriously, you should know this by now, I sure did, going in...

The Spider-men from the other films DO appear, and with each appearance, the audience I was with went crazy! That's all I'll say.. other than I would LOVE a "Spider-bros movie! Their chemistry is adorable.

Grade: A

#spiderman no way home #johnpraphit #praphitproductions.com #tomholland #marvel #moviereviews #Praphit #zendaya #multiverse #drstrange

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elysian-entries · 3 years

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One film, two visions; The Justice League

It’s 2017; the highly anticipated “Justice League” film, directed by Zack Snyder, is set to be released later in the year as a continuation of the DCEU.

A blockbuster movie showcasing the biggest DC characters uniting. Taking down the ultimate super villain; bound to fulfil millions of past and present children’s, as well as current adults and elderly dreams.

Then a fork in the road appears, Snyder and his wife, Deborah, step down from the colossal project due to the incredibly woeful loss of their daughter, Autumn. News hits the fans like a brick. Resulting in Joss Whedon and the Warner Bros. Studio stepping up to the mantle. Or at least attempting to.

Whedon's theatrical cut lost Warner Bros. Pictures approximately $60 million dollars. With overall painfully negative reviews and reception. Breaking the hearts of DC fans everywhere.

4 years, campaigns, hashtags, sky banners, petitions, and billboards later; I can’t say how many of us would have predicted receiving the holy gift that is the “Snyder Cut”, in its full 4 hour running time glory (in a 4:3 ratio, which somehow adds to the grandeur). 4 years of dedicated, passionate and determined people helping in any way they can for the cause. It was a journey to behold.

A large section in Snyder’s 4 hour venture is used to build dimension and depth in the characters. Making an absolute world of a difference. Something that was sorely lacking in Whedon's cut. The film had a completely different feel and atmosphere instantly.

There's no better example of increased depth in characters than Cyborg's (Ray Fisher's) narrative. I was engaged, and intrigued by his story. In Whedon’s cut, he isn't even given a second thought. His entire backstory was cut as well as his father's important role also being stripped. His scene where he sacrificed himself in order for them to find the mother box was gone. And it took away such an important, integral part in Cyborgs story, and in the film in general I believe and also realised having seen the two movies; the complicated but delicately developing relationship between father and son. And just the whole story in general made such a difference in Snyder's cut, it really is almost indescribable the difference it made. It just felt so much more genuine and heartfelt. Like a real developed and executed narrative.

In Snyder's cut we were shown detailed flashbacks that fully fleshed out his character, his morals and his relationships. Creating a much needed deeper connection with the audience. We experience his conflicting journey to accepting his responsibility, accepting the past, the "gift he has", and his purpose in the league. Leading into receiving closure. He was given great and meaningful importance and purpose in this cut.

Similarly, Ezra Miller's Flash was too given a largely more meaningful and impactful role that left quite the impression on me. His character was light-hearted and charming but still had those important, emotionally impactful scenes. Which were painfully lacking in Whedon's cut. I was left loving Barry Allen a lot more than I already did. Barry's scenes with his wrongly convicted father were hard hitting for me. They also play a large part in making later scenes more impactful. Like his detrimental importance during the final fight. In Whedon's cut his big hero moment was saving a Russian family. The overall the inclusion of the family was superfluous and extraneous, along with the robber at the start and many other things. Not only that but Whedon's cut gave the Flash a silly, attempted comical relief role. To be fair he attempted to give everybody a comical relief role. Which hardly worked because none of the attempts were actually funny and were at time agonizing. It ultimately lacked substance and came across as almost immature. The scene where Barry went on about brunch was painful. Leading me to ask, why? Why was this so important to film Whedon?

After re-watching Whedon’s version, I had gained a new found appreciation for Snyder's representation of Barry. '"Make your own future, make your own past"; he echoes his father’s words. "Your son really was one of them, the best of the best," as his theme "At the Speed of Force" plays in the background of this pivotal moment. A powerful scene reflecting Barry's ulterior motive, doing his father proud. Which invoked many tears. And still does whenever I re-watch the scene or listen to the song. As if it were the first time experiencing it. Thomas Holkenborg's soundtrack truly amplified emotion and made the scenes much more powerful, It makes for one of the absolute best scenes in the movie; I'd say one of, if not my absolute favourite.

His job in charging up Victor was completely removed and I have to wonder why. Instead Barry was left to participate in "bug duty" (bugs being one of his fears also). Barry's role in Snyder's cut, and that one incredible scene where he broke the rule was arguably better than Whedon's Justice League as a whole.

I think the only scene in Whedon's cut involving Barry that I thought was actually meaningful was where he was faced with his first real mission. And he was confronted with his fears of "obnoxiously tall" beings. He appeared anxious and frantic. Fearful. Communicating to us his inexperience. And Batman simply told him to just "save one". To which he then, without struggle, saved them all. And was also able to participate in the final battle. The "save one" scene made those achievements more meaningful.

The scene after they won the battle, showcases the victorious team standing proud; and Barry with a sweet, goofy, golden retriever-esque smile plastered on his face. What a loveable smile.

An interesting contrast is the scene in where Barry reveals to his father his new position at an “actual job”. In Snyder’s cut the father was absolutely over the moon, shouting at the top of his lungs, "his foot is in the door!" repeatedly in excitement. It tugged at my heart strings; his shameless pride in his son. Making me wonder how he would have shown his pride if he found out Barry saved the whole Earth and humanity. We can assume Barry had that unequivocally powerful underlying thought too. Contributing to his saccharine reaction. In Whedon’s cut the reaction was softer and more timid but nonetheless a sweet moment. Barry becoming bashful.

It was a sweet touch to have Cyborg and Flash finally fist bump during that victorious scene after Victor rejected Barry's initial advance in Whedon's cut. Ezra Miller improvising that “racially charged” line, acknowledging the possible racism attached to a fist bump I assume. The whole fist bumping being "racially charged" was not included in Snyder's cut. The grave digging scene was entirely different. Which I far more preferred. It was a group excursion. With a little positive interaction between the Atlantean and the Amazonian. And funnier, more light-hearted dialogue between Barry and Victor.

Aquaman’s contrast was interesting. In Whedon’s cut he actually sought out to obtain the trident to help the league (although he was always disagreeing with them). Compared to Snyder; where he was apprehensive and had to be hesitantly persuaded by Willem Dafoe’s character Vulko (who was completely absent from Whedon’s cut). This was also an importantly established relationship by Snyder. Arthur first makes his desire to help the the team known saving them from the water rushing from Gotham Harbour. He isn't acknowledged in the theatrical cut but in Snyder's cut Diana notices and takes a moment to take in his presence (I assume?). Then Barry asks who that guy is. And of course we all know, it's Aquaman.

I particularly liked how Snyder chose to include Barry asking for Arthur's opinion on military hats. It's an odd, minimalistic thing to include - the reasoning as to why I like it. I also thought it was quite charming.

A scene I think deserves a mention is when Aquaman is first introduced, and then rejects Bruce's offer, he then makes his way back into the ocean. A farewell song is performed. This was quite early in the film and I think the voices being hauntingly beautiful, yet slightly eerie/poignant set the perfect atmosphere. A well done scene.

His overall character was also contrasting. He became a genuine hero who was proved capable of more than water powers and silly moments. Including that god-awful lasso of truth scene. In the theatrical cut he was bitter, a bit of a joke, not caring too much about the events that were unfolding. He had more of a heroes’ sense of purpose within Snyder’s cut.

Gal Gadot did not gain too much from the extra scenes. Though different to the theatrical cut, Snyder had paired her with a repetitive character establishing theme. It could be referred to as ancient lamentation music. Hauntingly beautiful. Something I could only assume would be the battle cries of the Amazonian warriors and the Amazonian warrior inside Diana. In some ways possibly over used, though I thought it was brilliant. It has a special place in my heart because I love that type of soundtrack. The almost eerie, maybe poignant but overall emotion provoking type. Especially her introduction scene where she faces off against the terrorists )which was overall better in Snyder's cut) The haunting warrior moans fade into her classic theme to create an incredible atmosphere. And that atmosphere was definitely missing in Whedon's cut, in more than just that one scene. It was also sorely lacking the lamentation music. We also didn't get that sweet interaction between Diana and the little girl.

When Diana began detailing Steppenwolf and the mother boxes past to Bruce, the cuts were very strange and abrupt/awkward in some way. And it felt silly and rushed; and I think that perfectly describes the whole film.

Whedon's cut also included uncomfortable scenes. Almost forcing characters to be funny where it was just completely out of place and character. Or just downright inappropriate. To be fair, Whedon is known for the Marvel movies in which fourth wall dimension breaking and odd self ware/ironic jokes are heavily used. One of the main reasons I don't particularly enjoy them, but rather enjoy the darker, more meaningful DC movies. I say meaningful in the way in which we are completely transported into this universe; where it's taken seriously and has obvious effects and meaning to the characters. Compared to Whedon's Marvel films in which the threat is joked about and the characters make fun at their expense.

Another negative contrast is the colour grading and overall shots. A good example is the conversation between Lois Lane and Martha Kent. In Whedon's version the colour is poppy, reminiscent of Buffy the Vampire Slayer, or The Office. As if it were an empty shell of a TV show. Lacking any artistic or symbolic aspects. Whereas Snyder's conversation between Martha Kent (who was actually Martian Manhunter) and Lois Lane was beautiful. The lighting was dim, with steam from their hot coffee creating a brilliant shot and conveying the perfect mood. Almost a piece of art. A lot of Snyder's cut looked as if it were ripped straight out of an incredible graphic novel. His talent when it comes to filmmaking is grandiloquent. Compared to Whedon's over saturated and flat scenes as if it were from a cliché sitcom.

Whedon also made the Justice League a lot more dysfunctional than it needed to be.

The scene where the team unanimously come up with the plan to revive Superman seemed really silly and lackluster in Whedon's cut. In Snyder's cut it was a genuine moment. A "wow" moment where the penny dropped. It gave me goose-bumps. The way it was implied, the explanation/analogy with the house, and then Cyborg creating a Superman visual as the team, standing around the table, stared at it in awe. All thinking the same thing. Without even having to say it (as Barry pointed out) It was a uniting moment. Whedon's version was just, disappointing. Lacking any impact at all. And it made the team seem disconnected in a way. Whereas in Snyder's scene the league's thoughts were in unison.

There was also an agonizing amount of Wonder Woman praise. I think praise is a...well...nicer way of putting it. It was more so adolescent boy humour, immature if you will; with her being the butt of the joke. To the point where it was little uncomfortable and borderline unnecessary. And to another point where Gal Gadot refused to do a scene, (the one where Flash lands on her) and Whedon insisted so much on still including it - that they used a body double. A scene so stupid and pointless it actually hurts. Why, Whedon?

Superman's main feature in this film is his moustache. Or, lack thereof. At the beginning of the theatrical cut, we witness the infamous Superman film scene, where we are introduced to his CGI moustache…then “Everybody Knows” by Sigrid plays as we see the aftermath of his death. I really enjoyed this scene, the song and the atmosphere. I think it was a strong start, setting the poignant mood. But of course it all goes out the window and downhill from here.

The biggest difference between the two Superman’s was the elimination of the godforsaken CGI removed moustache and the introduction to the “Recovery Suit” in Snyder's cut, which was a brilliant touch. We actually see Clark stumble upon the suit. A scene where various voices from his past, echo in his mind. An equally important and impactful scene; where he flied up into the universe, overlooking the Earth he is to protect.

I also really liked the whole, "Lois Lane is key" setup, with the eerie premonitions and glimpses into the “Knightmare”. Adding yet another deeper layer to the narrative. Setting the scene for Snyder's envisioned sequel.

In Whedon's cut during the first confrontation where Clark is confused immediately after his resurrection - the previous BvS battle is implemented more. With the "Do you bleed?" question being revisited. Giving us an unwanted closer look at the strange looking $3 million dollar CGI.

I liked Snyder's first confrontation better. It included more action and participation of all parties. And it was just a longer scene, making it seem more plausible and less silly. Before Clark reached Bruce he went through every member. Resulting in a little appreciated interaction between Arthur and Barry. I also thought Whedon’s scene showing Superman throwing Batman away like a ragdoll added to the ridiculous nature.

During the final battle. (Not mentioning how uncomfortable the colour grading was causing an unlikable atmosphere. Especially when it became daylight, taking away the exciting and intense atmosphere.) Whedon's Superman's entry was a little plain. Maybe cliché. Banging on about "truth" and "justice". Which isn't necessarily bad. It's just, maybe, too Superman? We then see the relieved faces of all the members. Batman's giddy smile was by far the best. It was nice to see genuine happiness and I think that played an important role in communicating to us Bruce's character arc. From lowest of lows, and his conflicting attitude towards Superman in BvS, to Superman giving him incredible hope. Though it slightly made me uncomfortable.

Snyder's entry of Superman was brutal in the best way. Appearing just before Cyborg was chopped to bits. Giving us that epic moment of 'He came.” Superman mercilessly rips into Steppenwolf for the next minute or two. No breakaways. Which was a great choice. It perfectly showcased his abilities. Though in the theatrical cut he was shown to be the only capable one of saving the world and being the real “hero”, in Snyder’s cut, especially The Flash, they were all shown to be powerful with meaningful parts to play.

Bruce Wayne appeared more guilty and conflicted about what happened in BvS in Whedon's cut. Though he was overshadowed in terms of writing by Superman and Wonder Woman. He also was the one who brought in the "big guns" a.k.a Lois Lane as a contingency plan in case the Superman resurrection went awry. In which it did. In Snyder's cut it was coincidence, or the doing of Man Hunter in that mysterious scene. Bruce was also quite tense and wasn’t too much a bright beacon of hope as he was in the Snyder cut. Even despite Snyder's vision of him being reminiscent and heavily inspired by Frank Millers version; darker, older, broken and violent in a way (which is brilliant) he still had this character arc. The lover’s tiff he suffered with Diana was irritating and what I thought was superfluous. Creating an unnecessary disconnect with the group. It wasn't an interesting sub-plot/complication at all .

Bruce's character arc (from the dark BvS time, to the hopeful present) was more thoroughly shown in Snyder’s cut compared to Whedon's. I briefly mentioned Bruce's schoolgirl grin when Superman arrived right on time. Though Snyder more effectively showcased this positive rise through his obviously increased in optimistic attitude. When the team are off the defeat Steppenwolf once and for all Alfred asks Bruce how he can be so sure of the Man of Steel’s arrival. And Bruce replies full of vigour, “Faith, Alfred, faith!” And in another instance Barry questions their strength against Steppenwolf due to the amount of demons he has won against. Bruce declares that, “He’s never fought us. Not us united.” It was a powerful statement that heavily elevated excitement for the final fight.

During this final fight, Batman basically goes out on a suicide mission. Then the rest of the league join him for a family reunion. The Snyder cut better represented this with an astounding freeze-frame, slow motion shot of the team. It nicely established the power of unity in this case.

The way in which Steppenwolf was defeated was vastly altered. Changed completely. Mostly due to Darkseid’s absence in the theatrical cut. Darkseid added an important extra layer of looming fear, and even gave Steppenwolf more depth. It gave him an important reason as to why he was doing what he wasy doing. As we saw his utter dedication to Darkseid. It alerted us of the larger dangers that were present. Steppenwolf’s death in Whedon’s cut was ultimately debilitated after seeing Snyder’s version. Instead of being anti-climactically eaten alive by his bug minions as the sun rose; (maybe it’s a personal preference but I heavily dislike the daylight, especially for action scenes) his head was chopped off, first horn by horn, then from the neck. His decapitated head thrusted back through the portal into his own world, landing at the horrifying Darkseid's feet, along with the terrifying parademons. Engulfed by a fiery hellscape. The horror that Earth could have faced. But still could face. It reveals the deeper and darker enemy, beyong Steppenwolf looming just beneath the surface.

A sinister tune plays, as we see the victorious Justice League looking back at them. The portal then closes. Although a victory, we can’t help but wonder what the demonic and powerful entities, far more powerful than Steppenwolf, have in store for Earth’s future.

The Knightmare vision being apart of that future. It's set up from BvS to the very end of Justice League. It's a very intriguing part of Snyder’s vision. The moment where you can link up and see the connections between all the post-credit scenes and the “premonitions” is an epiphanic moment. It’s a whole other narrative on its own that you can analyse, hypothesize and discuss. It’s a very intriguing/exciting concept to think of what would have been Snyder’s future movie where Barry (as we saw previously reverse time) goes back to warn Bruce that “Lois Lane is the key”, to avoid the whole disastrous scenario. We can gather that he is referencing what we see at the end of Snyder's cut, Superman turned evil. The death of Lois Lane, whose skeleton we saw Superman cradle previously, we can assume had a hand in that, and possibly the Anti-Life equation too. It's an incredible narrative, and there are few things I would love more than seeing the Snyderverse come to life on this epic scale again.

We also finally get a glimpse of Snyder’s joker. A very exciting moment for me. Seeing any new iteration of the Joker is an exciting moment. Could Jared Leto somehow redeem himself?

Well, it sure was infinitely times better than the Suicide Squad rendition. This Joker was actually eerie and unsettling. I felt almost uneasy watching these scenes, and his odd laugh caused shivers to form down my spine. Jokers comments about “boy wonder”, whom we find out was indeed Bruce’s adoptive son, were heartbreaking (I believe he was actually referring to Dick instead of Jason surprisingly as his grave was once seen in a previous movie) Leaving me holding my breath, wondering what Bruce would say next, or what other wretched thing Joker could say. Of course the "reach around" comment was a bit off, but I’ll just brush over that.

We also learnt of Arthur Curry’s death, Harley Quinn’s death. Proving that Snyder had such a colossal plans for all the characters, dead and alive.

It’s a poignant feeling; to see this incredible, vast narrative, just beneath the surface, unfold. Knowing that we won’t be able to see it fully developed. As of now.

While watching these two completely different cuts of the same movie; it occurred to me and I am sure many other people, that attempting to produce such an in depth narrative intensive movie on the small scale that Whedon attempted, will commonly end in a painful, empty and superficial representation. Or maybe that really was just Whedon's vision.

As the epilogue ended, the credits rolled. Hallelujah began playing, sung by Allison Crowe. And as they rolled, in big letters the words; "For Autumn" took center focus. White against black. Clear as day. Like a bus, it hit hard. The reason I was sitting on that couch finally having the great honour to watch such a film. The courage it must have taken to continue and finish such a project is beyond admirable, it's heroic. Also non-profit. It only further proves what we already knew, that the intentions were pure, as no one ever doubted.

Also acknowledging the giant billboard on one of the buildings promoting the American Foundation for Suicide Prevention. A very important cause, especially to the Snyder’s. To date fans have raised over half a million dollars to the AFSP in honour of Autumn. A truly incredible feat.

When looking at the two movies side by side, it blows my mind to see the difference that I do. The emotion, meaning, the depth. It all just made sense in Snyder's cut. The emotion was palpable, absolutley unmistakable. Things mattered more. The people mattered more. There were reasons, and purpose. It was a genuine journey for every one of the characters, and I felt it. There were so many little scenes that made so much difference that added depth and meaning, emotion.

And I cannot say such words for Whedon, though I won’t put all the blame on him. Warner Bros. is about equally responsible. .

The true, original and intended Justice League; expatiated heroes, people, stories and journeys coming together on a grandiose scale, executed with passion and care. But also giving us a bittersweet taste of Snyder’s epic trilogy that could have been.

The end of the saga; and the rest of Snyder’s visions, are left unfulfilled; as of now. But regardless, remains as one of the things I hope to see come to life. Watching this movie, and the feeling I had during and afterward is indescribable. I want to say a massive congratulations to Zack Snyder. The film was beyond breathtaking. It really is so special and it will forever have an important place in my heart.

Though I think the most important thing to take away from the Snyder's incredible work is Autumn's story.

Thank you Zack Snyder.

For Autumn.

www.imdb.com/title/tt12361974/

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365days365movies · 3 years

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January 13, 2021: House of Flying Daggers (2004)

Crouching Tiger, Hidden Dragon was HUGE. I don’t just mean on this blog, I mean in the United States in 2000 and 2001. If you were alive and aware of movies that year, then you remember people talking about this movie. It was, and is to this day, the highest grossing foreign-language film in the United States. So what does that mean?

It means that Ang Lee wouldn’t be the only wuxia film director to cross the pond. Two years later, a little movie called Hero would be released internationally. That wuxia would eventually become the #3 highest-grossing foreign language movie in the USA. It’]s director was an old hat wuxia director in China, Zhang Yimou.

Yimou’s success on China never translated in the USA, until Hero in 2002. After that, he would release more films in the USA, one of the most recent being...oh. OH. OH NO, The Great Wall starring Matt Damon, Pedro Pascal, and Willem Dafoe?!? THAT’S A ZHANG YIMOU MOVIE?

...I mean, Ang Lee made the 2003 Hulk, so I guess nobody’s perfect. Anyway, House of Flying Daggers.

Zhang Ziyi’s back! This is another critically acclaimed movie, but wasn’t nearly as popular in the USA. It was nominated for one Academy Award, for Best Cinematography, but it lost to The Aviator. I’ll talk about that one in the future the way of the future the way of the future the way of the future.

But OK, enough introduction, IT’S WUXIA TIME WOOO SPOILERS AHEAD!!!

Recap

The House of Flying Daggers is a Robin Hood organization, stealing from the wealthy and giving to the disenfranchised in a particularly poor area and time period in China. Their biggest enemies, as you’d expect from a Robin Hood group, are the police, who are conspiring to take down their leader within ten days, whomever they may be.

One of these policeman is Jin (Takeshi Kaneshiro), who goes to the Peony Pavilion, an “entertainment house” full of beautiful women. See, the leader’s daughter is rumored to be working there as a new showgirl.

This is the blind dancer Mei (Zhang Ziyi), who’s questioned awkwardly by the VERY drunk Jin. She dances and sings for him, as requested. Good time to mention something that I didn’t mention yesterday: Zhang Ziyi has no martial arts background prior to her film career. Instead, her background is in dance! She learned fight choreography in that film the same way she learned dance choreography. So, it’s neat to see her return to her roots.

It’s less neat to see Jin straight-up sexually assault her and get arrested by the cops. So, y’know, ups and downs there. To prevent from getting arrested herself, Mei accepts the offer to play a game called “Echo.” This is prompted by another police officer, Leo (Andy Lau). He, uh...throws beans at a circle of drums, and she responds by hitting the drums with her sleeves. Yeah. Sounds dumb, right? Well, check out how it looks.

This is a very different movie, as compared to CTHD. And yeah, I’m only 15 minutes in, but the choreography is far more artistically flourished. Yeah. I said that as compared to CTHD. Only time will tell, but this full dance sequence is definitely interesting to watch.

Anyway, as you can see above, it ends once Mei grabs the captain’s sword with her sleeve ribbons, and challenges him to a duel. She also TOTALLY blows her cover as a sympathizer to the House of Flying Daggers, and the two fight.

This fight does NOT go well for her, and she’s arrested. Also, it would seem that the drunken display by Jin was actually just a ruse, meant to get her to play the game and reveal herself. Seems...complicated, but it got result, I guess? Anyway, they threaten her with torture (like you do), unless she gives them information of the new leader of the House of Fly...HoFD. There. If CTHD gets an acronym, so does this.

Suddenly, though, a ninja appears and sets Mei free, fighting off the guards. Said ninja reveals himself as...Jin? They refamiliarize themselves.

Very refamiliar.

Anyway, the soldiers are indeed approaching, and Mei and Jin go on the run. The policemen chase them down on horses, and Mei takes down three horses and the guys riding them...with a scabbard. By herself. Badass.

That’s followed by her taking on four armed men at once, although this round doesn’t go nearly as well.

Luckily for her, however, Jin arrives in the nick of time to save her. We get this VERY cool POV arrow shot:

And the two leave. HOWEVER, the policeman ALL get up at the end, which means...Jin’s lying about all of this, huh? It’s a ruse to find to location of the HoFD, using Mei as an unwitting guide. Oof. Liar revealed plot set-up, huh? If that’s the case...I’ll get into that more later.

Jin leaves a message for his fellows, while Mei bathes and puts on men’s clothes provided by Jin, as a disguise.

It’s at this point that Jin decides to go FULL creep again, and GODDAMN is it not working for me. It is...UNCOMFORTABLE, knowing what we know about Jin. And yet, despite that information...

It’s working for Mei. Yeah, they make out. Mei does say that it’s too soon, and that she doesn’t quite trust him that much yet...but they definitely made out there for a hot sec. It was...yup.

We get a reminder the Jin’s kind of an emotionally manipulative asshole as he meets with Leo, who warns her not to “fall for her.” So. It IS one of these stories, huh? We’ll see how it goes, but...yeah, not digging the love story so far.

And yet, as I say that, there goes Jin, falling in love with her. Soldiers consistently follow them wherever they go. Looks like the plan is backfiring, as soldiers who aren’t one of Jim’s cohorts believe that he’s a member of the HoFD, having broke Mei out of jail and all. So they attack them in earnest, even injuring Jin somewhat.

And that’s when Mei brings out the dagger. The Flying Dagger. THE HOUSE OF FLYING DAGGER.

I tell ya...that’s cool. Might be a CGI house of flying dagger (LOT of CGI in this movie, by the way, and none of it is technically...good), but I love it. The two fight off the soldiers in the field using the house of flying daggers and arrows, but reinforcements arrive. The two fight them in a sequence that’s more dance than ight. And it’s pretty cool. But they’re soon outnumbered.

Until...some wooden dowels come out of NOWHERE, impaling them in the neck and taking them down. Having survived, the two rest in the field, pondering where the dowels came from. And, of course, making out.

Although, this time, Mei starts it, and Jin refuses. He leaves, at her urging, and meets with Leo. Turns out the General sent the soldiers in the field, and is sending more to kill Mei AND Jin. And, as a note, Jin just KILLED some of those guys, as did Mei. Arrow boys from earlier lived, since it was a set-up for Mei. But, no, Jin actually has to kill the soldiers coming up.

That’s when he realizes that the General doesn’t care about him, at ALL, and he’s willing to shed the blood of his men and of Jin to get his goals met. And Jin...quits. Jin STRAIGHT UP quits, and returns to Mei. They get into a spat, and Mei leaves. And she goes to...

A bamboo forest. Thank you, China, for loving bamboo so much in these movies, because this sequence is gorgeous. I tell you, these movies do real well with the bamboo green color. Gorgeous.

The soldiers ambush Mei there, but Jin’s caught up, and he helps fight them off. Some awesome bamboo tricks (and sounds, by the way, real neat sounds here), more object-throwing (including a lot of using the bamboo stalks as weapons, which is SUPER FUCKIN’ COOL), and some gorgeous cinematography though the forest. Real talk, this scene made the movie for me. So far, anyway. We even get a BADASS bamboo spike trap! And it’s here that our pair is caught.

AND THEN

IT’S THE HOUSE OF FLYING DAGGERS FUCK YEAH

Looks like the madam of the entertainer’s house actually is the head of the HoFD, once again upholding the tradition of badass women of wuxia that we’ve seen in LITERALLY ALL THREE of these movies.

The leader asks if Jin likes Mei, and would consider marrying her. It’s far too soon for Jin, and he’s formally captured by the HoFD. They knew about his and Leo’s plan, and drag a captured Leo in as well. AND, AND...MEI’S NOT BLIND, or the daughter of the leader!!! Yeah! She’s been faking the whole movie! HA! Liar revealed indeed!

Didn’t see that one coming! Mei’s just a normal anti-governmentrevolutionary, and Jin’s now just a prisoner alongside Leo. But another twist, as this isn’t the actual leader of the HoFD. Leo reveals this; and how does he know that? LEO...IS A GODDAMN MOLE IN THE GOVERNMENT!!! WHAT????? YES! Leo’s a member of the HoFD, and he was planted three years ago to spy on the cops! And...AND...HE’S MEI’S FIANCEE!! WHAT IN THE SHIT?!?

OH I AM FULLY INVESTED. What the hell else is gonna happen? How about a game of Echo?

Yeah, that scene from earlier? No wonder it was a dance! It was the reunion between two lovers, long since parted! Holy shit, THIS is a romance I can fully get behind! But...can Mei? Because she certainly isn’t feeling it as much as Leo is...

Yup. Looks like she fell in love with Jin after all. Uh oh. BIG UH OH. And there goes my support of their romance, as Leo tries to rape Mei. Nia, the leader, ain’t having it, and throws a dagger into Jin’s back. He goes back to spy on the cops, but not before shaming Mei. Oof. I take it back.

And now, Mei’s been told to kill Jin. I’m sure that’s gonna happen.

YUP

Well, after they have Field Sex (probably better than CTHD’s Cave Sex, let’s be honest), they decide to go their separate ways, becoming fated lovers on two separate sides. But Mei has second thoughts, and goes back.

Somebody else comes back, too.

YIKES, LEO! Yeah, he kills her right there in the field, blaming her for making him kill her! YIKES, LEO!!! I take it back, you’re a DICK.

Jin ALSO comes back for Mei, and finds Leo instead. A pissed-off Leo reveals himself to Jin, and the two engage in a sword battle for Mei. And then...autumn turns to winter.

As the army encroaches on the HoFD in the bamboo forest, two former friends shed blood amongst the snow. Their fight...their fight is brutal. The choreography may not be the fanciest...but it is insanely and viciously emotional. Blood and snow, man. Blood and snow.

Also, hey, guess who’s alive after all! Mei gets up, despite the DAGGER IN HER CHEST STILL. She asks Leo to let Jin go, or she’ll USE THE DAGGER IN HER CHEST TO KILL HIM. METAL. Obviously, that’ll actually kill her, So Jin asks her not to do it. But it doesn’t matter in the end.

Mei throws her dagger to intercept Leo’s. And Leo...never throws his dagger..

Leo leaves. Mei dies. Jin cries and sings their song.

A rare beauty in the North. She’s the finest lady on earth. A glance from her, the whole city goes down. A second glance leaves the nation in ruins. There exists no city or nation that has been more cherished than a beauty like this. A rare beauty in the North. She’s the finest lady on earth. A glance from her, the whole city goes down. A second glance leaves the nation in ruins. There exists no city or nation that has been more cherished than a beauty like this.

And we never see what happens to the...House of Flying Daggers.

WHOOF. Epilogue soon.

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spaceorphan18 · 4 years

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Marvel Movie Night: Spider-Man

Kicking off Sam Raimi’s original Spider-Man trilogy! Whoo! It’s interesting - Spider-Man was one of those things that I wasn’t initially into (totally here for the X-Men). Then I really fell in love with this trilogy. And then kind of fell out of love with it. And then Tom Holland came along leaving this in the dust. Coming back to it again I find it… endearing? But like the original X-Men films, despite being thought of as great for the time, I don’t believe it holds up that well now that we’re nearly twenty years later. (My god, am I getting old?)

Let’s back up and talk about this film in context for a second. X-Men was revolutionary in its own way - bringing the comic book genre into a space that could be taken more seriously. Spider-Man, however, was the first glimpse of what films based on Marvel properties would later become. Unlike superhero and action films of the time, it was brightly colored. It was cheesy, but not overly campy. It had humor and emotion. And, not surprisingly, audiences reacted positively!

But now that we’ve had twenty more years of Marvel films, does it hold up? Kind of? Is it a good Spider-Man film, yes if the context you’d like your Spider-Man films to be in is taking directly from the Silver and Bronze age era of comics. Is it a good film overall? Meh.

I don’t spend a whole lot of time in Spider-Man related fandoms, but there is a big chunk of fans that prefer this film and its sequels to the other two Spider-Man franchises. And while I don’t agree (though I support everyone having their own, varied opinion), I can see why this might appeal to those fans who had been reading the comics for years.

The first half of this film is directly lifted out of Amazing Fantasy #15, the comic issue Spider-Man made his debut in. The filmmakers did, really, a fantastic job of bringing it to life -- the origin story, Uncle Ben, the ‘great power’ line, Peter Parker’s guilt, the spider-bite, and so on and so on. It’s there. This film feels like a Silver Age comic book brought to life. On the one hand - that’s pretty remarkable. I don’t think the comics had ever been directly referenced in the same way prior to this. On the other, it brings along with it all the downsides of a Silver Age comic. The dialogue is incredibly stiff. The acting feels forced. And everything has that -- ‘ah, golly shucks’ mentality about it. It felt dated in 2002. It feels even more dated now. But the novelty of it being THE COMIC BOOK was pretty revolutionary for the time.

Peter Parker/Spider-Man

Of course there are hundreds of polls out there, and I’m sure a few dozen YouTube videos about who the best Spider-Man is. Honestly, there’s a lot of subjectivity that goes along with it. I think each of them has their pros and cons, so let’s take a second to talk about Tobey Maguire in this film. One thing I think Tobey Maguire does really well, especially for being nearly thirty by the time he got the part, is play the nerdy and awkward Peter Parker… or at least at least the nerdy and awkward Peter Parker that was written in the 60s by Stan Lee. Maguire does a great job of doing the part he’s supposed to be playing - the problem is, and I feel this way about all the characters, is that he doesn’t feel like he’s playing a real person. He feels like he’s a comic book character thought up during the 60s.

What about the Spider-Man side of things? I’m going to give this a pass more than I probably should. First of all, Spider-Man is supposed to be rather chatting, and this Spider-Man is near silent. But that’s more so due to the lack of ability with the suit. And I don’t blame the filmmakers for keeping Spider-Man off the screen for so much of the film. Not only does it make those times Spider-Man is there feel more special, but it saves them from having to do a lot of things that, maybe, didn’t the technology wasn’t fully ready for yet.

Look - I think while it was definitely moving in the right direction, the action sequences in this film are probably some of its weakest points. Everything is incredibly stiff and/or ridiculous looking. Sure, there are some great moments of Spider-Man swinging around the city. But most of the stuff between he and the Green Goblin have not aged well at all.

One last thing - the organic webshooters? Nope. Nope, nope, nope. Ew.

Aunt May, Uncle Ben, and Great Responsibility

So - Aunt May (and Uncle Ben) in the comics are older. It’s… kinda unrealistic, unless Peter’s parents were much, much older when they had a kid. Uncle Ben says in this film that he’s 68. That’s grandparent age -- and I’d believe this whole thing much more if they were Peter’s great Aunt and Uncle. That said, Cliff Robertson and Rosemary Harris were perfect choices for their roles. Robertson especially plays the closest to an actual person as he grumbles about unemployment and new technology he’s having trouble with. But more so, he does such a great job with his Great Responsibility line, that there’s really no reason for other Spider-Man films to do it. It’s in the culture now. We get it. Meanwhile, Harris’s Aunt May, well, looks exactly like Aunt May. Aunt May, in general, kind of annoys me, so I suppose we’ll leave it that.

The Osborns and the Green Goblin

First, James Franco as Harry Osborn. There really isn’t a whole lot to this character - it feels like he’s talked about more than actually on screen, and I feel like we don’t get to see that much of Peter and Harry’s relationship. That said, Franco does brooding rather well - and is pretty consistent at keeping the brooding up throughout the film. He’s fine, but sometimes feels like he’s there because the movie wants him to be in it.

Willem Dafoe is Norman Osborn, and here’s my thing. Dafoe is a pretty good actor. He does the whole split-personality thing rather well, and makes an incredibly convincing villain, especially when everything about the Green Goblin is, well, incredibly contrived. Really, I think the Oscorp stuff is the dumbest stuff in this film because it strictly adheres to comic book logic. And while I also understand there were obvious limitations and complications making such a ridiculous suit, that Green Goblin costume is terrible. Dafoe was much more menacing without it on.

Mary Jane Watson

**sigh** Okay. Let me start by saying that I like MJ in the comics, even though, yeah, this is a pretty good representation of her (or more so the kind of character she was forty years ago) here. I don’t even mind Kirstin Dunst. This version of MJ bugs me though. Part of it is the story framing. Everything’s from Peter’s POV, and it doesn’t make any sense. What is it about her, besides the fact that she’s pretty, does he even like? They never actually spend time together - and when they do, Peter’s giving her soliloquy about how wonderful she is. The problem is that we’re never really given a reason, other than pretty, to understand why. Do they have anything in common? Not really. Do they make a connection beyond his constant saving her from bad situations - whether it be emotional or physical? Not really.

Everything about their scenes is just over-the-top a majority of the time. Like -- this is a big sweeping romance, hear the music? See the close-ups? Add tears, more tears! But I never buy an actual connection between the two of them.

The one thing that does actual work, and I will give them a ton of credit for, is that upside down kiss in the rain. That’s pretty damn iconic. And kinda hot. It’s the only time that the movie allows the romance to do something other than follow the tired tropes of boy-likes-girl, boy-rescues-girl, boy-gets-girl. Ug.

J Jonah Jameson and the Daily Bugle

JK Simmons and the Daily Bugle is hands down the best thing about this film. It’s witty and almost satirical with everything looking straight out of the 60s comic book. It gets the humor that the comics often has and runs with it. I have no complaints, it’s really, truly amazing. And I have to wonder if this entire film would work better if it had taken place during the 60s and was a tad more on the satirical side. I feel like the world would have made just a little more sense.

Final Rating: 3 out of 5 Spiderwebs. I think this film is a great embodiment for what Spider-Man meant to a whole group of people who grew up with the character. As a film, I think it’s standard issue, and besides letting comic book movies be brightly colored and fun, I don’t think it does anything special with the story it’s telling. And much like the original X-Men film, while I’ll give it credit for being special for the time it came out, I don’t think it holds up now.

Next Up: Oy, I’m gonna have to watch that Ben Affleck Daredevil film now. :P

#marvel movie nights #spider-man

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popentertainment-moviereviews · 4 years

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MOTHERLESS BROOKLYN (2019)

Starring Edward Norton, Gugu Mbatha-Raw, Alec Baldwin, Bruce Willis, Bobby Cannavale, Cherry Jones, Leslie Mann, Willem Dafoe, Josh Pais, Michael Kenneth Williams, Ethan Suplee, Dallas Roberts, Robert Ray Wisdom, Fisher Stevens, Radu Spingel, Peter Lewis, Nelson Avidon, DeShawn White, Deborah Unger and Candace M. Smith.

Screenplay by Edward Norton.

Directed by Edward Norton.

Distributed by Warner Bros. 144 minutes. Rated R.

Edward Norton had seemed to have pretty much faded away from the Hollywood scene in the past decade or so, with his twin appearances in 2014’s Birdman and The Grand Budapest Hotel as his last significant roles. (And those characters were supporting roles.) Considering how big he was in the 1990s and the early millennium – with films like Fight Club, American History X, Red Dragon, Moonlight Kingdom, Rounders, Frida, The Incredible Hulk, Primal Fear and The Illusionist – his absence was notable.

Motherless Brooklyn is his flashy return to the bigs. Norton stars in the film, directs it, and wrote the screenplay (based on Jonathan Lethem’s 1999 novel). The story is a byzantine and intricate film noir, a look back and 1950s gangsters, private eyes and massive corruption which feels like an east coast variation of Chinatown.

However, to paraphrase that movie: Forget it, Jake. It’s not Chinatown.

The fact that it can’t keep up with one of the great noir films of all time is no great surprise, nor is it something for Norton to be ashamed of. That it falls well short of the mark may be more of a concern, though overall Motherless Brooklyn is a rather good piece of hard-boiled detective fiction.

This has been a dream project for Norton, who has been trying to get it made for almost two decades, since the book was released. You can see why he may be interested in the project, it’s tough, smart, and has a role for the director which can potentially cause some serious buzz. It is also suddenly very timely in the Trump era.

Norton certainly picked a complicated character for his hero. His low-level gumshoe Lionel has a pu pu platter of mental conditions. At different points in the film he shows signs of Tourette’s syndrome, obsessive-compulsive disorder, eidetic memory, Asperger’s syndrome, and more. It makes for a flashy, Oscar-baiting role, although in some parts of the film, particularly in the later scenes, he appears to have his conditions under almost complete control, except when their reappearance is convenient for the plotline.

Of course, his vast array of ticks and twitches and involuntary shouts make him an easy person for people to underestimate. Lionel is surprisingly smart, an investigative savant and a sweet, shy empathetic man. When he is not apologizing for his bodily functions and sporadic spontaneous exclamations, he’s actually a rather likable guy.

Lionel enters the action as one of the assistants for local investigator Frank Minna (Bruce Willis), a cool, apparently good guy who gets into the muck deeper than he should. Willis, who is actually in good form here, gets second billing in the film despite the fact that he is shot early on the film. (Sorry if that feels like a spoiler, but that shooting is shown during the trailer, so I don’t think it is supposed to be a secret.)

Lionel and his fellow members of Minna’s agency (Bobby Cannavale, Ethan Suplee and Dallas Roberts) start looking into Minna’s death, particularly Lionel, who has a dogged determination to discover the truth of Frank’s death. This leads him into a labyrinthine plot which involves the mob, a club in Harlem, local politics and a mysterious loner (Willem Dafoe) who keeps showing up trying to spur on the investigation. During the investigation, Lionel meets and falls for the daughter of the Harlem club owner (Gugu Mbatha-Raw), but she appears to be a target of the conspiracy.

The main bad guy is a city developer named Moses Randolph. For the novel, the character was loosely based on a long-time, rather corrupt former New York builder / government official named Robert Moses. However, with 20 years of hindsight, Moses Randolph is also very reminiscent of someone else many people know.

Randolph is a trust-fund baby New York real estate mogul with a God complex, one who is more than happy to destroy others over perceived slights, pushes himself on women, and thinks that it is his right to take whatever and whomever he wants. In fact, Moses even describes his “seduction” technique on an unsuspecting woman with the same predatory term used in a certain Access Hollywood tape: “I moved on her…”.

In case you missed the similarities between the bad guy and Donald Trump, they even got Alec Baldwin to play the character, though in a more ruthless, more intelligent, less clownish performance than Baldwin’s Saturday Night Live take on Trump. (Then again, this character is more intelligent and less clownish than Trump, but that’s a debate for another day.)

Motherless Brooklyn is actually a rather well-made film noir, though it is a little too complicated for its own good, and at nearly two and a half hours, could easily tighten its running time a bit. It’s far from perfect, but it is good and definitely a nice return to form for Norton.

Jay S. Jacobs

#Motherless Brooklyn #2019 #Movie Review #Edward Norton #Jay S. Jacobs

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keanuital · 7 years

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5 REASONS KEANU REEVES IS OUR GREATEST LIVING ACTION STAR

Pop quiz, hotshot: What are the five finest moments from the illustrious career of Keanu Reeves?

Trick question. With films like Point Break, Speed, and, of course, John Wick, choosing five moments is near impossible. Look, a case can be made for other actors: Tom Cruise runs through action movie after action movie, hellbent on not aging. The heroes of Marvel comic-book movies all bring 10 tons of charm, though outside their carefully curated franchises, they leave something to be desired. But Keanu is vulnerable, sincere, physical, and supremely watchable, even in his lesser roles. Yes, even Johnny Mnemonic.

This week, John Wick: Chapter 2 hits theaters and Keanu returns as a ray of sunshine in these dark times. There's no better time to remind you that he's the best thing the action-movie genre has to offer. Here's why.

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Gun fu is an art

Scene: The nightclub beatdown in John Wick This whole list could be moments from John Wick and it would be impossible to argue with. But peak Wick is the six-minute scene in which Keanu's hardened assassin slices and shoots his way through a garishly lit nightclub in order to dish out some good old-fashioned vengeance against the son of a Russian mob boss. They killed his dog. They deserve it.

Keanu's action work isn't undergirded by the brute force that the Fast and Furiousmovies and many other American franchises hew toward. The actor relies on grace. As videos of Keanu training for John Wick and its sequel demonstrate, making demanding stunts look easy takes work.

These same physical choices, more so than vocal modulations and scenery-chewing ostentatiousness that many regard as "good acting," are just as vital to Keanu in non-action scenes. In John Wick's subtle moments, a simple glance or half-hearted smirk says more than any lengthy monologue. When interacting with heavies like Willem Dafoe, Ian McShane, and John Leguizamo, Keanu relies not on heavy expository dialogue but the sudden warmth that flutters across his face and ease that betrays a deep history with these people, adding to the mythological world-building that exists in the script. Keanu missed his calling as a silent-film star.

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There's no tone Keanu can't handle

Scene: The foot chase in Point Break Point Break, arguably The Hurt Locker director Kathryn Bigelow's most unapologetically fun work, is a rip-roaring action flick propelled through a tender romance, at once supremely silly and surprisingly heartfelt. Through sheer skill Point Break makes the jumble of ideas cohesive.

The thrilling chase sequence between Keanu's young FBI agent and Patrick Swayze's career criminal is one of the best examples of what Bigelow pulls off, partially thanks to an honest and ridiculous ending in which our star fires his gun several times in the air. A lot of this works thanks to Keanu's virility and vigor. Also, did I mention Swayze is wearing a Ronald Reagan mask the whole time? Patrick Swayze's willingness to wear a Ronald Reagan mask.

Bigelow takes full advantage of Keanu with several glamour-shot moments that one might expect in a film starring the latest female ingenue. Seeing the men of action films undressed or shot as sex symbols isn't out of the ordinary. Marvel loves to throw in shirtless shots of its multiple Chrises. But through Bigelow's lens, Keanu's relationship to the camera feels almost subversive. His natural mixture of passivity and physical grace gives his role of Johnny Utah masculine and feminine qualities. Look at him standing in the rain during the opening title sequence. Few can hold a shotgun as sensually as Keanu Reeves. Which leads us to...

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We can't overlook Keanu's soft side

Scene: Constantine summons Tilda Swinton, angel from hell, in Constantine Constantine is not a good adaptation of the Hellblazer comics that the film is nominally based on. It is a damn fine action movie. I was tempted to include the scene between Keanu and a cat acting as a portal to hell (because any time he interacts with animals tugs at my heartstrings), but watching his smart-mouthed, occult-practicing detective John Constantine face off against Tilda Swinton's androgynous angel Gabriel edged out the competition. Because the actor, even while leading a movie, is a great scene partner.

Keanu's vulnerable and understated instincts know when to pull back and let an actor like Tilda Swinton or Rachel Weisz carry the scene. You don't find that in Hollywood. It's hard to think of an action star of his caliber whose characters aren't underscored with toxic masculinity, to one degree or another. A lot of action leads tend to be hotshots that treat friends or romantic partners as disposable until the plot transforms them into nice guys. Even with all the violence Keanu does not require the bad-boy machismo of, say, Chris Pratt's characters in Jurassic World and Guardians of the Galaxy.

I'll take it a step further: In Keanu Reeves action movies, romantic relationships are either nonexistent, underplayed, or they end on somewhat opaque terms. In movies like Point Break and The Matrix, women are comrades who train him and act as windows into new worlds.

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Keanu Reeves allows all of us to be Keanu Reeves

Scene: The "I know kung fu" training sequence in The Matrix Keanu has accumulated a rep for being a blank slate. What people don't realize is how much emotion -- from joy to loneliness and back again -- can be beamed out from the actor's resting face.

One thing I love about Keanu is his tendency to play men who don't know what the hell they're doing or where they belong until they're introduced to a brand-new world. His characters are often profoundly lonely men looking for their place world and when they find it they aren't afraid to express joy. In The Matrix, the actor nails the mix of awe, fear, and joy that we, the viewers, are experiencing as we watch Neo learn all these badass new skills. That "blank slate" is his way of connecting with most of us who spend our days with blank looks on our faces.

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The guy loves action movies

Scene: The final showdown in Man of Tai Chi Keanu's sincere love of his go-to genre gives integrity to outlandish movies like Speedor the dopey Johnny Mnemonic. It's no surprise that his only work as a director was with the 2013 martial arts film Man of Tai Chi.

Not only are the movie's action sequences sculpted by Keanu, it's also the rare instance where he plays the antagonist instead of the hero. The latter role is taken up by Tiger Chen, a martial artist/stuntman who worked on The Matrix films. With the help of legendary fight choreographer Yuen Woo-ping (Kill Bill, The Grandmaster, Crouching Tiger, Hidden Dragon) the narratively simple film is brimming with great fight sequences. There isn't any overly complicated editing cutting from the action. Instead, Keanu, as much as he's done as an actor, gets out of the way, letting the film be a showcase for Tiger Chen and the genre itself.

Man of Tai Chi isn't groundbreaking, opting for reverence toward the genre and martial arts styling that have become synonymous with Keanu’s career. In many ways Man of Tai Chi distills what makes Keanu an amazing action star and director: his respect and knowledge of the craft. The film puts on display what has made Keanu a wondrous presence in action films since the 1990s: grace, impeccable ability to tell stories through balletic stunt work, unabashed joyfulness, and an ambition for spectacle. His films move, in every sense of the word.

#keanu reeves

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imadmouhcine7 · 5 years

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The Academy voters got it right with gongs for Olivia Colman and Alfonso Cuarón, but Green Book and Bohemian Rhapsody have been sorely overrated

in the long run, there has been enough excellent information – or information that made a positive sort of sense – for this not to be genuinely every other exasperating academy awards competition of mysteriously over-promoted nonsense. olivia colman already had the name of queen of all our hearts, and, just while it seemed as though yorgos lanthimos’s the favorite become going to head domestic with nothing at all, colman delivered the academy award to her bulging silverware cupboard – and of course gave a speech of awesome attraction and charm. her prize acceptance game this year has been off the chart: stylish, polished and with just sufficient pinch-me-i’m-dreaming astonishment to rival helen mirren’s triumphal awards season excursion of 2007, while she was triumphing the whole thing for her very own queenly performance. colman (anne), mirren (elizabeth ii), dench (elizabeth i) … brits in crowns generally do it for the academy. and there was justice in seeing alfonso cuarón picking up the quality director, first-class cinematography and exceptional foreign language oscars for his incredible paintings roma. i haven't any hassle with spike lee and his co-writers david rabinowitz, charlie wachtel and kevin willmott selecting up the award for nice adapted screenplay for their fierce satire blackkklansman. (although i suppose i'd have favored to peer nicole holofcener and jeff whitty get it for are you able to ever forgive me?) the 2019 oscar prize listing turned into speckled with honourable wins. but best photo for inexperienced e-book? (high-quality original screenplay, too, over the favourite and paul schrader’s first reformed.) the news of that win lands like a dead weight on oscar night time, growing the inevitable unhappiness and tristesse that settles on any awards rite in its final minutes, because the unacknowledged frustration of the losers’ eighty% silent majority seeps into the ecosystem. a pal of mine said that by the point this awards season turned into over, this movie should have the word “virtually?” brought to its identify. inexperienced ebook surely? will become this year’s technical winner of the “great photograph” accolade and truly now's added to the list that consists of crash, chicago and argo within the what have been they wondering? classes. green ebook isn’t a horrific movie, and it's miles possible to overindulge one’s high cinephile disdain. mahershala ali (winner for pleasant supporting actor) and viggo mortensen supply very slick and technically completed performances because the african-american jazz musician and composer don shirley and tony vallelonga, the italian-american nightclub bouncer who reveals himself driving shirley through a complicated tour of the Sixties deep south. ali’s performance is extraordinarily stylish: he has the command and cope with of a classical actor in a classical function. but – to cite another of the night’s winners – this surely is shallow stuff, which in some other, sterner universe might be immediately-to-video. its well-intentioned white/black balance is glib. green e-book's win undermines the conspicuous diversity of this 12 months's oscars catherine shoard catherine shoard study greater the alternative certainly mystifying triumph this year is bohemian rhapsody, the story of freddie mercury and queen, a undertaking clouded with the aid of the association with its disgraced director bryan singer. whatever else is probably incorrect with this movie, it isn’t rami malek’s likable, lively and now oscar-prevailing performance: the impersonation of mercury that he carried off with superb elan. but, it needs to be said that he wasn’t as suitable as the alternative four nominees: christian bale in vice, bradley cooper in a star is born, willem dafoe in at eternity’s gate and indeed viggo mortensen in green book. however for this mild movie to have been the sort of large winner, even picking up the oscar for editing (in addition to sound enhancing and sound blending), virtually seems very stupid. as with green book, it feels as if the academy has reached into the good buy bin just via the until, and capriciously plucked out more than one additionally-rans for glory. it become remarkable to see regina king win pleasant helping actress for her delicate, luminously wise performance in barry jenkins’ if beale avenue may want to communicate. here is where the awards’ hive-thoughts consensus has got it right, and her success makes up a touch for the manner this tremendous film changed into neglected this yr. there was a time when we concept that bradley cooper’s version of a celebrity is born might win massive. it's miles an exquisite movie, which deserved an awful lot more than simply the satisfactory song award – although the steamily passionate stay performance that woman gaga and cooper gave of shallow tonight earned them the scene-stealer name and created a twitter gagstorm about how their respective companions should be feeling. elsewhere, it's far difficult to question the resounding great animation win for spider-guy: into the spider-verse, a awesome film that destiny generations of cinephiles might be treasuring lengthy after borhap has been forgotten. and there has been a great documentary oscar for the clearly gasp-inducing loose solo. it turned into desirable to see hannah beachler and jay hart win great production design for their exquisite paintings on black panther. as ever, we ought to wish that fantastic films inclusive of debra granik’s leave no trace, lucrecia martel’s zama, and lee chang-dong’s burning will live on their hurtful snubs, and concentrate on the fulfillment of roma – even though even right here i have a twinge that bloodless warfare, directed by paweł pawlikowski and produced via tanya seghatchian, did not get the instant of glory that it deserved. yet roma is a great movie, a thrilling journey into the past, all but defying gravity in its wonderful set pieces and crowd-scene choreography with profoundly mysterious and transferring moments. it's far fantastically acted, unbearably moving and visually electrifying. it's far the night’s actual winner.

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thesnhuup · 6 years

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Pop Picks – May 24, 2018

May 24, 2018

What I’m listening to:

I’ve always liked Alycia Keys and admired her social activism, but I am hooked on her last album Here. This feels like an album finally commensurate with her anger, activism, hope, and grit. More R&B and Hip Hop than is typical for her, I think this album moves into an echelon inhabited by a Marvin Gaye’s What’s Going On or Beyonce’s Formation. Social activism and outrage rarely make great novels, but they often fuel great popular music. Here is a terrific example.

What I’m reading:

Colson Whitehead’s Underground Railroad may be close to a flawless novel. Winner of the 2017 Pulitzer, it chronicles the lives of two runaway slaves, Cora and Caeser, as they try to escape the hell of plantation life in Georgia. It is an often searing novel and Cora is one of the great heroes of American literature. I would make this mandatory reading in every high school in America, especially in light of the absurd revisionist narratives of “happy and well cared for” slaves. This is a genuinely great novel, one of the best I’ve read, the magical realism and conflating of time periods lifts it to another realm of social commentary, relevance, and a blazing indictment of America’s Original Sin, for which we remain unabsolved.

What I’m watching:

I thought I knew about The Pentagon Papers, but The Post, a real-life political thriller from Steven Spielberg taught me a lot, features some of our greatest actors, and is so timely given the assault on our democratic institutions and with a presidency out of control. It is a reminder that a free and fearless press is a powerful part of our democracy, always among the first targets of despots everywhere. The story revolves around the legendary Post owner and D.C. doyenne, Katharine Graham. I had the opportunity to see her son, Don Graham, right after he saw the film, and he raved about Meryl Streep’s portrayal of his mother. Liked it a lot more than I expected.

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What I’m listening to:

I mentioned John Prine in a recent post and then on the heels of that mention, he has released a new album, The Tree of Forgiveness, his first new album in ten years. Prine is beloved by other singer songwriters and often praised by the inscrutable God that is Bob Dylan. Indeed, Prine was frequently said to be the “next Bob Dylan” in the early part of his career, though he instead carved out his own respectable career and voice, if never with the dizzying success of Dylan. The new album reflects a man in his 70s, a cancer survivor, who reflects on life and its end, but with the good humor and empathy that are hallmarks of Prine’s music. “When I Get To Heaven” is a rollicking, fun vision of what comes next and a pure delight. A charming, warm, and often terrific album.

What I’m reading:

I recently read Min Jin Lee’s Pachinko, on many people’s Top Ten lists for last year and for good reason. It is sprawling, multi-generational, and based in the world of Japanese occupied Korea and then in the Korean immigrant’s world of Oaska, so our key characters become “tweeners,” accepted in neither world. It’s often unspeakably sad, and yet there is resiliency and love. There is also intimacy, despite the time and geographic span of the novel. It’s breathtakingly good and like all good novels, transporting.

What I’m watching:

I adore Guillermo del Toro’s 2006 film, Pan’s Labyrinth, and while I’m not sure his Shape of Water is better, it is a worthy follow up to the earlier masterpiece (and more of a commercial success). Lots of critics dislike the film, but I’m okay with a simple retelling of a Beauty and the Beast love story, as predictable as it might be. The acting is terrific, it is visually stunning, and there are layers of pain as well as social and political commentary (the setting is the US during the Cold War) and, no real spoiler here, the real monsters are humans, the military officer who sees over the captured aquatic creature. It is hauntingly beautiful and its depiction of hatred to those who are different or “other” is painfully resonant with the time in which we live. Put this on your “must see” list.

March 18, 2018

What I’m listening to:

Sitting on a plane for hours (and many more to go; geez, Australia is far away) is a great opportunity to listen to new music and to revisit old favorites. This time, it is Lucy Dacus and her album Historians, the new sophomore release from a 22-year old indie artist that writes with relatable, real-life lyrics. Just on a second listen and while she insists this isn’t a break up record (as we know, 50% of all great songs are break up songs), it is full of loss and pain. Worth the listen so far. For the way back machine, it’s John Prine and In Spite of Ourselves (that title track is one of the great love songs of all time), a collection of duets with some of his “favorite girl singers” as he once described them. I have a crush on Iris Dement (for a really righteously angry song try her Wasteland of the Free), but there is also EmmyLou Harris, the incomparable Dolores Keane, and Lucinda Williams. Very different albums, both wonderful.

What I’m reading:

Jane Mayer’s New Yorker piece on Christopher Steele presents little that is new, but she pulls it together in a terrific and coherent whole that is illuminating and troubling at the same time. Not only for what is happening, but for the complicity of the far right in trying to discredit that which should be setting off alarm bells everywhere. Bob Mueller may be the most important defender of the democracy at this time. A must read.

What I’m watching:

Homeland is killing it this season and is prescient, hauntingly so. Russian election interference, a Bannon-style hate radio demagogue, alienated and gun toting militia types, and a president out of control. It’s fabulous, even if it feels awfully close to the evening news.

March 8, 2018

What I’m listening to:

We have a family challenge to compile our Top 100 songs. It is painful. Only 100? No more than three songs by one artist? Wait, why is M.I.A.’s “Paper Planes” on my list? Should it just be The Clash from whom she samples? Can I admit to guilty pleasure songs? Hey, it’s my list and I can put anything I want on it. So I’m listening to the list while I work and the song playing right now is Tom Petty’s “The Wild One, Forever,” a B-side single that was never a hit and that remains my favorite Petty song. Also, “Evangeline” by Los Lobos. It evokes a night many years ago, with friends at Pearl Street in Northampton, MA, when everyone danced well past 1AM in a hot, sweaty, packed club and the band was a revelation. Maybe the best music night of our lives and a reminder that one’s 100 Favorite Songs list is as much about what you were doing and where you were in your life when those songs were playing as it is about the music. It’s not a list. It’s a soundtrack for this journey.

What I’m reading:

Patricia Lockwood’s Priestdaddy was in the NY Times top ten books of 2017 list and it is easy to see why. Lockwood brings remarkable and often surprising imagery, metaphor, and language to her prose memoir and it actually threw me off at first. It then all became clear when someone told me she is a poet. The book is laugh aloud funny, which masks (or makes safer anyway) some pretty dark territory. Anyone who grew up Catholic, whether lapsed or not, will resonate with her story. She can’t resist a bawdy anecdote and her family provides some of the most memorable characters possible, especially her father, her sister, and her mother, who I came to adore. Best thing I’ve read in ages.

What I’m watching:

The Florida Project, a profoundly good movie on so many levels. Start with the central character, six-year old (at the time of the filming) Brooklynn Prince, who owns – I mean really owns – the screen. This is pure acting genius and at that age? Astounding. Almost as astounding is Bria Vinaite, who plays her mother. She was discovered on Instagram and had never acted before this role, which she did with just three weeks of acting lessons. She is utterly convincing and the tension between the child’s absolute wonder and joy in the world with her mother’s struggle to provide, to be a mother, is heartwarming and heartbreaking all at once. Willem Dafoe rightly received an Oscar nomination for his supporting role. This is a terrific movie.

February 12, 2018

What I’m listening to:

So, I have a lot of friends of age (I know you’re thinking 40s, but I just turned 60) who are frozen in whatever era of music they enjoyed in college or maybe even in their thirties. There are lots of times when I reach back into the catalog, since music is one of those really powerful and transporting senses that can take you through time (smell is the other one, though often underappreciated for that power). Hell, I just bought a turntable and now spending time in vintage vinyl shops. But I’m trying to take a lesson from Pat, who revels in new music and can as easily talk about North African rap music and the latest National album as Meet the Beatles, her first ever album. So, I’ve been listening to Kendrick Lamar’s Grammy winning Damn. While it may not be the first thing I’ll reach for on a winter night in Maine, by the fire, I was taken with it. It’s layered, political, and weirdly sensitive and misogynist at the same time, and it feels fresh and authentic and smart at the same time, with music that often pulled me from what I was doing. In short, everything music should do. I’m not a bit cooler for listening to Damn, but when I followed it with Steely Dan, I felt like I was listening to Lawrence Welk. A good sign, I think.

What I’m reading:

I am reading Walter Isaacson’s new biography of Leonardo da Vinci. I’m not usually a reader of biographies, but I’ve always been taken with Leonardo. Isaacson does not disappoint (does he ever?), and his subject is at once more human and accessible and more awe-inspiring in Isaacson’s capable hands. Gay, left-handed, vegetarian, incapable of finishing things, a wonderful conversationalist, kind, and perhaps the most relentlessly curious human being who has ever lived. Like his biographies of Steve Jobs and Albert Einstein, Isaacson’s project here is to show that genius lives at the intersection of science and art, of rationality and creativity. Highly recommend it.

What I’m watching:

We watched the This Is Us post-Super Bowl episode, the one where Jack finally buys the farm. I really want to hate this show. It is melodramatic and manipulative, with characters that mostly never change or grow, and it hooks me every damn time we watch it. The episode last Sunday was a tear jerker, a double whammy intended to render into a blubbering, tissue-crumbling pathetic mess anyone who has lost a parent or who is a parent. Sterling K. Brown, Ron Cephas Jones, the surprising Mandy Moore, and Milo Ventimiglia are hard not to love and last season’s episode that had only Brown and Cephas going to Memphis was the show at its best (they are by far the two best actors). Last week was the show at its best worst. In other words, I want to hate it, but I love it. If you haven’t seen it, don’t binge watch it. You’ll need therapy and insulin.

January 15, 2018

What I’m listening to:

Drive-By Truckers. Chris Stapleton has me on an unusual (for me) country theme and I discovered these guys to my great delight. They’ve been around, with some 11 albums, but the newest one is fascinating. It’s a deep dive into Southern alienation and the white working-class world often associated with our current president. I admire the willingness to lay bare, in kick ass rock songs, the complexities and pain at work among people we too quickly place into overly simple categories. These guys are brave, bold, and thoughtful as hell, while producing songs I didn’t expect to like, but that I keep playing. And they are coming to NH.

What I’m reading:

A textual analog to Drive-By Truckers by Chris Stapleton in many ways is Tony Horowitz’s 1998 Pulitzer Prize winning Confederates in the Attic. Ostensibly about the Civil War and the South’s ongoing attachment to it, it is prescient and speaks eloquently to the times in which we live (where every southern state but Virginia voted for President Trump). Often hilarious, it too surfaces complexities and nuance that escape a more recent, and widely acclaimed, book like Hillbilly Elegy. As a Civil War fan, it was also astonishing in many instances, especially when it blows apart long-held “truths” about the war, such as the degree to which Sherman burned down the south (he did not). Like D-B Truckers, Horowitz loves the South and the people he encounters, even as he grapples with its myths of victimhood and exceptionalism (and racism, which may be no more than the racism in the north, but of a different kind). Everyone should read this book and I’m embarrassed I’m so late to it.

What I’m watching:

David Letterman has a new Netflix show called “My Next Guest Needs No Introduction” and we watched the first episode, in which Letterman interviewed Barack Obama. It was extraordinary (if you don’t have Netflix, get it just to watch this show); not only because we were reminded of Obama’s smarts, grace, and humanity (and humor), but because we saw a side of Letterman we didn’t know existed. His personal reflections on Selma were raw and powerful, almost painful. He will do five more episodes with “extraordinary individuals” and if they are anything like the first, this might be the very best work of his career and one of the best things on television.

December 22, 2017

What I’m reading:

Just finished Sunjeev Sahota’s Year of the Runaways, a painful inside look at the plight of illegal Indian immigrant workers in Britain. It was shortlisted for 2015 Man Booker Prize and its transporting, often to a dark and painful universe, and it is impossible not to think about the American version of this story and the terrible way we treat the undocumented in our own country, especially now.

What I’m watching:

Season II of The Crown is even better than Season I. Elizabeth’s character is becoming more three-dimensional, the modern world is catching up with tradition-bound Britain, and Cold War politics offer more context and tension than we saw in Season I. Claire Foy, in her last season, is just terrific – one arched eye brow can send a message.

What I’m listening to:

A lot of Christmas music, but needing a break from the schmaltz, I’ve discovered Over the Rhine and their Christmas album, Snow Angels. God, these guys are good.

November 14, 2017

What I’m watching:

Guiltily, I watch the Patriots play every weekend, often building my schedule and plans around seeing the game. Why the guilt? I don’t know how morally defensible is football anymore, as we now know the severe damage it does to the players. We can’t pretend it’s all okay anymore. Is this our version of late decadent Rome, watching mostly young Black men take a terrible toll on each other for our mere entertainment?

What I’m reading:

Recently finished J.G. Ballard’s 2000 novel Super-Cannes, a powerful depiction of a corporate-tech ex-pat community taken over by a kind of psychopathology, in which all social norms and responsibilities are surrendered to residents of the new world community. Kept thinking about Silicon Valley when reading it. Pretty dark, dystopian view of the modern world and centered around a mass killing, troublingly prescient.

What I’m listening to:

Was never really a Lorde fan, only knowing her catchy (and smarter than you might first guess) pop hit “Royals” from her debut album. But her new album, Melodrama, is terrific and it doesn’t feel quite right to call this “pop.” There is something way more substantial going on with Lorde and I can see why many critics put this album at the top of their Best in 2017 list. Count me in as a huge fan.

November 3, 2017

What I’m reading: Just finished Celeste Ng’s Little Fires Everywhere, her breathtakingly good second novel. How is someone so young so wise? Her writing is near perfection and I read the book in two days, setting my alarm for 4:30AM so I could finish it before work.

What I’m watching: We just binge watched season two of Stranger Things and it was worth it just to watch Millie Bobbie Brown, the transcendent young actor who plays Eleven. The series is a delightful mash up of every great eighties horror genre you can imagine and while pretty dark, an absolute joy to watch.

What I’m listening to: I’m not a lover of country music (to say the least), but I love Chris Stapleton. His “The Last Thing I Needed, First Thing This Morning” is heartbreakingly good and reminds me of the old school country that played in my house as a kid. He has a new album and I can’t wait, but his From A Room: Volume 1 is on repeat for now.

September 26, 2017

What I’m reading:

Just finished George Saunder’s Lincoln in the Bardo. It took me a while to accept its cadence and sheer weirdness, but loved it in the end. A painful meditation on loss and grief, and a genuinely beautiful exploration of the intersection of life and death, the difficulty of letting go of what was, good and bad, and what never came to be.

What I’m watching:

HBO’s The Deuce. Times Square and the beginning of the porn industry in the 1970s, the setting made me wonder if this was really something I’d want to see. But David Simon is the writer and I’d read a menu if he wrote it. It does not disappoint so far and there is nothing prurient about it.

What I’m listening to:

The National’s new album Sleep Well Beast. I love this band. The opening piano notes of the first song, “Nobody Else Will Be There,” seize me & I’m reminded that no one else in music today matches their arrangement & musicianship. I’m adding “Born to Beg,” “Slow Show,” “I Need My Girl,” and “Runaway” to my list of favorite love songs.

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kaitlynnivison-blog · 7 years

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Food Storage Containers

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thesnhuup · 6 years

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Pop Picks – April 27, 2018

April 27, 2018

What I’m listening to:

What I’m reading:

What I’m watching: