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Avengers: Endgame

2019 Top 10: Movies

As we close out 2019, it’s time to put together a few Top 10 lists based on my key entertainment passions – film, TV and film scores.

I’ve gone back and forth on decade lists but I suspect I’m just going to keep to 2019 releases on the blog, and maybe do something more with the decade on my Twitter or FB, so stay tuned in that regard.

Next up – movies! I’ve done quite well this year, managing to watch a good 50 movies from the calendar year, which is more than I sometimes manage. So I feel placed to at least come up with a reasonable Top 10, even though I know I have a few blind spots & certain films will probably push out the lower films on this list eventually. But that’s for the future, so here goes…

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2019 Top 10: Film Scores

As we close out 2019, it’s time to put together a few Top 10 lists based on my key entertainment passions – film, TV and film scores.

I’ve gone back and forth on decade lists but I suspect I’m just going to keep to 2019 releases on the blog, and maybe do something more with the decade on my Twitter or FB, so stay tuned in that regard.

I’m going to start with Film/TV Scores. This hasn’t been as great a passion for me in the second half of 2019, after especially the end of Season 1 of Between the Notes, but I’ve still been listening along to cinematic and prestige TV music, so here are my choices for the most impressive listens of 2019, with a sample to listen to along the way…

Scene By Scene: STAR TREK II: THE WRATH OF KHAN – Pt XI – ‘Live Long and Prosper’

As voted for on Twitter by followers, I will be analysing Star Trek II: The Wrath of Khan scene by scene in this multi-part exploration of Nicholas Meyer’s 1982 sequel…

Given how powerfully The Wrath of Khan ends, it is easy to miss the beauty in it, certainly in terms of how perfectly it caps off a character journey for Admiral James T. Kirk that we’ve witnessed almost from minute one. It may be Spock who dies in The Wrath of Khan, but the film unquestionably throughout is about Kirk.

It is also hard to overestimate how much of a shock Spock’s death might have been at the time. Characters like Spock didn’t die. You didn’t kill off someone like Leonard Nimoy. Star Trek had emerged from an era of largely safe, colourful, now even kitsch television in which America reflected its aspirational virtues for the post-war future in the 1960’s in heroes. Kirk. Bruce Wayne. Jim Phelps. Cinema had James Bond or Matt Helm. Morally flawed or compromised at times they might have been, but they were designed to save us from the hopeless devastation a generation had lived through. Star Trek’s heroes would fight battles, defeat foes, explore new worlds, but they would always at the end finish on TV with a little joke or the acknowledgement that they’ll be back next week for another adventure.

Even The Motion Picture, which tones down the colour and comedy of The Original Series to depict a post-Watergate, late-1970’s cooler vision of Starfleet’s future, saw Admiral Kirk and the Enterprise—with Spock having regained his purpose as a Starfleet officer—warp away toward a sequel. The human adventure, after all, was just beginning. Nicholas Meyer’s sequel is an incredibly humanistic film but it acknowledges that with humanity, with hope, has to come the balance of pain, and of sacrifice. While Kirk’s arc of spiritual rebirth has a resolutely Christian bent, Spock giving his life to save the Enterprise makes him the Christ figure who saves the crew from Khan’s defeated Devil. Kirk’s first best destiny is to lead, is to find his way back to himself, and to do that he must lose someone he takes for granted for much of The Wrath of Khan. His anchor. His best friend.

To even contemplate such a remarkable ending to a story like this proves just how special The Wrath of Khan is. That ending of Avengers: Endgame? It wouldn’t exist without what The Wrath of Khan dared to try.

STAR WARS EPISODE IX: THE RISE OF SKYWALKER: the expected, soulless capstone of a four decade saga

CAUTION: contains some major spoilers so only read on if you’ve seen the film.

If you were looking for the perfect film to put a capstone on the 2010’s, Star Wars Episode IX: The Rise of Skywalker arguably would be it.

Even with the blockbuster heavyweight of Avengers: Endgame concluding the first ten years of the Marvel Cinematic Universe, TROS—as we’ll call it for ease—was the most anticipated cinematic event of the year, given it doesn’t just serve as the third part of a trilogy but also the concluding chapter of a nine-part, four decade spanning saga within easily the biggest film franchise in movie history. This is about as epic as franchise filmmaking gets. Though Star Wars, the jewel in Disney’s all-dominating media crown, will of course continue into the 2020’s, this marks the end of the Skywalker Saga with which George Lucas changed the landscape of movie-making more than perhaps any director in the 20th century. The final conclusion to a story we thought had definitively ended twice before.

Going into The Rise of Skywalker, you may experience cautious optimism. Rian Johnson delivered a defiantly auteur-driven, insular examination of the core mystical and philosophical themes within Star Wars with 2017’s trilogy middle-part The Last Jedi, going in brave new directions from 2015’s vibrant trilogy opener The Force Awakens, in which JJ Abrams revived the franchise with a verve that spoke to Lucas’ original, Saturday adventure serial vision. With Abrams back at the helm, following the departure of original director Colin Trevorrow, there was every reason to believe TROS would recapture TFA’s spirit and top off Star Wars with a fulsome flourish. You may leave The Rise of Skywalker somewhat perplexed that that didn’t happen. That, in fact, Abrams has delivered the weakest Star Wars film since, quite possibly, fetid prequel Attack of the Clones.

For a myriad amount of reasons, The Rise of Skywalker feels like an argument, on screen, for why going into the next decade we need to rethink how we approach franchise filmmaking. It doesn’t just feel like a culmination of indulgent cinematic excess but a cautionary bulwark against it.

Tony Talks #16: Me and Rakuten TV

The age of streaming is well and truly upon us, guys.

This, you already know. You no doubt subscribe to a wealth of different providers. If you’re in the States, you’re overloaded with cable channels alongside streaming giants. If you’re in the UK, satellite TV and the dominance of Sky has given way to Netflix or Amazon Prime, and soon the new big movers and shakers on the immediate horizon – Apple TV+ and Disney+. You even have, tucked away within Prime, a range of sub-channels depending on your taste – Mubi, StarzPlay, BFI, Shudder and if you want a reality TV fix, Hayu (though I doubt many readers of this blog are subscribers there…).

I’d like you to pause for a minute or two and consider another kid on the block. He’s been there for a while, lurking on your plasma smart TV’s, quietly waiting for a chance to impress. His name is Rakuten and he’s actually got some skin in the game, I’ve found recently. Here’s why.

ANNABELLE COMES HOME to a universe of both villains *and* (super)heroes

The so-called Conjuring Cinematic Universe confidently takes another key inspiration from Marvel’s all-dominant equivalent with Annabelle Comes Home by cementing the existence of the ‘horror movie superhero’.

Or, in this case, superheroes in the form of Ed and Lorraine Warren, played by Patrick Wilson and Vera Farmiga in The Conjuring and The Conjuring 2 previously, both of whom neatly bookend this ‘interquel’, depicting the carnage wreaked inside their evil-containing fortress of a domestic home when pesky kids unleash the titular Annabelle and the entire contents of their terrifying basement. The Warren’s were, of course, real people – Lorraine died, indeed, earlier this year, and in The Conjuring they were portrayed much more handsomely and less eccentrically than in real life, but they remained nevertheless demonologist investigators in particularly that first movie; a married, far less dysfunctional Mulder & Scully if their focus were demons rather than aliens. This changes in Annabelle Comes Home. They begin to morph from the Mulder & Scully to the Steve Rogers & Natasha Romanoff of the Conjuring Cinematic Universe.

It may be left to the forthcoming The Conjuring 3 to hit that idea square on but Annabelle Comes Home certainly lays the foundations, exploring what happens when you remove those heroes from the narrative.

SPIDER-MAN: FAR FROM HOME proves Marvel’s formula-breaking *is* their formula

You know when people say “don’t watch this one unless you’ve seen the last one”? Well, that statement may just peak with Spider-Man: Far From Home, particularly when it comes to the Marvel Cinematic Universe.

The ‘one’ in particular isn’t even the previous solo Spider-Man film, 2017’s Homecoming, because the MCU has changed the game when it comes to how sequels work. Homecoming introduced the supporting characters in Peter Parker’s direct orbit but Jon Watts’ precious picture was neither Tom Holland’s first bow as the character, and Homecoming serves as an important part of the ongoing, overarching narrative in the first era of the MCU which concluded recently with the ‘one’ I am talking about – Avengers: Endgame. That’s the film you need to have seen before Far From Home as Watts’ Spider-Man film serves as an extended epilogue to the epic conclusion to the Infinity Saga, not to mention a coda to that first, decade-spanning era.

Far From Home is about the legacy of an era which reinvented exactly what the ‘superhero movie’ was. Marvel Studios, under Kevin Feige’s aegis, took the formula and tropes we had come to know and understand from the previous three decades since 1978’s seminal first Superman adaptation, through a legion of Batman movies and beyond, and subverted them pretty much from the get-go. Robert Downey Jr’s Iron Man didn’t spend half a dozen films hiding his identity as Bruce Wayne did – he came out and told the world right at the end of his origin story. The MCU interweaved characters and narratives to develop the first ongoing, television-style serialised structure in cinematic history. Along the way it brewed up broad comedy, epic action, science-fiction and half a dozen other genres—often within the same films—inside which the traditional ‘superhero’ nestled.

What we have seen in previous Marvel pictures before Endgame, and which Far From Home makes abundantly clear, is that Marvel’s self-aware subversion of that formula has *become* their formula itself.

Rage Against: X-Men – Dark Phoenix (2019)

Dark Phoenix is not quite the coda to the X-Men franchise that you might have expected going in.

For quite some time now, general feeling among a large swathe of the movie going audience invested in comic book cinema has been the belief that Dark Phoenix would be a significant let down. Despite the critical successes, even taking into account their flaws, of X-Men: First Class and X-Men: Days of Future Past, X-Men: Apocalypse was a strong case of diminishing returns (critically and financially as it turns out) which took a lot of air out of the X-Men balloon when it came to enthusiasm for the next generation of the franchise – having established new versions of Jean Grey, Cyclops, Storm etc… to help presumably carry the X-Men saga into a new era. With Bryan Singer no longer involved in the production due to the allegations against him, and long-term writer Simon Kinberg making his directorial debut, plus the usual report of reshoots of the final act and the film’s release being pushed back over half a year, the omens for Dark Phoenix outdoing Apocalypse and providing a satisfying end to this iteration of the saga were low. Perhaps the biggest surprise about Dark Phoenix, in which case, is that it *is* a better film than Apocalypse and just about accomplishes what it sets out to do.

Let me state this clearly for the record: Dark Phoenix is not a great X-Men film, or comic-book movie in general. When up against the heights of the medium, be it the Marvel Cinematic Universe at its peak or The Dark Knight trilogy, Dark Phoenix cannot compete. It is at times noisy. It can be unintentionally funny in how overwrought the central story finds itself. It suffers from some of the worst villains in the entirety of comic book cinema. It ignores elements of its own continuity and numerous character arcs for expediency. Plus it lacks a great deal of depth when it comes to the underpinnings geopolitical and social aspects that made the X-Men films more than just effects-driven spectacles. It focuses so tightly on one character journey in particular that much of the saga’s entertaining subtext is rejected. Yet despite all of this, it is not incoherent. It is a better adaptation of ‘The Dark Phoenix Saga’, the 1980 comic story from Chris Claremont and John Byrne, than X-Men: The Last Stand gave us. It does manage to give key characters Charles Xavier and Erik Lensherr, as well as Jean Grey of course, dramatic through-lines which tether to the core narrative in a satisfying way.

And, perhaps as best it could, Dark Phoenix gives a level of closure to the X-Men franchise that we can probably live with.

The Trask at Hand: X-Men – Days of Future Past (2014)

With X-Men: Dark Phoenix on the horizon, a film predicted to signal the end of the original iteration of the X-Men franchise, I’ve decided to go back and revisit this highly influential collection of comic-book movies.

We continue with Bryan Singer’s 2014 epic, X-Men: Days of Future Past

Though ostensibly designed as a new beginning for the X-Men franchise, Days of Future Past oddly works better as an ending.

Bryan Singer’s return as director of the franchise, after abandoning the third intended X-Men film in 2006 for Superman Returns, gives the film an unexpected level of continuity back to his original first two pictures and allows it to work as a capstone for the original X-Men cast, the majority of whom return for this adaptation of Chris Claremont & John Byrne’s legendary 1981 Uncanny X-Men saga set in a dark, post-apocalyptic future where both humans *and* mutants have been subjugated by the Sentinels, a force of man-made, mutant-killing robots. Days of Future Past ends up allowing Singer to both tie-off many of the loose ends left remaining after X-Men: The Last Stand, and continue the rebirth of the saga after Matthew Vaughn’s X-Men: First Class. As the film brings together two different generations of X-Men and these characters, so Days of Future Past unites Singer and Vaughn, who co-developed the story with First Class writer Jane Goldman, in developing a unique fusion of continuation and conclusion.

Days of Future Past is the most tangibly connected X-Men film to X1 and X2, even beyond Singer back in the director’s chair. It tackles the core ideological difference between Charles Xavier (James McAvoy) and Erik Lensherr (Michael Fassbender) that formed the backbone of those first films, as it does in the original Stan Lee/Jack Kirby comics, and naturally evolves that conflict from its foundation in First Class. Though the plot is driven by Wolverine in his role working to change the past, and it hinges on the historical actions of Mystique, Days of Future Past is as much an origin story for Professor X and his school as First Class was for Magneto. The script is cleaner, the dramatic through-line more directly apparent (at least in the first half), and it manages to both give the original X-Men trilogy a sense of closure while spiralling the franchise off into a new direction. This does for the X-Men franchise what JJ Abrams’ 2009 reboot movie did for Star Trek – new life born of old characters.

X2 may be the stronger movie by a yard or two, but Days of Future Past could well be my personal favourite for how it satisfies the viewer on multiple levels.

TV, Book, Movie & Podcast Roundup – May 2019

Welcome to June! Because there’s not enough useless information floating around on the internet, I thought I would update readers of this blog as to what I’ve watched/read over the previous month, each month, in the form of TV, movies and books.

Some of this I will have reviewed on Cultural Conversation but others I’ve just been watching for enjoyment with Mrs Black.

Let’s start this month with TV…