Tony Talks #11: Introducing My First Book + Extra Details

Hola teamsters!

Those of you who follow me @ajblackwriter on Twitter or via Facebook may already have seen this announcement, but I’m thrilled to finally reveal the title of my long-gestating non-fiction tome: Myth-Building in Modern Media: The Role of the Mytharc in Imagined Worlds, now available to pre-order from McFarland and due for release later in 2019.

Given I’ve discussed the book on the site before, I wanted to give you all a bit more detail than I’ve shared yet on social media about what the book is, what it contains and what you can expect, in advance of the official blurb.

Continue reading “Tony Talks #11: Introducing My First Book + Extra Details”

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.

Continue reading “Rage Against: X-Men – Dark Phoenix (2019)”

A Slayer Reborn: Buffy and the Reboot Question

Every July weekend at San Diego Comic Con, the biggest geek showcase on the planet where all the major studios and productions roll up to drop exclusives and surprises, you always get one announcement which courts a level of controversy and/or deep analysis. This year it wasn’t even the debut of a trailer for the Jodie Whittaker-fronted, Chris Chibnall-era new series of Doctor Who—which is going to almost certainly lead to a Star Wars-esque online tirade from grown man children at the idea of a woman playing the Doctor. 2018 had another major female figure from popular culture waiting in the wings get people talking: Buffy, she of the vampire slaying.

More specifically, the fact that Joss Whedon is overseeing, though likely not directly show running, a modern reboot of his legendary 20th Century Fox series which remains one of the bastions of 90’s pop culture, female empowerment, and genre storytelling. Note the word here that is crucial: reboot. Not revival. Not continuation. A reboot.

Continue reading “A Slayer Reborn: Buffy and the Reboot Question”

Mission Impossible: Ghost Protocol (2011)

If you ran a poll asking the average film goer, and indeed the average film critic, which of the Mission Impossible films they considered to be the strongest outing in the franchise, you would have a significant amount point to Ghost Protocol. On the face of it, you can see why. Once you scratch deeper, those reasons become more opaque.

Continue reading “Mission Impossible: Ghost Protocol (2011)”

Mission Impossible III (2006)

Mission Impossible III may not be the strongest outing in the franchise, but it may be the most human.

Surprisingly, this works as both a strength and to the film’s detriment in the eyes of many. For everyone who considers Mission Impossible II the weakest episode of the saga, which you can find my thoughts on here, not far behind will be a detractor of JJ Abrams’ sequel to John Woo’s own take on Bruce Geller’s kitsch 1960’s series. This, to me, is hard to fathom, and not simply as a big fan of Abrams and the dominance his works have achieved on pop culture, both in television and cinema.

The reason this revisionist disdain for MI:3 is strange to me is because Abrams’ movie arguably saved the franchise, and allowed Tom Cruise to not just reinvent his character Ethan Hunt but position Mission Impossible as a series which blended fantasy escapism with a relatable heart and soul.

Continue reading “Mission Impossible III (2006)”

Marvel, Gatekeeping and the ‘Problem’ with Avengers: Infinity War

There has been an interesting response to the dominant Avengers: Infinity War this weekend as it romped home to a record-beating opening weekend in the States, and a remarkable $600 million plus global take home. Aside from the legion of critics, professional and amateur, who have all lined up on either side of whether the film is good or bad (and most reactions seem positive), the issue again seems to concern fandom. In this instance, whether Infinity War is for anyone who isn’t already a fan of the Marvel Cinematic Universe.

A piece in The New Yorker has been widely circulated, with people criticising and defending an article which suggests Infinity War suffers for the fact it does nothing to ‘introduce’ the myriad amount of Marvel players to new audiences. Some are suggesting that it doesn’t have to, given its place as the first part of a finale to an ongoing saga—which I discuss more in my review—but some have on the other side of the fence suggested this kind of storytelling by Marvel Studios, and how the fandom have responded to it, is yet another form of ‘gatekeeping’.

That fandom are, once again, erecting a big ‘KEEP OUT’ sign and planting it firmly in the entrance of every cinema from Middlesbrough to Manhattan.

Continue reading “Marvel, Gatekeeping and the ‘Problem’ with Avengers: Infinity War”

Avengers: Infinity War (2018)

Say what you like about Avengers: Infinity War but nobody can deny one thing: it is breaking new cinematic ground. For decades there have been sequels. For decades there have been franchises. For decades we have seen continuing universes on both the big and small screens, sometimes overlapping, develop characters and storylines. Marvel Studios differ in their approach. This is the first time anyone has, over a ten-year period, created and structured a cinematic franchise in the narrative style of a ‘season’ of television.

This is something I have discussed when talking about the Marvel Cinematic Universe before because it has cast a shadow over the mainstream cinematic landscape which is likely to stay for years, perhaps even decades, to come. Kevin Feige, producer supremo, has been the constant here; ever since 2008’s Iron Man turned Robert Downey. Jr from disgraced character actor into the biggest movie star in the world, Infinity War has been the goal. While undoubtedly tides have changed, production realities have emerged, and details have altered, Marvel have been working to a decade-long plan to unite the Avengers against Thanos, the Mad Titan, and his plan to wipe out half the universe with the combined Infinity Stones.

Continue reading “Avengers: Infinity War (2018)”

Alias (Series Overview + Reviews)

Alias arrived at a fascinating point when it came to television.

The year was 2001 and a lot was changing in the ether around it. JJ Abrams, at this point best known as the writer of Harrison Ford weepie Regarding Henry, Michael Bay blockbuster Armageddon and show-runner of late 90’s teen hit drama Felicity, was nowhere near the producing and directing Hollywood totem he would become. His production house, Bad Robot, had not yet become the nascent Amblin of its generation. And, just nineteen days before the pilot, ‘Truth Be Told’, aired… 9/11 happened.

Abrams’ spy series already had some interesting cache behind it. Alias was a show that emerged on ABC with the intention of riding into the 21st century with a fresh storytelling model. The most successful and important TV shows of the 1990’s had almost all built their success on an episodic, network model of storytelling; 22-26 episode seasons with plenty of stand-alone stories which would serve the show well in syndication. In everything from Quantum Leap through to The X-Files, show-runners moving from the 1980’s into more of a Golden Age of television, in which some of the most key writers in both TV and cinema of the next few decades would emerge, had cleaved to the way it had been done for years.

Not Alias.

It would immediately strive for an aesthetic which would tap into a deep reservoir of retro-futurism, both aesthetically and in terms of production. Abrams and his staff came out of the gate leaning heavily into the kind of serialisation most shows in the 1990’s just didn’t do, bar a few trend-setting exception we’ll return to. The concept was both high and complex – female super-spy Sydney Bristow would find herself learning the covert CIA branch she had been working for, SD-6, was in truth the arm of a worldwide crime syndicate, and would work as a double-agent to bring down the enemy from within. Episodes would end on a cliffhanger every week and fold into each other. A surfeit of character and narrative mysteries would propel Syd’s journey along, not to mention a curious central, underlying occult and arcane mythology which tipped the show away from action-thriller and more toward science-fiction.

Continue reading “Alias (Series Overview + Reviews)”

The X-Men Files: Disney, the future, and William

If you’re a fan of The X-Files, there’s a very good chance you’ve now seen how it ends. The eleventh season, at any rate. To suggest The X-Files has truly ended with any kind of assurance is to suggest maybe Santa won’t be back next Christmas. By now, and as I’ve discussed previously, The X-Files doesn’t end. It’s always going to be with us, somehow.

What is now interesting is the fallout from the Season 11 finale, ‘My Struggle IV’, and what people are starting to look at as being the continuation of The X-Files. As I stated in a previous piece, we are at a crossroads in terms of where Chris Carter takes his beloved half a century old property. The season finale—which we’ll call it until Carter or anyone else confirms this iteration of the series is over—left Agents Mulder & Scully in the position where they can either pick up their work in some fashion and continue on, or walk away and begin a new life as the family unit millions of ‘shippers’ have always wanted them to be. However, what is interesting in fan circles is not Mulder & Scully’s future, but that of their son William.

Continue reading “The X-Men Files: Disney, the future, and William”