Movies – Page 3 – Spectre Collie

One Thing I Like About Orphan: First Kill

This prequel to a 13-year-old movie has no right to be as much fun as it is. (Spoilers for both Orphan movies in the second half)

A few days ago, there was a flurry of buzz about Orphan: First Kill on social media, and I was dead convinced that it had to be some kind of viral marketing campaign. I had a hard time believing that many people even watched the movie, much less were excited about it.

But I was still hooked on the potential enough to watch it with minimal investment while I was doing other stuff. (The prequel and the original are both streaming on Paramount Plus). And I’ll be damned if I didn’t enjoy the heck out of it.

I had never seen the first movie. The poster was all over the place for a while, and the premise seemed pretty straightforward: evil little girl going around killin’ folks. It seemed to just blend into all of the other Blumhouse-style horror movies that were all over the place in the late 2000s, and I wasn’t particularly interested. I read the plot synopsis on Wikipedia, said, “Huh,” and then forgot all about it.

The prequel starts out feeling like it’s going to be more of the same thing, this time with the premise of the “franchise” already spoiled, making you wonder what’s the point of a repeat. But before too long, it starts pulling in some older-style horror movie twists, suggesting that yes, they’re well aware of what the audience is expecting.

Then, just as it seems to be settling back into its formula, it pulls out the One Thing I Like, transforming into what’s practically a different movie. Unfortunately, it’s also the One Thing I Can’t Say Anything About Without Ruining It, so I’ve got to put the rest behind a spoiler break.

I will say that I really enjoyed it, and definitely consider it worth watching, even if you haven’t seen the original, but you know the original’s “twist.” No, I don’t think I could call it an intricately-crafted masterwork, since I don’t even think I’d claim that it all makes sense. But I thought it was a lot of fun. Anything beyond that is a spoiler, and it’s absolutely worth going in unspoiled!

One Thing I Like About Last Night in Soho

An over-saturated experiment in style that was much more entertaining than I’d expected.

I wasn’t expecting to like Last Night in Soho as much as I did. Before its release, it seemed to be getting a ton of buzz and promotion, and then it just kind of disappeared. I assumed that must mean the movie was a disappointment.

And I can understand people being disappointed, if they were watching it as the type of mystery/thriller that could work on the strength of its screenplay alone, no matter who was directing it. I went in expecting it to be a case of “style over substance,” and I ended up enjoying it a lot, for exactly that reason.

It doesn’t have the energy, inventiveness, or reckless abandon as Scott Pilgrim vs the World (by far my favorite Edgar Wright movie, and one of my favorite movies overall), but it is recognizable as coming from the same place: a filmmaker with an unabashed love of music and movies and a desire to share and celebrate all the stuff that inspires him.

I’m not quite as big a fan of Wright’s work as My Demographic would suggest — I liked but didn’t love “The Cornetto Trilogy”, and Spaced remains baffling, since on paper it seems like it should’ve been my favorite series ever, but I bounced right off of it. But one thing that’s common to all of them that I’ve seen¹ is that they feel unapologetically like fan letters.

In Last Night in Soho, the objects of affection are 1960s London and giallo movies. But even more than Suspiria — which I think is the only “genuine” giallo movie I’ve seen — it reminded me of Malignant, which came out around the same time and feels like a “companion piece,” in case you’re planning a double feature². They’re not even in quite the same genre, since Soho is much more a mystery/thriller, of the kind they used to make in the late 1980s with titles like Lethal Obsession or Consequences of Passion, than a full-on horror movie. But they are both examples of filmmakers who earned the luxury of making a movie mostly for themselves, broadcasting their inspirations right out in the open with little attempt to hide them, and giving the entire project their personal voice.

And they both require the audience to just go with it. Last Night in Soho is a lot more subtle in telling you that it’s not meant to be taken entirely seriously, even though it starts dropping hints in its first scene with suggestions of the paranormal. (Malignant starts out with a hilariously gothic castle in Seattle (?) and an over-the-top medical procedure, cluing you in from the start that things are going to be wacky). But everything in Soho is dialed up just a little too high — Ellie is a bit too into the 60s, the cab driver is a bit too leering, Jocasta is just too relentlessly an intolerable C-word, Terrence Stamp’s old man absurdly too sinister, Diana Rigg’s landlord too curmudgeonly and old-fashioned to be taken as anything other than a stock character.³

It gets more overt in the first dream sequence, which feels like the sequence that the entire movie was built around⁴. The entire room is saturated with red or blue light, which lets you know that the filmmakers have seen Suspiria, and the blinking is in time to the song playing on a record player, which lets you know it’s an Edgar Wright movie. What follows is a gloriously romanticized version of 1960s London, presented by someone who clearly believed the lights, fashion, music, cars, and just style of that period was both impossibly magical and also a little sinister.

The highlight is a meticulously-choreographed spectacle of mirror effects, character introductions, banter, dancing, actors switching positions, and tons of directorial flourishes. It’d be easy to point to it as the prime example of style over substance, but of course it’s not; it’s the “mission statement” of the entire movie. It lets the audience feel why Sandie was so optimistic and enchanted with London, why Ellie became so obsessed with her, and why Wright was so taken with all of it that he wanted to make this movie in the first place.

But while it’s my favorite sequence, it’s not what I thought made the whole movie distinctive. That’s in the rest of the movie, the sequences that don’t work as well, but show (what I assume are) Wright’s interests throughout: music, pubs, being a young person in London, and yes, hordes of the reanimated dead. I can understand the complaint that none of it feels “real,” that a lot of the third act is repetitious, or that the movie feels like a pastiche of its inspirations instead of an attempt to build on or reinvent them. But to me, it all felt like it came from a genuine love of those inspirations and an earnest desire to share that enthusiasm with the audience.

1
I haven’t yet seen Baby Driver
2
And is a lot more fun, honestly, if you haven’t seen it and can only choose one of the two.
3
How brilliant was that casting for Stamp and Rigg in a 1960s London throwback, by the way?
4
And which it never quite lives up to again, unfortunately.

One Thing I Love About Prey

The new Predator movie is set 300 years ago in the Comanche nation and is fantastic

I’d been seeing so much praise about Prey, the new Predator movie streaming on Hulu, that I was sure that it wouldn’t possibly be able to live up to the hype. I was mistaken.

It’s really, really good, and that’s coming from someone who doesn’t consider himself a fan of the Predator series¹. It’s a great screenplay for a great story: perfect in scope, delivering exactly what you’d want from an action/suspense movie like this, but with a core story and characters that you can actually get invested in.

I love the way that new ideas and new plot developments are introduced and interleaved — this is the type of story where you know essentially what’s going to happen from the start, but it’s presented so well that it never feels obvious or undeserved. There are lines of dialogue that you know full well are going to get a dramatic callback later on near the climax, but the movie stays one step ahead of your predictions, and puts the callbacks in different places.

And even though you think you know how it’s all going to play out, the movie manages to play with those expectations in interesting ways. It absolutely doesn’t lack in tension — there’s one particularly tense moment that plays with your expectation of what’s going to happen, then cleverly sidesteps it with a punchline.

Anyway, the One Thing I Like about the movie is something that seems fairly inconsequential, but affects everything: the main cast of characters, who are all Comanche in North America in the 1700s, speaks mostly in contemporary American English. They frequently use words and phrases in Comanche, presumably for ideas of great significance or which are otherwise translatable, but the bulk of the dialogue is modern, conversational English.

It probably says more about my expectations of how Hollywood treats Native American characters than anything else, but I was pleasantly surprised. Based solely on the still images I’d seen, I was expecting that they’d be speaking in heavily-accented English with an attempt to affect the 1700s dialect. Or that it would be completely without dialogue, making it like an extended art movie. Or that it would be entirely in Comanche².

Some of those might’ve been interesting, some would most likely have been awful, but to a modern English-speaking audience, all of them would’ve been othering. This movie is told completely from the perspective of its Comanche characters, and our easy familiarity with them subtly stresses the idea that they were real people. Not like the alien depictions we’re used to seeing from Hollywood — which usually reduces Native Americans either to ruthless savages, or noble savages. The characters here are smart, occasionally funny, clever, and have a set of skills that makes them uniquely capable of standing a chance against super-powerful alien hunters.

There’s another interesting layer to the way the movie uses language, but it requires minor spoilers. If you haven’t seen Prey yet, and you’re a fan of the Predator franchise in the slightest (or just a fan of tight, interesting, well-scripted, mid-budget action or suspense movies) then I highly recommend it.

1
I realized tonight that I don’t think I’ve ever seen either of the first two all the way through, even though I’ve seen enough of each to get the idea. They’re also streaming on Hulu, so I should probably correct that ASAP.
2
You can, in fact, watch an all-Comanche dub of the movie on Hulu.

The Ineffable Subtleties of “Ow! My Balls”

I get annoyed with a vlogbrother and defend a movie I thought was just okay

Well, I’ve already broken my pledge several times over: not only did I start a new Twitter account, but I’ve gotten to reading it habitually and even actually writing replies to strangers¹.

What set me off today was this tweet from Hank Green:

The movie “Idiocracy” is, at minimum, implicitly pro-eugenics.

And I mean, come on, man. It’s tough because I usually like (and occasionally really like) Hank and John Green; and I think they’re generally a force for good on the internet, both for helping make complex topics accessible, and for encouraging kindness, charity, and perpetual learning.

But that’s such a shallow and disappointing take that it seems like it was carefully formulated to irritate me as much as possible. It’s not even that I’m a particularly big fan of Idiocracy — I thought it was fine but not particularly deep or memorable past its core premise. Which, it pains me to have to explain, was satire. It’s as much “pro-eugenics” as A Modest Proposal is “pro-infanticide” and “pro-cannibalism.” And it’s not even that subtle about it.

We shouldn’t have to be explaining satire to grown-ups. And of course, I realize that “No but you see it’s actually satire!” has become the go-to defense whenever anyone says or makes something that makes them look like an asshole. But just because it’s been mis-used so often is no reason to throw out the concept altogether.

Maybe what’s needed is the YouTube IDIOCRACY EXPLAINED! approach, complete with an attention-grabbing thumbnail with big red circles and yellow arrows². How about we start with the opening, which sets the tone and makes one thing clear almost immediately: The movie is making fun of everyone.

The “High IQ” couple isn’t being put forward as a role model. They’re self-centered and petty. As the woman explicitly says that they don’t want to have children with “the market” the way it is, they’re shown against a background of increasingly fancier and more expensive homes. (While the children of the “Low IQ” couple lives in chaos and disarray). To spell it out: it’s a criticism of socioeconomics, not genetics. One couple is too focused on accumulating wealth for themselves to be willing to devote any of that wealth to children.³

And even if you can’t let go of the over-literal extremely-online mindset, and are still convinced that Mike Judge and Etan Cohen were sneaking in a sincere pro-eugenics manifesto and disguising it as a silly comedy, then you could consider the entire rest of the movie. The whole story is about a thoroughly average person who’s forced to make an effort for the first time in his life, because he’s held up as superior to everyone else by a completely arbitrary metric. The movie makes fun of the whole concept of intelligence and wealth as signifiers of actual aptitude. It’s chastising early 2000s society for racing to the bottom, settling for the least amount of effort, and appealing to the lowest common denominator.⁴

I hate it when people act like there’s one correct interpretation of any piece of art, but I mean, again: this movie is not that subtle. Which is why it’s so frustratingly ironic to see this movie in particular hit with such a shallow and dismissive analysis, since it’s so stridently criticizing us all for settling for less. It shows what happen if we keep lazily declining to engage with anything of depth, until we’re all buried under trash.

There are a couple of reasons this set me off. First is that I spend too much time online. I’ve seen too many examples of people gradually (and eagerly) descending into idiocracy, since so much of online media favors immediate engagement over thoughtful consideration. Blog posts like this one are an anachronism, and I feel very silly as I’m writing it, because it’s just not cool in 2022 to be devoting so much time to anything so inconsequential.

Instead, they’ve been replaced by explainers: web articles or video essays that aim to take everything from topics in social or natural sciences to the current most-SEO-friendly movie release, pick all of the meat off of them, and encapsulate them into an easily-digestible conclusion. The Green brothers in particular were among the first to popularize the short-and-accessible explainer format, and in a lot of cases, I think they’re great. I appreciate it when someone can take a complex topic and present it so that understanding the basics is easily accessible without scolding me for not already understanding the basics and still acknowledging that there’s much more complexity than can be easily explained.

But while it’s great for sciences and history, it’s just deadly for art and entertainment. The art itself is the explainer.

Which leads to another thing that set me off: I’m wondering how much I’m culpable in all this, since I tend to be such a proponent of accessible media. (By which I mean accessible to interpretation. I’m also a strong believer in accessibility for people with disabilities, but I’m not as vocal a proponent of it as I probably should be). I love writing about the MCU and Star Wars — and invite anyone who claims it’s shallow or juvenile to piss right off — because it’s fun and easy. They’re designed to be widely accessible but still have just enough depth that they don’t end up feeling like empty calories.

So I’m all over it when someone wants to point out easter eggs or bits of lore that I’m not enough of a True Superfan to have recognized, but I can feel the soul seeping out of my body when that turns into “explaining” the show or the movie itself. Especially when it just restates the most obvious interpretation of a work. Usually, this stuff isn’t all that ambiguous, so all you’re doing is restating the obvious in a much less elegant way.⁵

I guess like everyone else who’s ever entered middle age and seen the culture being increasingly driven by younger people, I can’t escape the anxiety that they’re doing it all wrong and ruining everything. I’m generally for the resurgence in earnestness and rejection of unnecessary irony, but not if it’s at the expense of having everything dumbed down and over-simplified.

I get that there’s a lot more noise than there ever has been, and it’s increasingly hard to have patience for people who won’t just say what they mean. There’s a preponderance of people out there actively lying, obfuscating, and disingenuously arguing about things for malicious intent.⁶ In fact, I spent some time wondering if Hank Green were pulling some kind of prank with his tweet, but a) that doesn’t seem like his style, and 2) it doesn’t really do anything with the idea, because there’s no twist apart from restating the satirical premise of the movie and calling it a “hot take.” (If that were indeed the “joke” then… okay I guess?)

But if it means that there’s no obligation to analyze a creative work at any level apart from what it says on the surface, and that there’s no obligation to consider whether your first interpretation might not be the one correct interpretation, then we’re heading towards shallower and shallower art. It starts with people believing that the “Twin Pines Mall” becoming the “Lone Pine Mall” in Back to the Future is some delightfully obscure easter egg that only a select few had picked up on. Continue for a few hundred years, and you get “Ow! My Balls!”⁷

1
But deleting them quickly afterwards. Maybe there’s still hope?
2
I tried my best, but couldn’t figure out how to make the arrows with the latest version of Photoshop before I lost interest in the gag. I guess I shouldn’t have gotten my graphic design degree from Costco.
3
On IMDb, at least, they’re credited as “Yuppie Wife” and “Yuppie Husband,” and if you believe that Mike Judge was pro-Yuppie and was advocating having more of them in society, then I don’t know what to tell you apart from “watch literally anything else that Mike Judge has made.”
4
And yes, we are all aware that we saw exactly that play out in the late 2010s, everybody can stop saying “it was a documentary!” now.
5
One of the things I like about Nope is that it throws out a bunch of ideas and fits them altogether, leaving the overall theme just ambiguous enough to allow for multiple interpretations. I saw somebody had made an explainer video for the shoe in the Gordy’s Home scenes, which just restated the most obvious things then insisted that everybody else was wrong and that this was the “real” meaning of the scene. Don’t be like that guy.
6
I really wish people would stop trying to engage with anyone complaining about women or marginalized people in media. Whether you’re trying to make a point or just dunk on them, you’re not accomplishing anything because they’re always being made in bad faith. All you’re doing by engaging is helping them make basic kindness and common sense seem like something still subject to differing opinions and debate.
7
But on the brighter side: fewer thinkpieces and blog posts like this one!

One Thing I Like About Nope

Nope is kind of a mess, and that’s my favorite thing about it

While waiting to see Nope, I’ve been watching the promo videos and interviews to stay sufficiently hyped up, and so I’ve seen and read a lot of gushing praise of Jordan Peele and the movie itself. Peele is frequently and breathlessly called a “visionary,” and the movie is described with all sorts of review blurbs calling it a love letter to the Hollywood blockbuster and a direct successor to the works of Alfred Hitchcock and Steven Spielberg.

I don’t know how much I agree with that. That’s not a slam against Peele, who I like a lot, or Nope, which I enjoyed very much. It’s more that treating the movie with too much reverence — even for marketing purposes — misses out on a big part of what makes the movie unique. It’s an imaginative, well-crafted, and thoughtful movie that is still completely accessible.

There’s a tendency among cinema studies types and eager film buffs making video essays to treat the works of Hitchcock, and increasingly, the “classic” movies of Spielberg, as case studies in The Ineffable Art of Cinema, forgetting that they were at least as focused on The Joy of Going To The Movies. It’s the same mindset that sees “crowd-pleasing” as derogatory¹. Both Hitchcock and Spielberg made movies with audiences in mind, always conscious of how best to manipulate them. (In a good way).

After seeing Get Out, Us, and now Nope, I feel like Jordan Peele isn’t so much carrying on that tradition as responding to it. That’s largely based on Key and Peele, which always had segments that felt as if they were coming from people who loved movies and were having a blast being able to use a whole production crew to make their own. That’s the vibe I get from Peele’s movies: they’re not just made with the audience in mind; they always feel like Peele wants to be right there in the audience watching them with us.

So when I say that Nope is “kind of a mess,” I don’t mean it as a bad thing. Just that I think the enthusiasm and unrestrained creativity come through more than anything else. It doesn’t feel like it was made with, for instance, Spielberg’s economy of storytelling, in which everything that’s not essential to the core story is excised early in the process. But it’s also not like Quentin Tarantino’s digressions or extended references or rambling dialogue, which don’t really fit into the story but still feel like essential elements of the style². Instead, Nope feels like it’s been over-stuffed with ideas, back-stories, and extended lore. It feels like the result of a brainstorming process where ideas that didn’t quite fit weren’t rejected, but instead worked over and hammered on until they fit.

And it does all fit, somehow! A lot of the movie feels like a sequence of weird or unsettling images mixed with subplots that are weird or unsettling because they feel so incongruous, but they all eventually settle down into two main thematic threads: the need to coexist with nature instead of trying to control it, and people’s obsession with fame and spectacle. By the end, the two ideas play off of each other in a way that’s left open to interpretation³ and is much more nuanced than you’d expect if it were nothing more than a pastiche of summer blockbuster, horror, and sci-fi cliches. Ultimately I was left with an inexpressible feeling of the value of experiencing and sharing instead of achieving and controlling.

Even if I’m just talking about one thing I like, I don’t want to make it sound like the value of Nope is all in the ideas and not the execution. The performances from the leads are great, especially Daniel Kaluuya and Keke Palmer as polar opposite siblings: one a force of pure charisma and the other a force of near-silent, stubborn integrity. There’s a ton of fantastic art direction and character design, images that will be as unforgettable as Us‘s scissors and Get Out‘s tea cup. And I’m not at all knowledgeable about cinematography, but even I could appreciate how the bulk of the movie was set at night and so perfectly captured the feeling of a night outdoors.

But ultimately the thing I liked best was that it felt like a big, tangled mess of disparate ideas and images that a filmmaker was so excited to finally get the chance to share with us.

1
The thing that annoyed me so much about Martin Scorsese writing op-eds about how Marvel was killing cinema was his revisionist history about how much Hitchcock was making art for art’s sake instead of “franchise pictures,” which makes Hitchcock sound like an insufferable auteur instead of a director who frequently talked about his responsibility to the audience.
2
The thing that made me think of Tarantino was Jupe’s extended story about a fictional sketch on SNL starring Chris Kattan. It seemed weird and overlong and clumsy, and I’m still not quite sure how much of that feeling was intentional.
3
Hence the depressing over-abundance of too-literal NOPE ENDING EXPLAINED! videos on YouTube.

A List of Things I Like About Thor: Love and Thunder

Because there haven’t been enough people posting their opinions about this movie online

I like it better than Ragnarok. I don’t think there are any moments in Love and Thunder that hold up to the best moments of Ragnarok, but I think it works better as a movie overall, largely because it feels more confidently silly instead of trying to balance pathos and heavy metal while proving “a Thor movie can too be funny.”
Russell Crowe as Zeus was clearly there to have fun and felt he had absolutely nothing to prove. Ever since Endgame, I haven’t been able to make up my mind whether the MCU as a whole and Thor in particular are making fun of fat people, or if it’s just acknowledging that a physique like Chris Hemsworth’s isn’t natural (or even attainable) to most people and is every bit an active choice. Love and Thunder makes it even murkier, but at least Crowe seems to be delighted to appear in armor that highlights his “post-divorce” body¹.
Tessa Thompson as King Valkyrie had to underplay her performance — as she often had to be the straight man² surrounded by absurdity — but she still managed to be a distinctive character who fit perfectly into this bizarre universe. The result was that she was powerfully sexy and attractive in just about every scene, even for an actor who is usually the sexiest person on camera without even trying.
The lighter tone worked overall because it made the darker subjects feel less like maudlin manipulation. Jane’s cancer story in the comic felt cheaper to me because it tried so hard to give the subject the gravitas it was supposed to deserve, which was then undercut by introducing a magic hammer. I felt the movie was actually more respectful by letting her be silly and over-enthusiastic about getting to be a superhero. It spun the premise from “real-world tragedy given a supernatural spin” to one about a character choosing what to make of her life.
The screaming goats were overused and yet they still made me laugh every single time.
The girl using her stuffed animal as a weapon was a little predictable and obvious but still worked 1000%.
Gorr the God-Butcher’s story didn’t give Christian Bale any opportunities to be funny, but it worked perfectly as a counterpoint to the silliness of the rest of the movie, emphasizing how increasingly cosmic-powered and god-like superheroes become disgusting when they act without integrity and responsibility.
It also meshed surprisingly well with Jane Foster’s story, bringing the idea back from “who would win in a fight?” or “who will be first to reach the magic MacGuffin?” to questions about why we do the things we do, and why do we exist at all.
It’s my favorite of the Taika Waititi projects I’ve seen³. Every time I see a project where he’s a creative lead, I’m left with the feeling that I wish I liked it more than I actually do. It often feels like the sense of freedom that makes his projects so appealing is combined with a lack of restraint. So jokes that don’t really land are given way too much screen time⁴, and the stories often feel disjointed in tone and weirdly flippant⁵. In Love and Thunder, I think the shifts in tone were used for good effect: the silly stuff felt like it was poking fun at targets who deserved it, while more serious subjects were treated with enough levity that they felt authentic instead of maudlin.

1
Which is 10,000x hotter than he was in Gladiator, if you ask me
2
Ironically
3
Apart from maybe the TV series of What We Do In the Shadows, which I love mostly based on the performances of the actors
4
As much as I like Melissa McCarthy, I wish they’d cut the entire rehash of the play in New Asgard, since it was no longer making fun at the self-seriousness of the first two Thor movies, but just saying “Hey look at these famous and semi-famous people we got to do cameos”
5
The scene in The Mandalorian with the stormtroopers punching the bag containing Baby Yoda is a perfect example

Doctor Strange in the Multiverse of Madness

More than even Infinity War and Endgame, Doctor Strange in the Multiverse of Madness feels like the culmination of the whole MCU (for better and worse)

I really enjoyed Doctor Strange in the Multiverse of Madness, and I liked too much about it to be able to pick just one thing. It’s big, loud, and overstuffed, but for every criticism I have, I’m even more amazed that it works at all.

It works as a blockbuster franchise movie that must’ve had to answer to dozens of different stakeholders, but still has enough flourishes to make it unmistakably a Sam Raimi-directed movie. Like Captain America: Civil War, it works as a big super-hero team-up movie and a tentpole entry in the MCU, but it’s also a surprisingly good sequel to the first Doctor Strange. And I’d say that even more than Infinity War and Endgame, it shows what can happen when you’ve got all the various parts of the MCU laying the groundwork to culminate in a huge, weird story.

First: the Sam Raimi effect. As somebody who always liked the Evil Dead movies but couldn’t really love them, my two favorite sequences in Raimi-directed movies are:

In Darkman, the shot of Frances McDormand looking at the explosion in disbelief that perfectly cross-fades to her at a funeral.
In Spider-Man 2, the sequence of Doctor Octopus coming to life on the operating room table.¹

The thing that both of those have in common is that they’re perfect translations of comic book aesthetics to filmmaking. Plenty of filmmakers have tried to translate comics to movies, either getting the “spirit” of comics or doing a too-literal direct interpretation, but nobody’s ever been as successful at it as Raimi.

So I had a blast seeing Raimi getting the reins of the full power of the MCU dreadnaught, but still be able to make enough of it in his own style. There aren’t any sequences that quite reach the level of that Doc Octopus scene in Spider-Man 2 — although a scene with a character getting caught in a prison of reflections and busting their way out was gloriously creepy — but there were so many camera spins, zooms, and stylistic flourishes that you could probably recognize it as his work even before Bruce Campbell showed up.

It’s funny that the sequence of Strange and America Chavez sailing through different universes is the one that made it into the trailer as an indicator of how weird the movie gets, because at this point, it’s almost tame and predictable. The bar for CG has been raised so high at this point that I just assume that effects houses are capable of doing anything a filmmaker can think of, so the effect in the movie kind of ends up feeling just like a demo reel. The shots in Multiverse of Madness that really stood out to me were the ones that felt old-school, teetering on the edge of cheesiness: there’s at least one shot of characters’ heads superimposed over the frame that actually reminded me of The Night of the Hunter more than anything else. These movies have to check off so many boxes that it’s nice to see filmmakers like Raimi and Taika Waititi getting to have some real fun with it.

But the entire movie was thoroughly and gloriously a comic book movie in subject matter, tone, and frequently aesthetics. More than anything else in the MCU, this seemed to embrace its comic origins even more than its cinematic origins, or even broader “genre fiction” origins. It’s the first that didn’t seem to be bringing comic book source material to a movie-going audience, but rather making movies for comic book audiences. There’s a background character who’s a sorcerer and a talking bull, for instance, and nobody comments on it or even seems to think it’s that remarkable.

As a result, there’s a kind of respect for the audience throughout, and I loved it. A tone of “you get this, you understand why it’s cool, we don’t need to spell it out for you or have characters spending too long gawking at the spectacle of it.” When a cameo happens — and there are several, one of which actually had me spontaneously yelling out “Yaaaayyyy!” in the middle of a packed theater, against my more reserved impulses — it’s not milked for surprise, but treated more like, “Yeah, you all knew this was coming, but it’s cool as hell anyway.”²

Which isn’t to say that it didn’t surprise me; even though most of the surprises were of the “satisfying reassurance of something I already suspected” variety, the whole story went in a direction that I hadn’t suspected at all. (More on that in the spoiler section below).

And even though it was so relentless that I kept finding myself thinking, “Anyone who isn’t exactly me would be exhausted by all of this,” it actually managed to give its major characters genuine character arcs. I compared it to Civil War, but I’d say it works even better as a sequel to Stephen Strange’s story than Civil War was for Steve Rogers. It’s not as surprisingly funny as Doctor Strange was, but it did further the story of Stephen Strange becoming a better person. The arc from the first movie had only gotten him part of the way there.

Since I’d expected it to be all spectacle with little substance, I was actually surprised that Strange’s storyline had essentially the same overall message as Everything Everywhere All at Once: instead of obsessing over what could have been or even what could be, learn to accept with gratitude and humility everything that is. I don’t think it was anywhere near as insightful or as moving as Everything Everywhere, but then, that wasn’t what it was aiming for. It was more focused on super-hero fights and less on the personal implications of the multiverse.

As for the thing that most surprised me — and is in my opinion the strongest example yet of how the whole Marvel Cinematic Universe is paying off in storytelling terms, not just box office — that requires me to spoil the whole story. I think not everybody’s going to like it as much as I did, but it’s still a lot of fun and one of the best entries in the MCU.

1
For whoever’s keeping track of these things: number 3 is the seance/summoning/exorcism sequence in Drag Me To Hell.
2
Contrast it with Moon Knight, which frustratingly seemed to be operating with no awareness of how the rest of the MCU works. One of its big reveals in the finale was of a character who’d been conspicuously absent the entire series, not just to fans of the comics (which I’m not), but to anyone who’d seen a “Who is Moon Knight, anyway?” explainer video (which I am).

May the 4th and Always Two There Are

Reconsidering the prequels in honor of May the 4th

I frequently forget that there are tons of Star Wars fans who saw the prequels not as the embittered adult I was, but as kids, who were primed for Naboo and pod races to be their formative experiences just like the Tatooine and trench runs were formative for me.

Even when I’ve been able to acknowledge that, though, it hasn’t made me actually like the movies any more. I’ve been stuck with the least charitable interpretation possible: they’re the product of someone who is an indisputable genius at world-building, and at re-interpreting and building on film genres so that they don’t feel like simple homages or re-hashes¹, and of course at assembling teams of the most talented filmmakers in the industry — but was either unwilling or unable to acknowledge that the scripts and pacing were undermining all that work and turning it into a mess. As a result, all three of the movies have some standout moments (the pod races and the Duel of the Fates in The Phantom Menace in particular) that never coalesce into something that resonates.

But! This video from Ben Chinapen (frequent editor of the Mr Sunday Movies videos) is the first defense of The Phantom Menace that’s convinced me to reconsider it at all.

In particular: I was one of the big, angry, adult nerds who was extremely put out by the whole business about midichlorians². To me, it seemed to violate everything that makes Star Wars what it is: it offers a pseudo-scientific explanation for something that not only needs no scientific explanation, but is actively undermined by one. It retroactively undermines the universality of the first trilogy, reminding you that it wasn’t actually a story of plucky underdogs overcoming powerful fascists, but a story about princesses and heroes who inherited their places in the story. (Which is something Rian Johnson tried to counteract in The Last Jedi, before that got stamped out in The Rise of Skywalker).

Even worse, it added a creepy layer of eugenics on top of that, suggesting that it wasn’t just fate that was calling these heroes into action, but actual biological differences that made them better suited to be heroes than commoners like you and me.

Again with the least charitable interpretation: Star Wars seemed to say that even a young person who was really into cars and spaceships from an out-of-the-way place like Modesto I mean Tatooine could answer a call to adventure and be capable of great things. The Phantom Menace seemed to retcon that into saying that that young person was predisposed to greatness all along. It felt like another case of a talented person achieving success and then making art to assert that their success was no accident, or even the product of hard work, but the result of their being “born better.”

But what if I were overthinking it, and being unfairly uncharitable? One thing that only became clear after years of nerd rage was that George Lucas doesn’t take Star Wars as seriously as fans claim to.³ What if Lucas wasn’t as obsessed with building onto the universe as I’d assumed, and was instead more interested in using this set of movies to explore a different set of ideas? Not just exploring new methods of making movies with 21st-century technology — which was always evident in the prequels, even to the angriest fans and the people least impressed with all the CGI and green screens — but in using this framework of fantasy science fiction based on old movie serials to present a different set of parables about universal themes of good, evil, and responsibility?

If you’re not as fussed about “canon” as the people making fan pages and wikis — in other words, if you don’t care as much about how Star Wars “works” as you do about what it “means” — then the midichlorians can exist almost purely as metaphor. Then, as Chinapen suggests, the entire first movie is about interconnectedness and interdependence. It actually becomes the opposite of my initial interpretation. It is, unexpectedly and more than a little confusingly, a story about a “chosen one” destined to change the nature of the entire universe, that rejects the whole notion of a chosen one. It asserts that we’re all influenced by each other, and that we all rely on each other.

I still don’t think the movies are all that deep, and I honestly can’t say that I like them that much more now than I did before. But I am starting to suspect that I was coming into the prequels with arrogance, and so much of what I found to be muddled and “anti-Star Wars” in them — why are they talking about interdependence in one scene, and then in the next scene asserting that our heroes are heroes because of cell parasites that let them do magic? — isn’t necessarily the result of poor storytelling, but my own assumptions about what these movies are supposed to be.

And I mean, that’s on me, because Lucas warned us all way back in 1980 that Anakin’s story was going to be a tragedy. But now it seems less like “a bunch of random and occasionally contradictory things that happen and then end badly, all because the conclusion of the story was already written 20 years previously,” and more like a consistent through-line. The key moments that turn Anakin into — spoiler! — Darth Vader are the result of everyone around him telling him that he can do anything.

Palpatine’s whole scheme of corruption works, not just on Anakin but the entire Republic, not simply because he’s secretly an evil wizard, but because he knows how to manipulate people’s desire to do the right thing, and their desire to have control over things outside of their control. Meanwhile, the Jedi are telling Anakin that he alone has a special gift as prophesied by the ancients, and also that personal attachments are a weakness that can be manipulated, instead of a strength. Maybe if he hadn’t spent his whole life getting such bad advice, he wouldn’t have become convinced that he alone is the arbiter of right and wrong, and he wouldn’t have flipped out and murdered a bunch of Tusken Raiders and children. Who’s to say, really?

Again, none of this was ever hidden in the movies; it just never made sense to expect that level of dramatic irony in a series so dependent on farting and slobbering aliens. That’s why I appreciate Ben Chinapen’s video so much: it hasn’t turned me into a fan of the prequels, but it is a good counter to the whole notion of “Star Wars is just for kids, stop taking it so seriously,” which is too often used both as a condemnation and a defense. (And has been since 1977). Like it or not, the whole series has become one of the most ubiquitous and most accessible set of stories there is. Even people who don’t take it seriously, or even like it, still have it as a cultural touchstone. That’s why it’s worth interpreting and re-interpreting.

That’s also why it’s reassuring that such a ubiquitous cultural touchstone that’s so important to so many people can be interpreted to have a more positive and consistent philosophy. It’s not just a story about genetically gifted space wizards fated to save the universe, that also gives occasional lip service to the “interconnectedness of all things.” It’s a set of parables about the nature of good and evil and our responsibility to be agents of good, not only by answering a call to adventure, but also by recognizing that no matter what our talents are, we’re all a small part of something greater.

1
The film noir influences on Attack of the Clones are still about the only thing I genuinely like from that movie
2
And Anakin’s virgin birth story, for that matter, which is somehow even less tonally appropriate, but somehow didn’t generate nearly as much nerd rage
3
I admit I’ve also been gullible enough to take Harrison Ford’s “grouchy old man who hates Star Wars” character seriously, instead of recognizing that he’s basically doing a bit.

Everything I Love About Everything Everywhere All At Once

Refusing to choose one thing I love in a movie that celebrates living in the best of all possible worlds.

The featured image on this post is my poorly-cropped version of the beautiful poster by James Jean on the A24 Films site.

It’s been a long time since I’ve seen a flawless movie, and the only negative thing I have to say about Everything Everywhere All At Once is the gentlest of criticisms: it has a perfectly understated vulgar gag early in the movie (involving a trophy on someone’s desk) that it then stretches out into an extended fight scene later on. The fight scene is very funny and hilariously juvenile — especially for committing to judicious pixellation over the entire fight — but I can’t help but wish they’d shown a little bit more restraint and just left it as a one-off.

But then, this movie isn’t about restraint at all. It’s about multiverses in the purest possible sense: every moment is filled with the spirit of We can do anything we want! The official synopsis is “the film is a hilarious and big-hearted sci-fi action adventure about an exhausted Chinese American woman (Michelle Yeoh) who can’t seem to finish her taxes,” which is about as good a description as Rotten Tomatoes’ listing the genre as “Sci-Fi, Comedy, Adventure, Fantasy.” It really is about everything, and choosing any one aspect of it seems too reductive.

One of the things I tend to love the most in narrative art is when the artist uses the form of the work to reinforce the theme of the work. Susanna Clarke’s Piranesi, for instance, which changes voice from wonder and discovery to melancholy to express an otherwise inexpressible sense of loss. So I’m especially impressed by how Everything Everywhere All At Once uses a genre-defying story of multiverses as a rejection of the idea of the multiverse. Or at least, how science fiction and fantasy stories tend to present the multiverse.

After it establishes its premise, it seems to explode into a story of infinite potential, with the freedom to do anything, show anything, and be anything. And even as it’s making full use of that freedom — combining family drama with slapstick comedy with superhero action adventure with martial arts with anime with science fiction with vulgar comedy with Wong Kar Wai romance with zombie movie — it’s asserting that it’s futile to value infinite potential over concrete reality. It seems to use the entirety of decades of global pop-culture, smashed together with chaotic excess, to present a simple idea about the value of simplicity, contentment, and kindness.

Of course, that’s reductive, too. The simplicity of that message becomes profound, rather than trite, only because it’s carried across layers of absurdity and action. The movie’s chaos never evaporates as nothing more as absurd excess, because just about every one of its bizarre ideas is given a simply beautiful twist. I never would’ve expected to find myself in tears at the sight of two women with hot dog fingers consoling each other, or a woman carrying a man on her back in order to rescue his magical raccoon.

I was in tears for most of the movie, thinking of lost potential, lost loved ones, and regrets over missed opportunities, but then it deftly reassured me that everything would be okay. We spend so much time focusing on what could have been that we lose sight of what was, and what we have now.

Everyone in the cast is brilliant, which is astounding considering how much it requires the cast to get it down to the atomic level. Ke Huy Quan and Stephanie Hsu in particular are amazing, never letting a moment feel false even as they’re surrounded by absolute absurdity. The movie seems to have been made for Michelle Yeoh, though, finally giving her a showcase for everything she can do. I’ve been a hopeless fan of hers ever since I saw Supercop, but it’s always seemed like even her best movies — and even movies like Wing Chun, which seemed designed to show off her talents — that they weren’t capturing the entirety of what makes her spectacular.

I also loved the soundtrack by Son Lux, which felt as free as the rest of the movie to incorporate anything and everything it had on hand. The music was rarely predictable but never drew too much attention to itself. I most appreciated how it incorporated hints of Debussy throughout, sparking a flash of recognition that swirled around before combining with everything else.

Barely related: I was completely unfamiliar with the work of the Daniels before this movie, and had never seen their amazing video for “Turn Down For What.” (Which features Sunita Mani, who has a recurring cameo in Everything Everywhere All At Once). It’s oddly relevant, because they both have performers who have to be game for anything in order to show us something we’ve never seen before.

I’ve never been as emotionally devastated nor as cathartically reassured on a moral, philosophical, and existential level by a movie with so many dildos and butt plugs.

One Thing I Like About The Lost Boys

I’m glad I waited until I was 50 to watch this teen vampire movie.

I was a junior in high school when The Lost Boys came out, but I never bothered to see it until tonight. It had such a heavy marketing presence — and general pop cultural presence — that I knew enough about it to get references to it, and I thought I knew the basic premise: what if St. Elmo’s Fire but vampires?

So I was surprised to see that it’s not quite that. It’s more like: what if you mashed together St. Elmo’s Fire, The Goonies, and Fright Night, and made it 10 times hornier and cornier?

I should mention that I’ve never seen St. Elmo’s Fire, either, and I don’t plan to. I didn’t see The Goonies until a few years ago, and I’m convinced that you have to have seen it as a kid to appreciate it, because I thought it was dismal. I’m glad I waited until I was 50 to watch The Lost Boys, though, because I don’t think I would’ve been able to appreciate it back when I was in the target audience.

For one thing, I would’ve been hopelessly confused by how gay it is. I admit that at the time, I had kind of a confusing crush on Kiefer Sutherland without even a hint of irony, so I would’ve been convinced that it was all in my head and that I was “watching it wrong.” Now, it seems so obvious that they barely even bothered to make it subtext.

Ostensibly, Sutherland’s “David” and Jason Patric’s “Michael” were in a love triangle with Jami Gertz’s “Star,” but the movie’s really only interested in the chemistry between David and Michael. Star is barely even a character — not at all Gertz’s fault, since she’s not given anything to do besides be fought over and have vague, 80s movie euphemistic sex with. Meanwhile, David is constantly calling out for Michael and inviting him to get an earring and join him in his lair with his giant shirtless Jim Morrison poster and to become like him and to find out “what he is” and drink his blood and come party with him and sheesh get a room already, guys.

It’d be too simple-minded to see that Joel Schumacher directed it and just declare, “Welp, he made it gay.” There’s something a little more subtle in the tone of The Lost Boys that actually makes me respect Schumacher more than I did. The Lost Boys is absolutely not a good movie, but it does strike me as shameless, in the best possible sense of the word.

The movies I always associate with Schumacher are Batman Forever, which is just awful, and Batman and Robin, which is somehow even worse. There’s plenty to hate in those movies: nipples on the bat suit, the gratuitous shots of Robin’s butt, the Bat credit card, the roller skating, Arnold Schwarzenegger’s Mr Freeze, Alfred Headroom, and I’m sure a dozen other things my brain has mercifully allowed me to forget. But the two things that I always found completely intolerable were Jim Carrey’s performance as the Riddler, and Uma Thurman’s performance as Poison Ivy, for reasons I could never figure out until I saw The Lost Boys tonight.

All the other stuff is awful, tone-deaf camp, but at least it’s sincere. The only charitable thing I’ve ever been able to say about those two Batman movies is that they seem like movies that Schumacher genuinely wanted to make. He thought Batman and its characters were silly, campy, brightly colored, full of bafflingly repressed sexuality, and outright rejected the idea that there was anything serious and gritty to be found in such an absurd premise. But Carrey and Thurman were both trying to go over the top of a movie that was already over the top. There’s an inescapable sense that they need you to know that they’re in on the joke, and they’re aware of how silly the whole thing is. It especially bugs me with Thurman, because I think she’s so great in Pulp Fiction and Kill Bill, going all in with complete confidence that the audience is going to get it.

Sincerely awful is still sincere, and I think that deserves more credit than I’ve been willing to give. Even if the execution is painful, the basic idea is valid: movies are fiction, and we don’t have to take everything so seriously.

There’s one episode of Batman: The Animated Series where a bunch of kids are telling stories they’ve heard about the Batman, each story representing a different incarnation of Batman from the movies, TV, or comics, and each story presented in that incarnation’s style. One of the kids is a flamboyant boy who gets cut off by the other kids with a line something like “Nobody wants to hear your version, Joel.” At the time I saw it, I thought it was a clever, self-aware dig at the campiness of Schumacher’s movies. Now, though, I think it was just unfairly mean-spirited.

Back to The Lost Boys: it seems odd to say that it’s “its own thing,” since it’s so derivative of other 80s movies, and so much of it is formulaic. But it’s just weird in ways I didn’t expect. It bounces between genres, with each actor seeming to have a different idea of whether they’re in a horror movie, a romance, a family comedy, a teen coming-of-age story, or an action/adventure. The comedy bits aren’t particularly funny (the only genuinely funny line in the whole movie is the last one), the scary bits aren’t scary, and the sexy bits are hilariously un-sexy, but I respect what a swing it was to try to mash them all together. There’s nothing grounding it, but there’s also no sense that it needs to be grounded. It’s silly, but it doesn’t come across so much as camp as it does a confidence that movies are allowed to be stylized and silly. They don’t always need to be taken seriously.

So the one thing I like about The Lost Boys is that it gave me a new respect for Joel Schumacher. I still don’t really like what I’ve seen of his movies, but I respect that he was working within a formula but still managed to make movies that feel like movies he wanted to make.

One Thing I Like About Encanto

Encanto managed to tell a straightforward story without feeling too simplistic

First of all, I’m proud of my joke, which goes like this: Will I still enjoy Encanto if I haven’t seen 1 to (n-1) Canto?

Anyway, one thing I like about Encanto is that I got to watch it on Disney+. I was wrecked by the end of this movie, and I’m kind of tired of having emotional breakdowns in public movie theaters. Magic of cinema, sure, I’m all for it I guess, but I’m 100% behind home streaming for first-run movies¹.

But that’s not the main thing I liked about the movie. There are actually two more things about Encanto that I liked a lot, and I was having kind of a hard time choosing which one was the most worth writing about. Then I realized that they’re both aspects of the same thing: the storytelling is straightforward, direct, and earnest, but without feeling simplistic, maudlin, or juvenile.

One example of that is the song “Surface Pressure.” I came into the movie after missing the first 30 minutes or so (I since went back and watched it), right as that song came on. I knew the basic premise of the story, and I already knew a surprising amount about the characters just from being on The Internet. I’d seen videos of people doing covers, and I was aware that the song “We Don’t Talk About Bruno” had become a meme, and I’ve seen lots and lots of musicals Disney and otherwise, so I thought I knew what the structure of the movie was. A song as confessional as “Surface Pressure” must come late in act 2 or so, after we’ve gotten to know the characters but then — twist! — we go deeper and learn more about the characters’ mental state.

So I was pleasantly surprised to see that this was more or less Luisa’s introduction. Or at least the most dialogue she’s had in the movie up to that point, by far. She goes from being “I’m the sister who’s strong” to having an entire song explaining exactly what stresses she’s under. The question “what’s bothering Luisa?” only lingers for about 5 minutes, tops.

The reason that pleasantly surprised me is because movies so often treat that kind of directness, even in musicals, as being too on-the-nose or too simplistic. You can’t just have characters who are self-aware; that’s basic! You’ve got to let the mystery and intrigue stretch out, so the audience can see the character’s arcs playing out as they happen. But here, Mirabel talks to characters, and they immediately tell her exactly what’s on their minds, what their crises are, what they’re dealing with.

It’s almost as if Mirabel’s magical gift is being able to listen and understand what other people are going through.

The other example is that the movie has no villain. Family animated movies have evolved past fairy tale storytelling — and even when they do tell fairy tales, they can focus on aspects of the story that make them feel contemporary — but they still often feel juvenile because of their need to make every conflict about good guys vs bad guys. I still say that the one thing that keeps Up from being a flawless movie is that it spends so much time building its characters and organic, interesting conflicts, then just turns it into a movie about defeating the villain.

Encanto does have an antagonist, but they’re not motivated by greed or evil; they’re motivated by love. The reason the characters can be so direct about their internal struggles is because the movie isn’t about finding out what’s wrong. Everybody knows what’s wrong, and they just don’t know what to do about it. The conflict is driven by the completely understandable belief that it’s the family’s duty to be stewards protecting the miracle, forgetting that the entire reason the miracle exists is to protect the family.

Even though Encanto is full of characters saying explicitly exactly what they’re thinking, that doesn’t mean that there are no layers to it. It has three metaphors that are carried throughout: the casita itself, the candle representing the family’s magic, and the butterfly. I really like that the first two are made explicit as soon as they’re introduced — another case of being direct and skipping any unnecessary obfuscation — while the butterfly quietly lives on Mirabel’s shoulder until the climactic song about finding protection in each other and then needing to break out of that cocoon.

Tangentially related: I keep going back to all of the internet memes about “We Don’t Talk About Bruno” and videos covering “Surface Pressure,” and realizing how I’m at least a couple of decades too old to be able to navigate modern social media. I can’t imagine being able to set up a camera and earnestly sing into it and then release it to the public without cringing. I can’t watch the short videos without being suspicious of exactly how many of them are “genuine” and how many are just part of a viral marketing campaign. Don’t people worry that they’ll look gullible or foolish for being taken in by Disney marketing?

But then, worrying about being taken in by marketing is an extremely Gen-X anxiety to have. I find it reassuring that there are people who don’t particularly care whether something they enjoy is coming from a “paid influencer” or not; all that matters is that they’re enjoying it. And there’s nothing to be lost by being fearlessly earnest and direct. The people who would turn up their nose at it were never going to like it in the first place, and as for the people willing to engage, telling or showing them exactly what’s on your mind and what you love is the best way to engage with them.

1
As long as the studio takes that into account when negotiating contracts with their actors who’ve been a prominent part of several of their films for almost a decade, instead of, say, being a multi-billion dollar company hypocritically trying to shame actors for being greedy during a pandemic.

One Thing I Like About Eternals

Eternals is a defiantly humanistic adaptation of cosmic-powered source material

I didn’t like Eternals. It was overlong, meandering, and ponderous. Its action sequences were weightless in multiple senses of the word. It made baffling story decisions from the opening text crawl to the post-credit sequences.

I’ve lost interest in picking apart things I don’t like, not so much out of any vague push for “positivity,” but because there’s just too much good stuff out there I’d rather be concentrating on. But unlike some other high-profile projects that more or less evaporated after failing to live up to expectations¹, Eternals left me with something. It was a hazy sense of well-being, a faintly optimistic feeling of global community and shared humanity. (More than just the general light-headedness that came from still being up at 3 AM after foolishly starting the movie at midnight).

In short: Eternals took a part of the Marvel library that was designed from the start to be grand and cosmic, and defiantly turned it into a gentler, more humanistic story. I might not think it was successful, but I can respect that it was so full of intent, especially considering the weight of the MCU machine behind it.

Because I’ve recently read Jack Kirby’s original The Eternals comics, and then Neil Gaiman and John Romita, Jr’s 2006 update, I can’t help comparing them with the movie version’s adaptation². In particular, there are two aspects of the comics that are done differently in the movie, and they end up saying a lot about what the movie was trying to do: one aspect is representation, and the other is the audience’s entry point into the story.

1
See: The Matrix Resurrections. Or better: don’t.
2
I haven’t read any of the other Eternals comics, so I can’t really comment on the aspects of those that were used in the movie version.