A J. Black

Author: Myth-Building in Modern Media | Twitter: @ajblackwriter | Podcaster: @motionpicspod @wemadethispod | Occasionally go outside.

Some Nerve: Social Media and Modern Cinematic Voyeurism

Social media has taken control of the world. Almost all of us have a smartphone and we’re wired into either Twitter, Facebook, Instagram, Snapchat etc… or all of them. The open communication of the internet has made us desperate for ultimate, constant connectivity. It’s an idea that across this decade, as social media has fully taken hold over Western society, the movies have begun exploring.
Inevitably, and perhaps appropriately, cinema has largely taken social media to be a new and dangerous playground. Much as the technology is used by people of all ages (yes, even some of the elderly), apps, games and innovations remain primarily the province of the young and impressionable. Social media is attractive, not just for the fact you can build a virtual profile that presents a picture of who you would like the world to *believe* you are, but it provides a gateway to thrills and social taboos. Hence why adults are consistently reminded, and parents are scaremongered, into believing social media is a corrupting evil that will warp and destroy the minds of our children.
Filmmakers on the whole don’t quite see it that way. Many seem to consider social media to be one enormous, conceptual cautionary tale, sometimes fused a with futuristic morality play. An entire sub-genre now exists of pictures often starring, and certainly aimed at, the young, but to classify them specifically as horror films—as some have—does them a slight disservice. Those directors and writers who are interested in the pervasive effect social media has on our lives seem more keen to portray the internet, and all its myriad labryinthian contexts, as something that will only destroy us if we misuse it or refuse to pay it enough respect.

THE HANDMAID’S TALE: Has 1990’s TV Paranoia Returned?

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Have you been unsettled lately watching The Handmaid’s Tale? Margaret Atwood’s 1985 dystopian novel, a set text certainly in the UK for English A-Level students which has never entirely left the academic consciousness, is now being talked about everywhere. Why? Because it’s scaring people half to death.
Not many people may be aware that it had been adapted before Hulu turned it into a hit TV series. In 1990, German filmmaker Volker Schlondorff—one of the New German Cinema wave of the late 60’s and early 70’s which included better known luminaries such as Fassbinder, Wenders and Herzog—directed a cinematic version with the late Natasha Richardson in the central role of ‘Offred’, the titular handmaiden forced into indentured sexual slavery in the largely infertile Christian hegemony of Gilead, formerly the United States. Harold Pinter wrote the screenplay, no less, but later worked to have his name removed from it.
What matters is that very few people remember The Handmaid’s Tale has ever been committed to celluloid before Bruce Miller’s adaptation for Hulu, which has very quickly gained critical and commercial traction on both sides of the Pond. If it’s not quite water-cooler television on the level of Game of Thrones, for example, then it’s gaining viewers and significant commentary amongst people as it airs. In the US, Season One ended in June and in the UK, it’s about to end next week. The response has been the same: a deep sense of unease.

Film Review: DUNKIRK (2017)

Audiences are quite understandably going to consider Dunkirk a war film, quite possibly one of the great war films of our age. Christopher Nolan’s tenth picture is possibly an even better survival horror movie, given it takes a well-known piece of 20th century history and pitches the story as a desperate battle for survival against a powerful, largely unseen and intractable foe.

From the very first frame, of isolated and beaten British troops walking down a deserted Dunkirk street as flyers depicting the German advance on their position rain down on them in almost endless supply, a terrifying pallor of dread and ominous doom casts its shadow over Nolan’s picture. This is a war the ‘good guys’ are losing, in terms of France one they have already lost, and all they can do now is run from the darkness that is pursuing and engulfing them. Nolan’s film, on the whole, couldn’t be less jingoistic; the British and their allies are terrified, broken and in a desperate situation.

Though far from being a film which wears any kind of political or social polemic on its sleeve, you’d be hard-pressed to not consider Nolan a pacifist after watching Dunkirk. Not perhaps since Steven Spielberg’s Saving Private Ryan in 1998, and rarely in all of cinema with its legion and entire sub-genre of war movies, has any director portrayed the senseless horror and brutality of World War Two with such visceral, haunting power. Nolan’s world here isn’t one without hope but it’s absolutely a war where good guys are complicated, and heroes don’t necessarily carry guns.

Film Review: SPIDER-MAN: HOMECOMING (2017)

Spider-Man: Homecoming is probably the cheekiest title Marvel have ever given one of their films, simply for the fact the subtitle is both literal and figurative. Spider-Man, probably Marvel’s most famous superhero alongside the Hulk, finally comes home with Jon Watts’ entry to the Marvel Cinematic Universe.

Sony Pictures have owned the rights to the character for many years and have made repeated attempts over the last fifteen to launch a franchise with our friendly neighbourhood web-slinger. The first time, under Sam Raimi’s direction, we had the original Spider-Man trilogy starring Tobey Maguire as Peter Parker. There he fell in love with Kirsten Dunst’s Mary-Jane Watson and battled the Green Goblin, Doctor Octopus and Venom (plus half a dozen more in the third film it seemed). Poor critical buzz partly put paid to a planned fourth Raimi Spider-Man film after 2008.

Then came the reboot. Out went Raimi, out went Maguire. In came upcoming star Andrew Garfield as Peter and Marc Webb, best known for the divisive (500) Days of Summer, behind the lens. Emma Stone joined as Gwen Stacy, the other well-known Peter Parker love interest, and this time he battled a new Green Goblin and, again, thanks to the power of sequelitis, half a dozen bad guys including Electro in the second film, which also Sony planned to use as a backdoor way of teeing-up a Sinister Six spin-off movie. Despite how the two leads impressed, the knives were again out critically and any chance of a trilogy died a swift death.

The famed Sony hack was the first indication they were hatching plans with Marvel to bring Peter Parker into the MCU. The Amazing Spider-Man 2 came out in 2014 and just two short years later, at the start of 2016, another rising star in Tom Holland popped up to portray the character in Captain America: Civil War. In a film rammed with established superheroes, within a story very much in the middle of an ongoing story arc eight years to that point in the making, Holland shone brightly immediately in his extended cameo. He *was* Spider-Man, and he was back where he always should have been.