Talking Movies

January 31, 2018

Any Other Business: Part XIII

What is one to do with thoughts that are far too long for Twitter but not nearly long enough for a proper blog post? Why round them up and turn them into a thirteenth portmanteau post on television of course!

Dangerous, Handle With Care.

Very Dangerous, Do Not Handle At All.

Watching re-runs of The Avengers (in colour!) on ITV 4 over a few months before Christmas it was hard not to be struck by two things. It was better than most current TV shows, and it made the soapbox posturing of the CW’s Berlantiverse look utterly inane. The ludicrous blackmail episode, ‘You Have Just Been Murdered’, is so hilarious, as the blackmailers repeatedly mock-murder their wealthy victims and leave a calling card just to prove how easy it would be to do it for real, so pay up, was one of the best episodes I saw on TV in 2017. The sustained ninja attacks on Steed’s friend; a car almost runs him over, he is attacked with a fake katanna, and finally shot with an arrow that imprints ‘You Have Just Been Murdered… Again!” on his shirt; floored me. And there were many other episodes almost at the same level in Diana Rigg’s 25 colour episodes, and some equally wonderful in the subsequent 32 episodes with Linda Thorson. The Rigg episodes were very telling in their writing of Renaissance woman Mrs Peel: painter, sculptor, chemist, journalist, mathematician published on the subject probability as applied to Bridge, and amateur secret agent. Nobody makes any deal out of Steed’s partner being a woman, apart from a doddery Colonel back from the tropics in ‘The Hidden Tiger’; “Highly unusual to have a woman on a hunt, Steed” “Highly unusual woman, Colonel”. And Mrs Peel, expert in judo, wins most of the fights she gets into, hence her amusement in ‘The Correct Way To Kill’ when she finds two photos with handwritten annotations in the local KGB HQ. Steed is described as ‘Dangerous, Handle With Care’. She then discovers that ‘Very Dangerous, Do Not Handle At All’ refers to her. This is a fictional universe where many of the villains have women as their most ruthless lieutenants, and any daffy woman is very possibly a ruthless lieutenant hiding in plain sight by playing up to bimbo stereotypes. In ‘The Living Dead’ the village hospital is run by a woman doctor, and nobody mentions her gender; she’s just the doctor who runs the village hospital. Steed and Mrs Peel almost co-opt her as a third agent in their investigations, but Mrs Peel doesn’t make a big deal of it. It would be literally impossible for a woman to run a small-town hospital in a Berlanti show without a plethora of dialogue about it, and if she were to aid Supergirl we would get girl power dialogue about the sisterhood working together in a man’s world. It is disconcerting when a 1967 show assumes equality, entertains, and provides an indomitable heroine with a delightfully light touch, while 2017 shows talk endlessly, needlessly about equality, as if trying to convince themselves.

The Berlantiverse was once highly praised on this blog but as time has gone on it has become more and more obviously flawed. So let’s try and isolate the good, the bad, and the ugly.

Berlantiverse: The Good

Tony Zhou amusingly gutted the MCU a while ago for its complete, deliberate absence of memorable music. Their copy of a copy of a copy elevator muzak approach seems to be a determined attempt to free cinema from the Wagnerian leitmotifs that composer Erich Wolfgang Korngold had in the 1930s made the convention for scoring the fates of characters and the progress of action. As a result of Marvel’s decision no matter how many Avengers assemble there will never be any music that can announce the arrival of a single one of them. What is lost by that? Well, look at what Blake Neely was able to pull off in the Supergirl/Flash/Arrow/Legends crossover extravaganza for the final fight against the alien Dominators. When Green Arrow is shooting the Dominator the jagged Arrow theme is heard, when he is thrown off the roof the music hangs in the air with him with a sustained note on strings, only for a roar of brass to announce the arrival of Supergirl to catch him from plummeting to his death. That is what leitmotifs are for. Why Marvel would want to pass on that sort of emotional punch is a mystery.

Berlantiverse: The Bad

There are elements; such as 24’s lack of humour; that you forgive so long as the show is good. But once you stop enjoying a show you remember those flaws, and notice new ones. I never made 10 episodes of Arrow, but I was surprised the same creators brought forth the fun that was The Flash. I also watched Legends of Tomorrow and Supergirl until the recent crossover. Then I ditched all three shows. My problems with Arrow I’ve outlined. The Flash became idiotically repetitive; “My name is Barry Allen, and I am the fastest man alive!” – apart from Reverse Flash, and Zoom, and Savitar…; emotionally manipulative; Barry watches his mother die again, watches his father die, gets them back sort of only to give them up, gives up Iris, how much damn angst does one character need; and eventually unwatchable despite maintaining a comic edge. Supergirl from the get-go had problems, which started to converge with the problems of Legends. Legends degenerated from a fun show in which time-travellers screwed up their mission, to a less fun show in which they took George Lucas in Love as their ur-text and applied it to Lucas, Tolkien, and Arthurian legend, to the E.T. episode where they re-did E.T. in 40 minutes with their characters, like House or CSI: NY saw writers take off a movie they saw, just with less self-awareness. Supergirl’s characters kept getting on soapboxes; Jimmy Olsen on black men not being allowed show anger, Cat Grant on being a woman leader, Kara on being a woman and a superhero; rather than having comic-book adventures. Moving network for season 2 Berlanti decided that Alex should be gay now, an abrupt character reboot handled with the grace of an Austin Powers skit. But then he doubled down by beginning season 3 with Alex and Maggie engaged. Wow, that was quick! They break up because they never had a discussion about having children before getting engaged. Berlanti’s political imperatives were trumping his aesthetic imperatives with a vengeance. Legends’s characters arrive in the 1950s with an injunction not to attract attention; so they set up Ray and Kendra as a married couple, with Sara as a nurse. Berlanti castigates Jim Crow racism and has Sara liberate a repressed nurse. This makes nonsense of the injunction not to attract attention. The way to do that would have been to have Ray and Sara play house, with Kendra as a nurse. But internal logic was starting to be damned if it got in the political way.

Berlantiverse: The Ugly

Can you tell who Don Siegel voted for in 1956 and 1972 from watching Invasion of the Body Snatchers and Dirty Harry? Adlai Stevenson? Maybe? Richard Nixon? Maybe?? It’s not easy. Can you tell who Greg Berlanti voted for in 2016? … It seems Berlanti was traumatised by the failure of America to be with her. Now, art and politics don’t need a Jeffersonian wall of separation, but there ought be some artistic guile cast over political intent, like Arthur Miller addressing Senator McCarthy at three centuries’ remove. Berlanti has a beef with Trump. He could silently showcase heroic, adorable, and honourable minority characters like The Blacklist. [Navabi, Aram, Dembe] He does not. Instead, to stick it to Trump, he introduces to Legends the rather insufferable Zari, and reminds us repeatedly that she’s a Muslim American. He probably needs to remind us because she doesn’t wear a hijab, or have a prayer mat, nor use it 5 times a day, worry about keeping halal, or attending a mosque. Given previous complaints about American artists’ inability to take faith seriously this shouldn’t surprise, but ironically it makes Zari the kind of Muslim Trump might endorse – invisible. Berlanti could espouse meritocratic ideals like Bernie Sanders’ support for basic income. He does not. Instead Berlanti has gone down the rabbit-hole with Hillary. Her failure was due to misogyny, homophobia, and xenophobia. Ignore that she was as historically awful a candidate as if the Republicans had nominated Robert A Taft in 1948, and that she called ¼ of the eligible voters “a basket of deplorables”. Pushing Hillary’s apologia is killing the Berlantiverse. It would be clumsy and obvious to try and push basic income. But it couldn’t be worse than the gender studies harangue when Helen of Troy appeared in Legends, or when The Flash had a stripper lecture her clients on her critique of the male gaze. That same episode a female supervillain was taken down by the female characters working together and Iris said “Hashtag Feminism”. This, along with insisting “We are The Flash”, is Iris’ new thing. The abandoning of all pretence of artistic guile over political intent in attacking Trump came in the recent crossover, with this interchange: “Make America White Again” “Which it never was” “Hashtag Melting Pot”. But the nadir was Nazi Arrow proudly announcing “We’ve created a meritocracy”. … … … One should not have to point out that Nazis did not believe in meritocracy, but in its exact opposite, aristocracy. It is self-evident.

If you’re looking for the brightest and the best, you get Einstein, and then, if you’re a Nazi, mutter, damn, a Jew, and issue another call for the brightest and the best, but Aryans only please. Whereas if you’re not a Nazi you say, Welcome, Mr Einstein, I hear you are a very brilliant genius. Meritocracy advances people on the basis of ability. Aristocracy advances people on the basis of bloodlines, rather than their ability.

Berlanti wasn’t being ironic, none of the superheroes protested about this calumny of meritocracy. That degradation of meritocracy, the one true guarantor of equality, shows Berlanti pursuing a political agenda that while thinking itself liberal is not. The Berlantiverse no longer entertains because so many artistic decisions are clearly suborned to a political agenda, and it troubles because that political agenda is clearly Hillary not Bernie. Meritocracy doesn’t see colour, gender, or religion. It sees ability. And it only sees ability. Attempt to attach secondary considerations to it and it is gone. You can’t grade a test on correct answers and ensuring a diversity quota.

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February 3, 2015

2015: Fears

Filed under: Talking Movies — Fergal Casey @ 11:20 pm
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Jupiter Ascending

The Wachowskis return, oh joy, in 3-D, more joy, with a tale of a young woman (Mila Kunis) who discovers that she shares the same DNA as the Queen of the Universe, and goes on the run with a genetically engineered former soldier (Channing Tatum), oh, and he’s part wolf… The unloveable Eddie Redmayne is the villain, but the extremely loveable Tuppence Middleton is also in the cast, and, oddly, there’s a cameo from Terry Gilliam, whose work is said to be an influence on the movie. Alongside Star Wars, Greek mythology, and the comic-book Saga it seems…

 

Fifty Shades of Grey

Jamie Dornan is Christian Grey, Dakota Johnson is Bella Swan Anastasia Steele, Universal are terrible gamblers. Take one novel: which is 100pp of hilariously obvious Twilight homage leading to pornography for hundreds more and an unsatisfactory ending; a sensation because of the ability to secretly read it. Now hire art-house director Sam Taylor-Johnson to make an R-rated film focused on the romance, after 5 Twilight movies of said romance shtick; and force people to say out loud what film they’re seeing, or at least be seen going to it. Sit back, and watch this gamble fail.

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Blackhat

Michael Mann returns with his first film since 2009’s uninspired Public Enemies. Chris Hemsworth, now officially a god in Iceland again, plays a hacker who gets a free pass from jail to help Viola Davis’ FBI agent liaise with her Chinese counterpart (pop star Wang Leehom) following a devastating cyber-attack in China which led to a nuclear incident. Hemsworth is distracted in his mission by Lust, Caution’s Chen Lien, and, if you’ve read the vituperative reviews, an appalling script. Mann’s been on a losing streak for a while, and his hi-def video camera infatuation only doubles down on that.

 

In the Heart of the Sea

March sees director Ron Howard take on Moby Dick. Or rather, tell the true story that inspired Moby Dick, rather than try and out-do John Huston. Chris Hemsworth, Cillian Murphy, Ben Whishaw, and Brendan Gleeson are among the hapless crew of the whaling ship Essex out of New England that runs afoul of a curiously vindictive sperm whale in 1820. Martin Sheen starred in a rather good BBC version of this disaster its grisly aftermath at Christmas 2013. Who knows if Howard will match that, but he’ll definitely throw more CGI at the screen.

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Avengers: Age of Ultron

Joss Whedon takes off the Zak Penn training wheels and scripts this sequel to 2012’s hit solo. James Spader voices the titular evil AI, unleashed by Robert Downey Jr’s Iron Man when fiddling about in Samuel L Jackson’s Pandora’s Box of Shield secrets. The great Elizabeth Olsen is Scarlet Witch, and Aaron Johnson is Quicksilver, but I find it hard to work up any enthusiasm for another ticked box on the Marvel business plan. Why? CGI and Marvel empire-building fatigue, a lack of interest in most of the characters, and great weariness with Whedon’s predictable subversion.

 

Lost River

What is the difference between a homage and le rip-off? The French should know and they loudly booed Ryan Gosling’s directorial debut as little more than Nicolas Winding Refn and David Lynch meeting up for a whimsical night out. Gosling also wrote this tale of a boy who finds a town under the sea down a river, and has to be rescued by his mother. Matt Smith, Christina Hendricks, Saoirse Ronan, Eva Mendes, and Ben Mendelsohn are the actors roped in by Gosling to flesh out his magical realist vision of a hidden beauty lurking underneath decrepit Detroit.

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Far From the Madding Crowd
Bathsheba (Carey Mulligan), a wilful, flirtatious young woman unexpectedly inherits a large farm and becomes romantically involved with three widely divergent men: rich landowner William Boldwood (Michael Sheen), dashing Sgt. Troy (Tom Sturridge), and poor farmer Gabriel Oak (Matthias Schoenaerts). John Schlesinger’s 1967 film of Hardy’s classic novel is a formidable predecessor for this May release. This version from director Thomas Vinterberg (Festen, The Hunt), was co-scripted with David Nicholls of One Day fame; another man whose tendencies are not exactly of a sunny disposition. Can the promising young cast overcome Vinterberg’s most miserabilist tendencies?

 

Tomorrowland

Well this is a curio… Brad Bird directs George Clooney and Secret Circle star Britt Robertson in a script he co-wrote with Damon LOST Lindelof about a genius inventor and a parallel universe, or something. Nobody really seems to know what it’s about. But then given Lindelof’s resume even after we’ve watched it we probably won’t know what it’s about. Bird proved extremely capable with live-action in Mission: Impossible 4, but explicitly viewed the talky scenes as mere connective tissue between well-executed set-pieces; pairing him with ‘all questions, no answers’ man seems like a recipe for more puzzled head-scratching.

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Ant-Man

Ant-Man was in 2015: Hopes until director and co-writer Edgar Wright walked because Marvel shafted him after years of development. I was highly interested in seeing Paul Rudd’s burglar become a miniature super-hero who’s simpatico with ants after encountering mad scientist Michael Douglas and his hot daughter Evangeline Lilly; when it was from the madman who made Scott Pilgrim Vs the World. When this deservedly nonsensical take on a preposterous property is being helmed by Peyton Reed; whose only four features are Bring It On, Down With Love, The Break-Up, and Yes Man; my interest levels drop to zero.

 

Terminator: Genisys

Quietly brushing 2009’s Terminator: Salvation into the dustbin of history in July is this script by Laeta Kalogridis (Pathfinder, Night Watch) and Patrick Lussier (Drive Angry). Game of Thrones’ Alan Taylor directs, which presumably explains Emilia Clarke’s baffling casting as Jason Clarke’s mother. That’s going to take some quality Sarah Connor/John Connor timeline shuffling. And this is all about timelines. Arnie returns! Byung-Hun Lee is a T-1000! Courtney B Vance is Miles Dyson! YAY!!!!! Jai Courtney is Kyle Reese … BOOOOOO!!!!!!! Did we learn nothing from McG’s fiasco? We do not need another muscle-bound actor with zip charisma.

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Fantastic Four

August sees Josh Trank shoulder the unenviable task of rebooting the Fantastic Four after two amiable but forgettable movies. Trank impressed mightily with the disturbing found-footage super-yarn Chronicle, and scripted this effort with X-scribe Simon Kinberg and Jeremy Slater (The Lazarus Effect). The cast is interesting; Miles Teller as Reed Richards, Kate Mara as Sue Storm, Michael B Jordan as Johnny Storm, Jamie Bell as Ben Grimm, and Toby Kebbel as Dr Doom; but this has had a troubled production, and carries an albatross around its neck as it must bore us senseless with another bloody origin story.

 

The Man from UNCLE

August sees CIA agent Napoleon Solo (Henry Cavill) and KGB man Illya Kuryakin (Armie Hammer) on a mission to infiltrate a mysterious criminal organization during the height of the cold war. Steven Soderbergh nearly made this with George Clooney from a Scott Z Burns script. Instead we get Guy Ritchie and Sherlock Holmes scribe Lionel Wigram. Sigh. Hugh Grant plays Waverley, while the very talented female leads Alicia (Omnipresent) Vikander and Elizabeth Debicki will highlight the lack of suavity and comic timing of the male leads; particularly troublesome given the show was dry tongue-in-cheek super-spy nonsense.

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Black Mass

Poor old Johnny Depp is having something of an existential crisis at the moment. People moan and complain when he does his quirky thing (Mortdecai). But when he doesn’t do his quirky thing people moan and complain that he’s dull (Transcendence). September sees him team up with Benedict Cumberbatch and Joel Edgerton for Scott Cooper’s 1980s period thriller about the FBI’s real-life alliance with Boston crime boss Whitey Bulger, exploring how  the bureau’s original good intention of running an informant was derailed by Bulger’s clever connivance, ending up as a sort of state-sanctioned take-over of the criminal underworld.

 

The Martian

Ridley Scott just can’t stop making movies lately, but he’s having a considerably harder time making good movies. November sees the release of The Martian starring Matt Damon as an astronaut stranded on Mars after being presumed dead in a ferocious storm. The supporting cast includes Jeff Daniels, Kristen Wiig, Chiwetel Ejiofor, Sean Bean, Michael Pena, Sebastian Shaw, Kate Mara, and the regrettably inevitable Jessica Chastain. Damon must try to send an SOS forcing NASA to figure out how on earth to go back and rescue him. Drew Goddard wrote the script. There’s the reason this might work.

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The Hateful Eight

November sees the return of Quentin Tarantino. The writer/director who never grew up follows his rambling gore-fest Django Unchained with another Western. But this one is shot in Ultra Panavision 70, despite being set indoors, and has more existential aspirations. Yeah… Samuel L Jackson, Kurt Russell, Tim Roth, Walton Goggins, and Zoe Bell return to the fold for this tale of bounty hunters holed up during a blizzard, while newcomers to Quentinland include Bruce Dern, Demian Bichir, and Jennifer Jason Leigh. Nobody’s told Tarantino to stop indulging himself in years so expect endless speechifying and outrageous violence.

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