Showing posts with label Captain America. Show all posts
Showing posts with label Captain America. Show all posts

10 January 2021

Super Movie Reevaluation 2013 - 2016

 We are all about ranking things around here - we are a competitive movie blogging website, after all. What other purpose of life is there? But if there's anything more important than ranking, it is surely re-ranking as the slow march of time ebbs on through the mountains of yesteryear. We did this quite a while ago with a few earlier movies, namely every year since we came into existence - 2009. Back in 2017, here is where we ranked 2012 - 2014. And here is where we put 2009 - 2012 four days ago.

Back in 2017, 2016 had JUST happened, so this is pretty new territory, people. Remember when we thought 2016 was a horrible year? Anyway. It's got nothing on 1873! But since that moment each year when we rank all the best films of the year, we ALSO re-rank last year's ranking. This is common practice at this point. A year is a good time to catch up with films we missed, let things digest, and see what film really took hold and we still think about.

I hate to say that so often my far-out rankings reflect that - which films have stuck with me, which do I remember, and which hold up. This is, I think, distinct from the experience of first watching something. Sometimes what might feel fresh in the moment grows stale over time. Or maybe what seemed incredibly interesting fades over time. I loved District 9 (2009) so much when it came out, but I can't say it's something I enjoy returning to. I thought The Muppets (2011) was so new and fun, but now it seems so dated. Sitting in the theater I loved Moon (2009), The Lobster (2016), and Death of Stalin (2018), but none of these were particularly enjoyable re-watches. So, that is something I have to take account of - if I have a recent bad taste in my mouth, it's ranking is falling. I might note that I re-watched Haywire (2012) and Sorry to Bother You (2018) this year and those were just as enjoyable as the first time around.

Without further ado, let's get into this:

2013:

Anchorman 2: The Legend Continues
Stoker
Spring Breakers
Inside Llewyn Davis
The Place Beyond the Pines
The World's End
Pacific Rim
Pain & Gain
This is the End
The Wolf of Wall Street


It truly, truly broke my heart to leave off Frozen and The Lone Ranger for the first time ever. But I also wanted to half-highlight out legit great Anchorman 2 is and also troll a little bit. Other than that, one thing we've noticed is that there is definitely a core of immutable films that never change, and 2013 is especially egregious with this. I was so high on Stoker in 2017, it's a great film, but definitely faded a bit in the last few years. What is with 2013 and crazy films about the excess of hubris like Wolf, Pain, Spring Breakers, and even Pacific Rim?

2014:

Interstellar
Foxcatcher
Snowpiercer
Guardians of the Galaxy
Gone Girl
Inherent Vice
The Interview
Birdman
A Girl Walks Home Alone at Night
Under the Skin

Something struck me with this list - This is based so damn much on the male perspective. The Skeleton Twins and Obvious Child were 12th and 13th, and I hate to say I want to stick with that with where I'm at right now. Maybe it's quite simply because I am in fact a straight white male that straight white male stories stick with me, but it also doesn't help that the vast majority of stories told are straight white male stories, which perpetuates itself on lists like this. It all makes me a little uncomfortable. But I also think Noah is super underrated as a bizarre cinematic experience (who am I kidding, it's an hour too long). It was definitely 11th. There are a lot of mainstays here that haven't changed. For my money, Under the Skin is also one of the greatest films of all time, so there's that for the female perspective. Sort of.

2015:

Joy
Creed
Dope
Inside Out
The Hateful Eight
The Duke of Burgundy
Ex Machina
Bone Tomahawk
Straight Outta Compton
Mad Max: Fury Road

Anyone remember Unfinished Business? This is really just a means of me to highlight underrated comedies of the past decade. That movie's great! It didn't make this list. It's so weird that the Best Picture winner was Spotlight. It is good, but is it that good? Also, I'm squeezing in honorable mentions, which I typically try to avoid. I actually think about Straight Outta Compton all the time, But Mad Max: Fury Road is still a movie that you can put in anytime, for anyone, at any moment and they will enjoy it. Mark my words! There is a good mix of big blockbuster and small indies no one's ever heard of here. AS IT SHOULD BE.

2016:

Captain America: CIVIL WAR
Arrival
Moana
The Founder
The Neon Demon
The Love Witch
Silence
Swiss Army Man
The VVitch
American Honey

I really thought about this one. I don't want to completely discount super hero films and blockbusters. I think what CIVIL WAR does is really underrated across legitimate great movies. There's still six movies here from my original list, but it feels so different. Maybe that's because only four have been on every list. This year had a lot of films that are in that "haven't held up" zone like The Lobster, Green Room, and Train to Busan. I have watched others like Zootopia and Deadpool recently, and they certainly hold up, but not quite enough to warrant inclusion here. Maybe instead of arrival. I really wanted to add Popstar because it's by far the funniest and one that has grown in time, but it's also still a pretty shit movie that works better as an outlet to make a soundtrack than an actual satisfying plot.

So we still have 2017 and 2018 to think about. 2019 is a little too close to us, but it's worth it to aggressively reexamine these pretty recent but not that recent years. Stay tuned for more hard-hitting entertainment journalism, folks!

16 December 2019

2019 FINISHED! Movie Scene of the Year

Normally when we run through the year there are a collection of great scenes, both in terrible and great movies. This year was different, though. When it happened I knew instantly that it was the scene of the year, nay, let's call it the scene of ALL years. I haven't found a good cut of everything I want in one video, so here is a bunch, but in 2019 this was everything:







This still chokes me up. There is a lot to unpack and an uncanny amount of earned pay-off here, both helped and hindered by this pay-off not being limited to one movie, but a literal decade of films. It requires a decent amount of knowledge to really understand, but well, I have that knowledge so it tugs at my heart pretty hard.

In Avengers: Infinity War (2018), both Iron Man and Thor get their asses kicked by Thanos. So does Captain America, but it's very brief. He doesn't have the emotional stakes the other two characters have. During their bout here there is a little hesitation with the other two. They know how powerful this dude is. It's great that they gave Cap a chance to shine. That moment when Mjolner flies into Cap's hands was the loudest I have ever heard a theater in my life.

It's full of little moments, too. First, there was always that inkling that Cap was worthy when he nudged the hammer just a little in Age of Ultron (2015). In that same movie, Cap bounces the hammer off his shield to create a soundwave, which he repeats here. This is the second team-up move after Thor lights up Tony's suit with lightning like in The Avengers (2012). These little things show that this team has been fighting alongside each other for a long time and have gotten to know what works.

Cap is just such an earnest figure that this moment feels so deserving. It's a classic, "Of course this is how it should happen" moment, but not one that an audience member would ever believe they'd actually do. Endgame (2019) is such a bonkers movie - it feels like they are headed for a showdown with Thanos early, but then they dispatch him with relatively little effort. It's an amazing ploy, then, that they're able to have their cake and eat it too with the introduction of this feisty younger Thanos.

Throughout the fight we're always wondering what will stop him. Will Thor or Tony get some redemption? Will Captain Marvel fly in and kick ass? Will Ant-Man go inside Thanos' nostrils and expand to giant size, exploding his head? Cap with Mjolner seems like the answer for a while. He gets some good licks in, which we've never really seen Thanos take before (save the axe to the chest from Infinity War, but that's overshadowed because he still wins with the Snap). It's an amazing moment.

But the film isn't content with that. Thanos overpowers the powered up Cap. He busts his unbreakable shield (there is a pretty incredible bit of acting when he does this, just disbelief, and fear, but still resolve). Thanos summons and army and Cap straps in. It's a stunning moment that wisely knows it has more gravitas than the oft-repeated "I could do this all day" line, but that sentiment is there. You know that Cap would stand and fight against that entire army alone. It's downright inspiring.

Then we get another great moment, though. Portals open up, they again call back to The Winter Soldier (2014) with an "On your left" and every character ever (except Daredevil, dammit) appears. There is a reason why Cap is the centerpoint. It's him standing alone. But film-wise it works because one moment leads into the other and it sells itself. It's earned. It's fantastic.

"Avengers...assemble."

I love that M'Baku and Korg get prime spots as everyone charges into battle. It shows a lot of how random mashing up a lot of these worlds are. I actually just re-watched the entire battle here, which you should also do. There is a ridiculous amount of little lines and moments that connect the franchise. Spider-Man's insta-kill. The Wasp slyly referring to Steve Rogers as "Cap" to Paul Rudd after she made fun of him in Ant-Man and the Wasp (2018). Weird Guardians banter. Funny Valkyrie banter. La Cucaracha. It's as if dumb Ant-Man movies are infiltrating the Avengers movies. Black Panther calls Hawkeye "Clint" after this scene in Civil War (2016). It's actually a little ridiculous.

Most importantly, though, the images I've had in my head literally since the 80s of insane stupid comic superheros mashing up against each other on a big screen comes to life more than I could have ever dreamed. It hit an emotional core I didn't know I had, and clearly affected quite a few other people. This scene entered pop culture in a way that no other scene this year, or in many years has.

It's been the subject of memes, full-on parody, a surprisingly thoughtful musical analysis, and other fun recreations. We're at the point where everyone knows the rhythm of that Cap vs Thanos fight. The Stormbreaker snatch and press into Thor's chest. The Mjolner save and catch. The running spinning smack, the lightning, the hammer shield toss. It's so damn satisfying.

I have a feeling that we'll be returning to this scene quite often. It's the best in any action film of recent memory. Importantly, though, it's because it's steeped in character, stakes, goals, set-up and pay-off. Marvel has its faults for sure, and I won't rank Endgame as one of my best films of the year, because it literally isn't even a movie. It's just a sprawling nightmare. However, this scene is downright amazing and I think folks who tote Marvel as the Death of Cinema ignore how well they can pull off a moment like this. It's not easy.

Oh, and the runner-up is definitely when Captain Wack swims with dolphins who definitely aren't dolphins in The Beach Bum. I cannot find a clip, but here's the next best thing:



What did you think? What is your vote this year?

13 May 2018

Marvel WARS: Civil to Infinity

That's kind of a big war stretch, isn't it? A Civil War to an Infinity War. Anyway, I got to thinking far too hard about this the other day, but while I dug Infinity War (2018) a lot, in addition to it rubbing away a bit of what THOR: Ragnarok (2017) was about, it certainly steamrolled a lot of the core ideas behind Captain America: CIVIL WAR (2016). Some spoilers I guess here for Infinity War, and those other movies, too. When do we reach a point where we no longer need a spoiler warning? Like ten years?

The best way to do this is to split all the characters up. I want to do an exercise in tracking the ideology of each character in CIVIL WAR and how they change up through Infinity War, which means we won't really bother with Thor or Hulk or Shuri. Let's explore the backgrounds and reasoning each character had for siding the way they did, then what caused them to switch, because everybody switched. Team by team is easiest.

TEAM STARK

Tony Stark

In many ways this whole exercise has been a long drawn out character study over the course of eight movies. Marvel doesn't get enough credit for that. Stark begins as a fiercely privatized individual, who uses government contracts to become wealthy but is moreover a fan of limited intrusion into private property. It's really not until his experience in The Avengers (2012) where he truly realizes that there is a bigger world (and universe) around him and he can't be a lone gunman jackass anymore.

This continues through Iron Man 3 (2013) and Age of Ultron (2015) where he's continually haunted by guilt over mistakes he made out of either assholerly or his own hubris. I've kind of gotten into this before. Somehow eight years ago. This keeps building until by CIVIL WAR he's fully into government supervision and supports the Sokovia Accords. As the original superhero in this world (at least release-date-wise), he's had enough adventures to understand that his actions have consequences. Here's the best essay on that.

As he moves through Spider-Man: Homecoming (2017) he also gains this mentor role, and it's fitting that Infinity War separates him from just about everyone he was in contact with during CIVIL WAR. It puts him in this difficult position where he doesn't have too many friends back on earth, but he continues his mentorship of Spider-Man, which leads to some real heart-breaking moments as Parker crumbles into dust. At the same time, he may be the best equipped to come back and defeat Thanos, both intellectually and tactically. This would be the ultimate redemption from his years of guilt and could possibly put a button on all that CIVIL WAR bad blood.

Spider-Man

On the Peter Parker note, Spider-Man is on Tony's side not for any real political reason, but moreover because Stark recruited him, arguably without saying much about what they were even fighting about. This makes his role a little less interesting than the decisive nature of his flip-flopping and tide-turning in the comics, because Peter by his nature tends to be a street-level hero with big-time powers. That's part of what has made Spider-Man so appealing over the years.

His character on its own from what we see in Homecoming would likely more side with Cap if he was a little more mature and knew the stakes. It's clear he believes in his own independent, personal judgment and has issue taking orders from authority. There's a big gap in logic from the fact that Stark would ostensibly require him to sign the Accords, requiring him to submit to government authority while Stark continually tries to limit his involvement and abilities.

By Infinity War not much has changed, and it's notable that out of every character, Parker joins in the fray not because of any personal connection or mandated duty, but because he senses danger and knew it was the right thing to do. This is why we cry at the end, guys. In terms of ideology, he's largely undeveloped, and this makes him a nice character to cheer for.

War Machine

James Rhodes' desire to follow Stark here is a given - they're best buds, but it also makes a lot of sense with his character. He's always been duty-bound and loyal to his government. Perhaps more than any other character he represents the interests of the United States and already was that government agent that Stark refused to be in Iron Man 2 (2010). This...is actually the entire point of Iron Man 2. See how these movies build on each other? Shared universes are not just about throwing in Easter Eggs, it's about building a set of conflicting and interacting ideologies.

It's one of the biggest leaps, then, in Infinity War when Rhodes seems to abandon his duty to the Secretary of Defense Thaddeus Ross (when are we going to get a William Hurt-starring Red Hulk movie?). He does seem to side pretty quick with Cap, although that could be in part because his crippling injury in CIVIL WAR came from the friendly fire of Vision. It's possible that he became disillusioned with their petty strife and exhausted with their internal conflict. Generally the Marvel films are set in real time, which means they've had two years of being on the run. It's important to remember that he was a pretty core part of the team by Age of Ultron, and part of the new team by the end of the film. Considering that by Infinity War he's the only one left taking government orders, we can surmise his further disillusion.

I'd also hypothesize that since Vision's mind gem created the beam that crippled him, Rhodes knows firsthand the danger these stones possess. His sense of duty protecting others from having the same fat as him becomes a stronger motivation than his duty of taking government orders.

But anyway - one thing the MCU seems to run with is that an incredible amount of stuff happens in between these films that we don't see. We tend to land plop in the middle of adventures these characters have without much to fill us in in between. Infinity War clearly doesn't have time to jump into Rhodes' ideological shift, but it would be interesting to see a little more. He's also clearly bros with Falcon, and if you were hanging out with this man blonde white boys all day, I don't know how you couldn't be.

VISION

Speaking of not knowing what the hell is happening between films, what the hell, Vision? Him and Scarlet Witch shacking up together has always been a thing in the comics, but it comes off weird here, not only because Paul Bettany is 46 and Elizabeth Olsen is 29, but because we have hardly any indication at all in any previous movies that this was a thing. Also...android! Does he have a dick? Did Ultron build him a dick? Originally the body was built for Ultron to jump into - this means that Ultron built himself a dick. These are not good thoughts.

Vision's position comes from logic. He's always been about working together and ironically, even though he is a feeling-less android, his creation was very much a group effort by Jarvis, Tony, Bruce, Ultron, and Dr. Helen Cho. And Thor, I guess. He seems very deferential, and one who has no reason to doubt that a consortium of powers deciding the fate of the world would be worse than one man's judgment.

His defection between CIVIL WAR and Infinity War isn't really given a clear ideological background. I do think one thing is telling from the point I just made, however. The last shot of him in CIVIL WAR is him looking pensive, and playing with some chess pieces. Alone. Scarlet Witch is locked up. His side has mostly disbanded. He perhaps went through something similar to Rhodes, where he felt bad for his friends, especially with the guilt of his crippling his teammate. This may have landed a little harder if he had hurt, say Falcon or somebody, but it's clear that he did some android-soul searching and set out to find Wanda.

By Infinity War everyone seems to be turned around to Vision. Protecting him is Cap's number one priority and even when his crew defends him and Wanda from the Black Order in London, it's clear that they've been on the run together for a while. It seems as if personal stakes became more important than logical ideology, which again, makes perfect sense for a robot to have.

Black Widow

It's hard to remember that Black Widow actually pre-dates Thor and Captain America in the MCU. 2010, baby! She's been in six movies, somehow none of her own. While she debuted in an Iron Man film, she made her way more into the Captain America cadre. While her background as a shifty government spy who knows firsthand that institutions are not to be trusted, she surprises everyone by siding with Tony Stark. Even Tony is taken aback.

That clip has most of her rationale - but it comes from her background as a shifty, duplicitous spy whose main goal is survival. She sees this less in ideological terms than being realistic to their situation. To Natasha, this isn't a fight they can win and running from the government won't let them do anything. She's more trying to come out of this on top rather than directly siding with Tony's theories or guilt.

This is also why she defects at the end of the film. There's a slight indication that she may have been playing both sides the whole time or was a mole in Tony's side. She actually doesn't do all that much during the airport battle. She has a fun fight with Hawkeye here, is knocked around by Scarlet Witch, then doesn't show up again until she stops Black Panther here. This confirms with her natural renegade ideology, and by Infinity War, its clear she's been on the run with Team Cap since the end of CIVIL WAR.

Black Panther

T'Challa's motivation mostly comes from the fact that the Sokovia Accords helps him in the immediate aftermath of his father's assassination by who he thinks is Bucky Barnes. We'll get to Cap in a second, but as much as Cap is more personally motivated by protecting his friend, T'Challa is more personally motivated by capturing him.

That said, T'Challa is a government entity, being the King of Wakanda (technically at this stage still the Prince, since he didn't have any waterfall fights yet), and judging from Black Panther (2018), clearly relies on governmental systems to make the right decision. This of course also leads to one of the more difficult themes of Black Panther with Killmonger - where that system of tradition fails according to Wakanda's place in the world, when trust between the government and its people breaks down, and even questioning succession when the wrong King succeeds. T'Challa in CIVIL WAR is pre-all of this, and it makes a lot of sense he sides with Tony, even if it's more out of convenience than any personal affiliation.

By the end his personal vengeance subsides in part because he sees how much it had consumed Zemo, and how much it is currently consuming both Cap and Tony. His political ideology still aligns with Stark, but he extends an olive branch to other men that he sees have suffered. It's perhaps the biggest stretch that he takes in Bucky and Cap, more out of story convenience than anything else, because that tie is a vital link in Infinity War.

TEAM CAP

Captain America

As Tony basically switched from being pro-individual, he was drawn in to the government mostly because of his increased role as an influencer in this new age of superheros, Cap went in the other direction. It's important to note that most of the basis for his anti-government stance here comes from The Winter Soldier (2014), where it was revealed that the organization he had trusted and worked for, S.H.I.E.L.D., was in actuality covertly run by his greatest enemy, HYDRA. This makes him cautious to thrown down his independence and work for another organization again, even if it's the United Nations.

Could the United Nations secretly be a HYDRA organization? Well, this is comic books, so anything is possible. This core belief that his personal judgment is best, as arrogant as it might be (he's called out for this), is something that the film also ends up aligning with. In a cinematic sense, not only is this Cap's movie, but he's a guy we can use as a proxy for ourselves, meaning that we'd like to think that our own judgment in his situation would also be crystal clear. It's an ego movie on the part of the audience. It's what made me personally align with Cap, although there are many out there who aligned with Stark. It's clear that by Infinity War, most, if not every character has ideologically moved towards Cap's side (not like Stark went to get approval from the UN before engaging Ebony Maw and Cull Obsidian), and it seems like only Stark won't admit he was wrong for personal reasons, but everyone else seems tired of taking UN orders and defects.

It's notable that Cap isn't actually entirely unreasonable. He comes very close to signing the Accords until he learns that Wanda is basically being kept prisoner as a human weapon of mass destruction. This is the final straw, the line that he can't cross. By the film's end when Cap's team is captured because the law has now deemed them criminals, it's clear that the strain of an outside force arbitrarily deciding who the bad guys are has taken its toll, and may explain why most of Tony's side ends up defecting.

Bucky

Bucky is the crux of this film, and Cap's allegiance to him serves as a specific example of where the Accords fail. That it's an extremely personal reason for Cap only makes the story juicier. Bucky's position isn't based totally on ideology - he's almost more a MacGuffin, forced into this role from everyone else trying to capture him, used as a scapegoat for the Accords than anything else.

You've got to think that his personal ideology would align with his buddy Steve Rogers, though. He has every right to be distrustful of governments and agendas, as he was a popsicle tool for Moscow for the better part of seventy years. Even if he can't quite trust his own judgment yet, it's clear he'd be in favor of making his own decisions again.

This doesn't really change at all by the time Infinity War rolls around. He stands out as hanging out in Wakanda this whole time recuperating rather than parading around the world doing who knows what with Cap's team.

Falcon

Sam Wilson, like the other black friend, James Rhodes, is really just going along with his white buddy's side. Like Rhodes, he's an army guy who you'd think would have more trust in the government and support the Accords. He went through the same crap as the rest of the Cap gang in Winter Soldier, though, and grew that same distrust of authority figures with shady agendas.

Now, I say all that, but Black Widow was there for Winter Soldier, too. I think Sam above everything else is loyal to Cap and ends up having this partnership with Bucky as well. Anthony Mackie has said that it's more about Sam being a blue collar guy who admires Cap's worth ethic more than Tony's billions.

That is the more accurate thoroughfare to Cap's team - they tend to be the more down to earth, gritty street-level heroes without extravagant powers. They're blue collar guys who think they know best and don't want no government telling them what to do. By Infinity War the Falcon's attitude hasn't changed and he's happy to continue doing his part alongside the remnants of Cap's team.

Hawkeye

In that same article that quoted Anthony Mackie, Jeremy Renner said that Clint didn't really care and sided with Cap because he was the first to call and wanted to get home to his family quick. This doesn't really make any sense - Tony's side is clearly the safer side to be on and would have more family security. Tony even says so directly to Clint when he's behind bars at the end.

Instead, when Clint first sees the rest of the gang after rescuing Wanda from the compound, he implies that Cap is "doing him a favor," possibly meaning that he's sick of sitting on his ass watching is dumbass, bad-aiming kids grow up. He also says he owes a debt to Wanda, meaning he still wants to pay her back for her brother's sacrifice to save his life in Age of Ultron. Thus, secretly, Wanda is a crucial component for both Cap and Hawkeye's involvement in this fight.

Going back to the blue collar street tough part of the crew - Clint has always been on the edge, despite being a seemingly loyal S.H.I.E.L.D. agent. He's not really around much (like...in ALL OF Infinity War), but he's a character who's a little cutthroat but also loyal. We can learn the most about his stance as he chides Tony from a prison cell, angry that "the Futurist" acts like he knows what's best for everyone. It's clear Clint also trusts his personal independent judgment, especially for the sake of his family, and plays the spy game of mistrust and intrigue perhaps better than anyone.

Scarlet Witch

It actually took me until writing this to realize how pivotal a role Wanda has in this movie. She's far from just another solider. Her role stopping Crossbones' bomb from erupting on the street, but still detonating in the upper floors of a building sets the movie in motion, and perhaps more than any of the "street level" fighter heroes, her position as a being of immense power who is still learning how to use it, drives the Sokovia Accords. Her status as a dangerous immigrant also drives Hawkeye and Cap to distrust the government's interment of her. Finally, it's clear that by Infinity War she has also convinced Vision to give up a posh chess-playing compound life to tap dat ass.

Wanda's ideology, like Bucky, is therefore created more out of necessity than choice. She doesn't have the luxury to sit around and discuss what powerful government agencies will do with her. There's also a bit of hypocrisy in Vision when he basically says that the Avengers would act independently and protect her the same way Cap soon goes to protect Bucky. Her back is against the wall this whole movie.

In Infinity War she shines even more, proving herself in combat and characters even comment that she's underused. Like most of Cap's side, her ideology, especially as someone on the run and being hunted, is more drawn out rather than solved. But it's always hard to remember that she has power over the mind stone in part because she was created by the mind stone, being used by Baron Strucker in Age of Ultron. Damn that's an at-the-time unimportant footnote.

Ant-Man

Finally, Scott Lang. Here we need to recall that he was recruited based on the Falcon's recommendation to take down the Russian HYDRA super soldiers in Siberia, not actually to join in the fight. See, it's always tough to remember the actual supervillain plot going on in CIVIL WAR, in part because that whole plot is actually a ruse to enable the real plot - Cap and Iron Man duking it out. Lang doesn't really have a dog in this fight, you can tell from how awkward he is and how he is just meeting everyone for the first time.

Still, you definitely need to think he'd be anti-government supervision considering that he's a career criminal who would rather duck from authority than submit to it. He is the other Avengers family man, though, and like Hawkeye gets a convenient excuse to sit out Infinity War.

What do you think? Did I get most of these right? Do you think Infinity War paving over most of the conflict in CIVIL WAR is kind of malarkey? Also, re-watching CIVIL WAR, damn this movie is sweet. There are many many subtle beats in keeping track of each character that totally reward thoughtful viewings.

08 May 2018

First Impressions: Infinity War

What'd I say? Raw emotional honesty? I'd like to push what this blog can do, but for now, let's just talk about Infinity War (2018).

Do I need to summarize the plot? You saw it, right? Actually, it's only sold about 50 million tickets so far, so chances are you didn't see it. Honestly, who is the person who went to the theater this weekend to catch Bad Samaritan (2018)? SPOILERS for this movie have been awfully precious and before I tell you that Dumbledore dies while gang-banging Drax and Carrie Fisher. I mean, what a Saturnalia.

Saturnalia was the first holiday I thought of for that joke.

We're definitely talking SPOILERS, though, because for this movie everything can be a spoiler, I know I wanted no details at all going into it, and I think I was rewarded, and after some careful thought, the only major theme here is Death and facing Death, so naturally the movie gets pretty ruined by any discussion of itself. We'll get into that more in a second, but let's start with some general cultural context:

Ahh - remember this fun scene
The great irony with crossover movies is that they're simultaneously sensational, but also very transparent in their effort to be sensational, which leaves the feeling kind of hokey. It's this idea, where you can tell the marketing is exasperated and fake. Where Infinity War succeeds, and I mean, really really succeeds is how little it cares about this. It wears its forced interactions and ultimate marketing ploy on its sleeve while moving so damn fast that we don't even have time to realize how hollow everything is.

Therein lies further irony. Is the art really hollow if it can disguise itself that well? Is that insidious or actually, frankly more difficult to pull off than a banal simple indie entry? I give this film a lot of credit for never once feeling its two-hour and thirty-six minute runtime. At the same time, however, this isn't actually even a movie anymore. It would make no sense without (most of) the previous 18 movies in this series. Infinity War does not and cannot exist in a vacuum. This is a brand. A cog. Perhaps just a piece of marketing. It requires incredible gumption to pull off, because it has an immense reliance on general populations being pretty familiar with all of the forty some-odd characters who make appearances here.

Could you see this without seeing anything else? I'm curious about our cultural osmosis. Even if you never saw any other film, do people know who Iron Man and Captain America are through just omnipresent commercials and billboards and Dr. Pepper cans? Do we get the general vibe? I kind of reflect on The Fast and the Furious movies. The first one I saw in theaters may have literally been Fast Five (2011), but in that ten years I had seen so many on TV, learned the general characters, heard from friends that I felt like I hadn't missed a beat.

Honestly, future filmmakers need to study this movie to understand peak efficiency. There is no bullshit here. There are a handful of moments that slow down and give some great character moments, but more than anything this movie knows how and when to move forward, when to care about development, when to trust the audience to put pieces together themselves, and when to cram an explainer line in somewhere. It has continued this idea of relying on the ridiculousness of its premise to just let other insane comic book elements pass by the wayside. Like, how does the Black Order keep showing up where the Stones are? Who cares, it doesn't matter. Isn't it nutty and fantastic for Iron Man to be on another planet, meeting and fighting weirdos? Let's quickly move on, we know the Guaridans. There's time for development, but then this movie wisely leans on the past ten years of development.

My first impression was that this film relies on plot over story. And there's so much plot. There are so many events that happen one after another without much in terms of an actual story, or at least a relatively simple actual story. In its own way, this is also what makes this movie work. There are so many characters off doing their own disconnected things, but they all actually tie into a remarkably simple idea - Thanos is acquiring the all-powerful MacGuffins from every other Marvel Movie, and the heroes need to stop him in a variety of ways. This structure shouldn't work, but it does. If your content is good, if it's distracting and iconic, it doesn't really matter what your structure is.

Some of this felt like checking off boxes on how these characters could run into each other, but it's all basically plausible. The Guardians check out a distress signal in Space - it's Asgard blowed up. Doc Strange seeks out Tony, Tony mentions Cap, Cap mentions Wakanda. It's a little forced, but the thrill of seeing all these disparate characters interact masks everything else. Seeing amazing team-ups of people we know would be friends, like Bucky and Rocket or Strange and Tony or Thor and Groot is fantastic. Besides its excess of plot, the best way to describe the feeling of watching this film is like watching your college friends meet your high school friends. Worlds are colliding! My favorite moment ever may be seeing Tony Stark left with Nebula at the end. That's the most amazing random team-up ever. I hope they hook up.

Instead of log-jamming the film, it wisely disperses all its characters all doing their own thing across the Universe, working towards one goal - stop Thanos. At that point we ought to chat Thanos, because he's the other element that unifies this film. He's the main character - the constant threat who is given plenty of his own moments, even if they somewhat come off as unearned, particularly his emotional connection with Gamora that's the crux of the film.

Thanos does a few important things. First, his goal drives the only major theme of the movie - death and how we deal with it. He also wins and therefore has a complete arc, which means that this is only a two-parter cliffhanger if you think he isn't the main character. He succeeds at his own goals, at great personal sacrifice.

Before we sink into that - because this film, as we noted before, cannot exist on its own merits and owes as much to its future as its past when examining it, let's quickly talk about Thanos' plan. He wants to balance out the Universe by killing half of it. In the comics this was to appease his crush on a personification Death itself. Here it's about overpopulation or some garbage It's kind of weak without the added insanity, but the Russos felt like adding personifications of eternal elements was one step they weren't ready for. I don't think you needed to actually have Lady Death as a purple-hooded Grim Reaper chick, but that general Death worship would have worked fine on its own instead of a kind of hokey and baseless reason for wiping out half the Universe.

We'll talk about stakes more in a second, but this film does do a wonderful job of setting up Thanos as the ultimate bad guy right at the beginning. It is actually kind of shitty that within the first thirty seconds Infinity War undoes the entire point of THOR: Ragnarok (2017) as Thanos obliterates the remnants of Asgard. All that "Asgard is a people, not a place" refugee message is wiped out. While this undermines his own movie, this does give Thor perhaps the most motivation to defeat Thanos, and it's fitting that he eventually comes the closest.

And that scene with Rocket is the best scene in any movie Thor has been in - or that Rocket's been in for that matter. You feel his loss so intensely. Ragnarok's tone never sat well with me for how deep and heavy its content was - Thor is still funnier here than he was in early Avengers films, but that tone is a little more relevant to how much he's lost in his life.

The intro is relatively simple. It's basically just The Worf Effect as Thanos quickly dispatches Hulk, who then remains scared for the rest of the film. I'd also be curious to see how this is rectified, but it's a nice convenient way to get Banner to shine in a way he often doesn't. What's more important is that this shows how brutal this movie is - there's no safety net. We might think that Hulk is the Avengers' ace that could at least go toe to toe with the big bad purple dude - Loki's "We have a Hulk" is a masterful callback, but then all expectations are subverted as he gets his ass kicked. We're immediately at a loss. It was crucial to get that fight out of the way and set up over two hours of realizing we're all boned.

It almost feels like a conspiracy theory that Marvel churned out dumb, disposable villains for ten years only so that Thanos can come in and be a really credible threat. His stakes are real, personal, and important on a Universal scale. It's as if there was this endless parade of doppelgangers and moustache-twirlers so Thanos looked better. Also I like the theory that Thanos made his move once the Ancient One, Odin, and Ego were dead.

Anyway - Death.

The big thing to note is that because of so much public outside knowledge we know that Death isn't permanent. Not only have characters continuously re-appeared in the MCU before (Bucky, Loki, Red Skull IN THIS VERY MOVIE - totally forced an unnecessary by the way), but we know there are Strange, Spidey, and Black Panther flicks coming down the pipeline. Like with most things, Film Crit Hulk sums this up the best when he says that as soon as we saw Black Panther turn to ash, we could call Marvel's bluff. That's the exact moment when we knew this was BS. We could buy most of these other characters dying, maybe permanently. If anyone is not going anywhere anytime soon, it's T'Challa, whose franchise by himself is the only one to make on its own money to nearly equal the Avengers crossover events.

There are plenty of ways around this - we have literal reality and time-controlling stones at play, along with plenty of theories, from the Ant-Man's quantum realm jumping in to the fray to the possibility that everyone's simply locked in the Soul Stone. That makes it feel like some earlier deaths like Heimdall, Loki, and Gamora could be permanent (unless of course that vision at the end is within the Soul Stone, where Gamora's soul is contained as well - at which point Guardians Vol. 3 (2020) comes out like Pirates of the Caribbean: At World's End (2007) trying to find their main character's soul in purgatory.

When we look at this, it's then hard to really feel the emotion this movie wants us to. There's this sideways glance we give our screens like "Okay, guys, whatever." We expected at least Cap and Iron Man deaths - the old guys who have been here forever and want out. Iron Man even still had a huge role in this film, and his one on one with Thanos was amazing. His nano-tech tech summon ability was a little stretch, it reminded me of DC's Cyborg or Metallo (see - I like DC, too). Anyway, the point is, that's a fine place to die, but if we look at his arc, it required a little more.

Ever since Iron Man 3 (2013), everything he's done has been driven by guilt. He needs Doctor Strange to sacrifice the Time Stone for his life (more on that in a bit), and then more importantly, needs to see Peter Parker die in his arms to seal this five-year arc of failing to protect the people he loves despite how advanced his tech becomes. It's hubris drawn out across five movies past his own trilogy ended, mostly because they make money, but it should also make his ending sacrifice (presumably) in next year's sequel to be more potent. Or maybe instead he will find some catharsis. We'll see.

In this way, the stakes become less about character deaths than how other characters deal with loss. We know there's more Spider-Man movies. That doesn't take away from Peter Parker terrified face turning into ash in Tony's arms. For their whole relationship Tony has tried to put limits on him, but he's proven Tony wrong. Finally, it's too late and Tony can do nothing to save him. We see this with Cap and Bucky, Rocket and Groot as Rocket loses his best friend again, this time knowing he won't grow back from a twig.

I don't totally get the idea that with no threat of death there's no stakes. We don't watch movies this way. When we're watching Die Hard (1988), we know it's not suddenly going to feature Ghost John McClane. Stakes are about challenges - we pretty much know that our characters are going to live. When they don't we get like, R.I.P.D. (2013) or something. Or when a character is nigh invulnerable like Superman, or to go the Ryan Reynolds route again, Deadpool - it's about setting up personal challenges for that character to face that don't have to do with dying.

So with Infinity War, it's less of "Will they'll be back?" than "How will they come back?" How will the surviving heroes deal with the death of their friends, unthinkable odds, a severe blow to motivation. How can they still be heroes when their main opponent has both the power and motivation to indiscriminately murder half the universe? Another way of thinking of this is that even though we know these new core characters are coming back, the characters in the movie don't know that.

Now, this is obviously me defending the film a little bit and making excuses, but the other side is easy. Its "this sucks." And maybe it does, that's fair, but doesn't require much thinking about what these films actually mean. Also, it's somewhat important to remember that not every audience member has that cultural context or obsesses over release dates. The guy I saw it with didn't even recognize the Captain Marvel symbol at the end. It's continuously crazy for me to remember that I'm always the nerdiest guy in the theater. I'm the one who shouts out "Adam Warlock!" at the end of Guardians Vol 2 (2017). My curse. My blessing.

For kids, especially this is a traumatic moment. And uhh...we should kind of remember that these movies should probably be reserved for little kids. Angry, over-analyzing adult nerds ruin these for everyone. FOR EVERYONE.

However, we are truly at a point where culture and corporations collide. We know more that these characters are returning because it would be financially irresponsible for Disney to keep them dead than anything else. That's our MAIN reason for feeling emotionally cheated at the end of this film. That's totally insane in its own way.

Tony's gettin upset!
As for the other characters, it was great to see Gamora as a huge lynchpin for this movie. She has her own role in the Guardians films, but hasn't really been the star until now. The other Guardians are all spot-on doing their things, and I love that as soon as we here "Rubberband Man" we know they're coming up. It's pitch-perfect stuff. The Captain America crew gets less screentime than I thought they would, and even though much of the latter third or so is set in Wakanda, the Black Panther crew definitely feels along for the ride rather than dealing with the ramifications of an alien invasion on their home turf (c'mon - they didn't even want to share with the White Gorillas a few months ago).

Despite this, Cap sums up what might be the film's thesis - the concept of a trading lives. Even though he says they don't trade lives, that happens for literally every stone Thanos gets, except the Power Stone, which we don't see. Loki trades the Space Stone for Thor's life, even though he's killed immediately after. Peter Quill attempts to mercy kill Gamora after Thanos acquires the Reality Stone, but Thanos prevents him. Thanos then sacrifices Gamora to acquire the Soul Stone. Strange trades the Time Stone for Tony's life. Finally, Scarlet Witch attempts to destroy the Mind Stone (killing Vision in the process), but Thanos reverses time and takes it himself, killing Vision. Thus, every stone is actually a life trade.

It's fitting that goody two-shoes Captain America's ideology proves the best direct counter to Thanos' philosophy. Cap is always about finding another way, the irony being that of course he just fights, because war is actually all he knows. I'd be curious to see this develop a little more.

As a side note, one other thing I did really enjoy was how clever the stones were. Movies aren't really clever anymore. Thanos uses each stone once he gets them, fully expanding his powers. He tricks his enemies and it's important how sequentially he acquires everything. Power and Space facilitate everything else. Reality more helps him cover his own tracks, but the Time stone is crucial to him getting the Mind Stone. Some of this is surely contrived, but it's damned fun to watch, and that's also what this movie is all about. And despite being all about death, this movie is also actually really funny. It's wonderful.

There are problems here for sure, and it's hard to find something really true that Infinity War is saying beyond a giant corporate promotion, but it's also so good and fun that we ignore that. We're all sheep I guess. For all this studio's talk about finality, it's also very clear that that's just extended a year, and even at that point we're not seeing any finality ever.

04 January 2017

2016 Movie Consumption Review

To check out 2015 click here.

Once again, and to the future until I become too exhausted, I kept track of every single film and television show I consumed in the year 2016. You may read that full list in all its glory right here, but for now, let's dive into some stats for this ridiculous exercise. It's actually awesome to gain an understanding of what I've been watching all year. If anything, this ought to be slightly interesting and at least get you thinking about what you spent your year watching!

So, let's start with some basic stats:

My goal was to hit 200, and I crushed that with a total of 220 movies. Of those, five I saw twice, which made for 215 unique films. Of these, 117 I saw for the first time, or 53%. Let's begin with those films I saw twice this year:

Captain America: CIVIL WAR (2016)
Deadpool (2016)
Guardians of the Galaxy (2014)
Sisters (2015)
Escape from L.A. (1996)

Every single repeated viewing here was either a Netflix Streaming or DVD re-watch with a friend.

Naturally, there were quite a few films that I saw this year that I also watched last year. I'm not quite sure what to make of some of these, but for what it's worth:

Blue Streak (1999)
CREED (2015)
Fast & Furious 6 (2015)
Harry Potter and the Deathly Hallows, Part 1 (2010)
Harry Potter and the Deathly Hallows, Part 2 (2011)
Harry Potter and the Half-Blood Prince (2009)
Harry Potter and the Prisoner of Azkaban (2004)
How High (2001)
JAWS (1975)
TED (2012)
The Cabin in the Woods (2012)
The Fifth Elementi (1997)
The Hangover (2009)
The Interview (2014)
This is The End (2013)
Zombieland (2009)

So now let's check by month:

June25
January23
May22
December20
August18
November18
March18
October17
September16
July16
April15
February12
AVERAGE18.33

There's not really any pattern here. Summer and winter seem to peak, but February and July were both low. The average is about a movie every 1 2/3 days.

Breakdown by Medium:

Let's start with relatively low-tech options, which are pretty minimal:

DVD: 18 (8%)
BluRay: 1 (0.5%)
Theater: 11 (5%)

That's actually one more movie I saw in theater than last year, but all in all, a fairly horrible showing from traditional media.

Now, non-Netflix streaming options:
Google Play: 1 (0.5%)
YouTube: 2 (1%)
Illegal Download: 2 (1%)

See, I only watched 1% of my movies illegally this year. Generally, this is pretty minimal stuff:

Netflix:

DVD: 51 (23.2%)
Streaming: 50 (22.7%)

As you can see, Netflix is huge. I use the DVD service and Streaming options pretty equally, which combined accounted for nearly half of everything I watched, up about 11% from last year.

Television:

Total: 84 (38%)

TV was the single biggest source of movies watched, if you separate both Netflix options. To go further, here's a breakdown by channel, with percentages based on how each channel relates to total movies watched on Televison:

FX2023.8%
SyFy1416.7%
Comedy Central1011.9%
TNT89.5%
AMC89.5%
FXX67.1%
Freeform56.0%
TBS44.8%
Spike22.4%
MTV22.4%
STARZ Encore22.4%
USA11.2%
TCM11.2%
Vh111.2%

I could have guessed FX, they have the movies, but SyFy sneaking in there is surprising. There are a lot of random one-offs towards the end there, like Bridesmaids (2011) on USA, The Magnificent Seven (1960) on TCM, and, SPEED (1994) on Vh1. Why was SPEED on Vh1 this past June? Who knows, but it ruled.

Breakdown by Year:

Alright - deep breath:

20163515.9%
20152913.2%
2014146.4%
20132210.0%
201283.6%
2011104.5%
201094.1%
200941.8%
200820.9%
200731.4%
200620.9%
200531.4%
200462.7%
200320.9%
200210.5%
200120.9%
200010.5%
199973.2%
199831.4%
199741.8%
199662.7%
199531.4%
199441.8%
199331.4%
199220.9%
199110.5%
199010.5%
198910.5%
198820.9%
198731.4%
198631.4%
198531.4%
198410.5%
198331.4%
198020.9%
197910.5%
197810.5%
197710.5%
197510.5%
197410.5%
196910.5%
196810.5%
196710.5%
196410.5%
196010.5%
195410.5%
194810.5%
194510.5%
193510.5%
190310.5%

Like last year, I saw the most films that came out in the current year. Nearly 16% is actually about two percentage points up from last year.

Now, it'd be kind of crazy to go year by year for the first fifty years of film-making or so, suffice it to say that only five years were represented prior to 1960. But here are unrepresented years since:

1961, 1962, 1963, 1965, 1966, 1970, 1971, 1972, 1973, 1976, 1981, 1982.

From 1983 on I was able to watch at least one movie made in each year up until the present. This aligns with a lack of older films seen in general, which is better than last year, but could still use some work.

Some superlatives:

Oldest Film: The Great Train Robbery (1903)
Oldest Feature Film: The 39 Steps (1935)
Most Recent Film: Passengers (Dec 21, 2016)

By Decade:

1900s: 1 (0.5%)
1930s: 1 (0.5%)
1940s: 2 (1%)
1950s: 1 (0.5%)
1960s: 5 (2.3%)
1970s: 5 (2.3%)
1980s: 18 (8%)
1990s: 34 (15%)
2000s: 26 (12%)
2010s: 127 (58%)

So this obviously leans pretty damn hard towards the 2010s. The most represented year was 2016, followed by 2015, then 2013. No real surprise there. The actual only weirdness in the Top 10 is 1999, which at seven films came in at eight place, beating out any year in the 2000s. The Top Seven were the seven years we've had since 2010. This is certainly better than I did in 2015, but still a little more recent-focused than I'd like. Last year only 49% of films watched were made in the current decade, but considering the decade is a year longer, it makes sense that this number would increase.

Well, that's it. 2016 is in the books! We'll continue this insanity in 2017, which is already underway! What did you watch last year?
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