On the surface, the two new movies Suicide Squad and Gleason would seem to have very little, if anything, in common.
One is a big, loud comic-book movie about a group of meta-human villains, and the other is a true-life documentary about the devastating effects of ALS on a former NFL football player. One is about some very bad characters acting sort of heroically and the other is about an actual hero acting even more heroically.
But at their cores, both movies are about flawed heroes. Heroes overcoming their own challenges.
And here they both are in theaters, presenting discriminating moviegoers with a choice. Which one should you see? Here are my reviews. Continue reading
Before you get too excited about that headline and the blog post that follows, I need to offer a brief disclaimer: I’ve only seen 10 movies so far this year. And these reviews are in order of when I saw them, which means they’re unranked.
So … sorry for the clickbait.
Alas, I wanted to clear the deck before any good movies come out. So here we go: My first 10 review blurbs of 2016. Continue reading
In the month since I last posted a bunch of mini-reviews, I’ve seen seven more movies. So, rather than wait till the end of the quarter again, I wanted to post them now … while you can still act on my recommendations.
(Note: The numbers before each one reflect the number of movies I’ve seen so far this year.) Continue reading
With the new Superman movie now in theaters, it’s time to dig out all those Superman-themed songs that we know and love.
You know the ones … “Jimmy Olsen’s Blues” by the Spin Doctors, “Superman’s Song” by Crash Test Dummies, “Superman” by R.E.M., “Kryptonite” by 3 Doors Down, etc. etc.
Want ’em all in one place? You’re in luck: To celebrate the release of Man of Steel, I’ve put together a Spotify playlist of Superman music. It includes the obvious candidates, plus one or two that reference Superman, and a few that were new to me but still worth including. Continue reading
These days, it seems you can go one of two directions with your superhero movies.
There’s the Jon Favreau/Joss Whedon route, where the film reflects a comic book sensibility and there’s a healthy mix of action, pathos, and humor — as there was in Whedon’s The Avengers and the three Iron Man films.
Then there’s the Christopher Nolan route, where the stakes are greater than in a typical comic book movie and the drama takes place at an epic pitch, as in The Dark Knight Rises.
(Basically, it’s the Marvel way vs the DC way.)
Director Zack Snyder has taken the latter route with his Superman reboot, Man of Steel. (No surprise, given that Nolan is a producer of the film.) Following Nolan’s lead wasn’t a bad decision, but in doing so, Snyder makes us ask the same question the Joker asked in The Dark Knight: “Why so serious?” Continue reading
The Dark Knight Rises, Christopher Nolan’s thrilling final entry in his Batman trilogy, begins with a breathtakingly impressive and awfully scary sequence.
Shot in IMAX, it involves Bane, the bulked-up villain who wears an intimidating crab-like mask, taking a plane full of men hostage. “Now is not the time for fear,” Bane says as the plane attaches to another, tilts 90 degrees, and he injects one of the passengers with a needle that draws out his blood. “That comes later.”
Coulda fooled me.
The scene, which was previewed before IMAX screenings of Mission Impossible: Ghost Protocol last December, was shot largely with stunt actors in the air and not with green-screen-assisted computer effects. And yes, with those heavier, bulkier IMAX cameras.
It’s nothing short of amazing.
But that’s to be expected, given the way Nolan has rebooted the Batman story, infused it with such craftsmanship, and made each new film of his trilogy bigger and better than the last.
The Dark Knight Rises, while it may not be a better film than The Dark Knight, is certainly the most ambitious one of the three. And that opening scene sets our expectations pretty high (no pun intended). Continue reading
It’s been said that superhero stories reflect the times in which they’re written.
In 2002, for example, Sam Raimi’s first Tobey Maguire–starring Spider-Man film clearly took place in the post-9/11 world, with lots of patriotism and New York rah-rah sentiment.
2008’s The Dark Knight undeniably made statements about the political climate and actions taken by George W. Bush’s Homeland Security team.
Now we have a reboot of the Spider-Man franchise, and it, too, feels timely.
The Amazing Spider-Man recasts Peter Parker as less of a nerd who gets strong and can defend his city, and more of a bullied loner who gets the chance to get even and show up those who have made him seem weak.
Instead of “With great power comes great responsibility,” now we get Uncle Ben (Martin Sheen) telling his nephew, “If you have the ability to do good things for others, you have a moral responsibility to do those things. Not a choice; an obligation.”
So yes, this Spider-Man is about taking the (more heroic, sometimes lonelier) high road and standing up for the little guy who can’t help himself. It’s an anti-bullying message that feels appropriate for these times, and it’s a much more positive message than the Raimi series left us with in 2007, when Spider-Man 3 took a very dark (and not terribly satisfying) turn.
In fact, it’s not just the thematic nature of The Amazing Spider-Man that takes the high road. It’s the whole movie. Which makes it a welcome and pleasant surprise. Continue reading