What We Learned This Week: July 7-13

LESSON #1: DECORUM AND CIVILITY HAVE SLIPPED AT THE COMMUNAL THEATRE EXPERIENCE— I think every single one of us has more than one story of a crappy theater patron that we’ve had to share a movie with.  I bet, combined, we’re seen it all across any and all possible loud, messy, and disrespectful behavior. I ran into a sharp column from Rebel Without a Pause Button blogger Robert Salusbury on this topic entitled “Cinema Slobs.”  Reading it (nice media inserts, by the way) makes me wonder not just the extent, which we all know is too much, but the causes of how there is more of this that what many of us remember from past generations.  It can’t all be cell phones. A spoiled culture of entitlement, born from increased costs and a negative shift of personal discipline and accountability, has to be in there somewhere. Am I right? Don’t be one of the people we all hate when you go to the movie.  Be cool and a good neighbor.

LESSON #2: SONY ISN’T STUPID AND DISNEY IS OVERCONFIDENT— With the same fervor as rooting for the chaos of NBA free agency, I got a kick out of hearing that Marvel could love its MCU rights to the Sony-controlled Spider-Man character if Spider-Man: Far From Home does not crack $1 billion of global box office.  I mean, go figure that this is even a risk, but it’s going to be closer than you think.  Spider-Man: Homecoming fell far short of a billion at about $880 million, so Disney is gambling on big growth.  This makes me laugh for two reasons. The first is the shared horror we all have knowing Sony would f–k up this character for a third time without Marvel’s champion support.  The second is how Disney might be shooting its own foot with this necessary milestone by putting The Lion King in theaters right in Spider-Man’s wake in third week.  That’s careless hubris right there.

LESSON #3: THERE IS A DIFFERENCE BETWEEN A REMAKE AND A REIMAGINING— Speaking of The Lion King, folks, I know I wrote about 1100 words on the movie, but I honestly don’t know what to truly tell you about The Lion King.  Disney calls these reimaginings, but, to me, that term means updates, modifications, and new infusions.  Jon Favreau’s has that on the outside with the stunning photo-real animation, but that’s it. There is an awful lot of shot-for-shot replication after that, which feels more remake than reimagining.  Granted, if that’s the goal, then mission accomplished because the music is there and the nostalgia is there to make a zillion dollars. Creatively, I still think it’s a shame and a missed opportunity to evolve more than the exterior.

LESSON #4: IT PAYS TO BE AN AVENGER— Here’s one more thing on Disney money.  We’ve seen Robert Downey, Jr. score fat paydays for being Tony Stark, but, goddamn, was Avenger: Endgame a golden parachute.  The top dog got $20 million up front, which is lucrative and more than the $15 million given to Chris Evans, Scarlet Johansson, and Chris Hemsworth.  For RDJ, it’s the 8% back-end deal that fills his vault with another $55 million.  That’s a handsome jump from the $500K paycheck from the first Iron Man movie.  Studs and studettes, back-end deals are where it’s at (“that’s what she said”) and they’ve been a part of the business for a long time.  Jack Nicholson’s Batman deal from 30 years ago scored like RDJ did.  Even Bradley Cooper doing just a voice took a 1% deal and walks away from Avengers: Endgame with $7 million.

LESSON #5: NETFLIX MIGHT BE GETTING SMARTER— Frequent WWLTW readers and followers have seen in this column the many instances where Netflix really throws money around (click on the tag and you’ll see).  Well, I think the teenager finally maxed out mommy and daddy’s credit card and have learned to live and spend a little leaner. Reports say the streaming giant will be more “cautious” with budgets after dropping nine figures on projects like Ben Affleck’s Triple Frontier and Martin Scorsese’s The Irishman.  Welcome to big studio problems, Netflix.  It’s the paychecks they’re writing to talent, not the production costs.  Unlike an MCU film, they aren’t getting ticket sales. As renewable and reliable as the monthly subscription rake can provide, Netflix will always have a growth cap.  Heaven forbid, they lose customers.

LESSON #6: REEVALUATING THE POLITICS OF A MOVIE IS ALMOST ALWAYS PROBLEMATIC— In my short 39 years in this world, I am fully educated and aware that some movies are not going to age well and that, matching my own website of Every Movie Has a Lesson, I believe every movie has a bias or political root of some size.  Zero is impossible. To me, each movie becomes a time capsule for the era in which is was made (double if it’s a period piece), slant and all. I get the feeling IndieWire’s Eric Kohn doesn’t see things the same way. For Forrest Gump’s 25th anniversary, the journalist wrote a takedown article heaping a whole lot of conjecture and reaching political blame.  I don’t know about you, but I can’t go there. Forrest Gump was always neutral to me because it’s steep realistic fiction.  Aging is aging. I get that some movies will fit and fall with the times, but it’s not worth burning things to the ground.

LESSON #7: GUILLERMO DEL TORO HAS GOOD TASTE— For the finishing recommendation slot, enjoy this list of The Shape of Water Oscar winner’s 25 favorite films.  It’s an outstanding balance of cinema history and modern cornerstones.  Build that Letterboxd checklist from this and begin a little journey of appreciation and education.


DON SHANAHAN is a Chicago-based and Rotten Tomatoes-approved film critic writing on his website Every Movie Has a Lesson. His movie review work is also published on 25YL (25 Years Later) and also on Medium.com for the MovieTime Guru publication.  As an educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical. He is a proud director and one of the founders of the Chicago Independent Film Critics Circle and a member of the nationally-recognized Online Film Critics Society.  As a contributor here on Feelin’ Film now for over two years, he’s going to expand those lessons to current movie news and trends while chipping in with guest spots and co-hosting duties, including the previous “Connecting with Classics” podcasts.  Find “Every Movie Has a Lesson” on Facebook, Twitter, and Medium to follow his work.  (#106)

What We Learned This Week: June 2-22

LESSON #1: PERCEIVED RECORDS AND DISTINCTIONS MAKE PEOPLE GREEDY— The corporate greed monster of Disney strikes again with a blatant turnaround re-release of Avengers: Endgame. The goal of tacking on “new footage,” a tribute reel, and an end credits scene is to get the blockbuster over the final $50 million hump between its gross and the Avatar’s cumulative worldwide record of $2.788 billion. Apparently, there’s shame for being in second place so bad they have to employ cheap double-dip tactics. It will work, but it will also take screens away from other smaller movies that deserve more attention and chances. In my eyes, and I’ve taken this stump in this column before, this remains a hollow and fake victory fueled by inflation and high ticket prices. Avengers: Endgame remains outside of the Top 15 in both inflation-adjusted gross and, the best and most universal indicator of all, total ticket sales. Wake me up when it catches anything in that Top 5 or even the Top 10.

LESSON #2: DON’T TAKE A MOVIE AWAY FROM A CAPABLE DIRECTOR— A week after its disappointing debut at the box office, word on creative strife behind the scenes of Men in Black: International is coming to light. Clashes of story direction and final cut between veteran producer Walter Parkes and hired and extremely capable director F. Gary Gray nearly caused Gray to leave the project. Gray touted something edgier and Parkes’ sillier affair won final cut. This is explains a great deal as to why this movie looks way off and feels discombobulated, even by MiB standards. Sony, you’ve made these screwups before (and it sounds like you’re doing them again with Bond 25).  Trust the talent you hire and let them do their thing.

LESSON #3: DON’T PAY THE SAME GUY TO SCREW UP TWICE— There are many things wrong with Fox’s X-Men “culmination” movie Dark Phoenix, and just about every one of them can leveled to the writer/director Simon Kinburg, who was respectful enough to take responsibility. Once the powers-that-be announced that the X-Men: Apocalypse sequel was going to tackle the “Phoenix/Dark Phoenix” for a second time after Brett Ratner’s reviled X-Men: The Last Stand, they had to know the scrutiny was coming.  If you’re actually trying for renewed success, you don’t hire the same writer who made the first dumpster fire and then also give him the power to direct.  I get familiarity and I get that Bryan Singer is radioactive to employ, but go find an actual upgrade for your $200 million tentpole and franchise swan song.

LESSON #4: THE FEELINGS OF FATIGUE AND BLANDNESS FOR BLOCKBUSTERS ARE REAL— I know Toy Story 4 is fail-proof this weekend from this lesson, but, other than April’s Avengers: Endgame, this has been a rough spring and summer for blockbusters. I read two articles this week that tackled this issue in different ways. Medium.com writer Samuel Lenz poses the question of franchise fatigue of bland blockbusters. IndieWire’s Tom Brueggemann went deeper into the collapse to cite size, frequency, the loss of MoviePass, streaming preferences, and higher quality TV options. I think both together encapsulate the majority of the factors we’re seeing. The top reason to me is quality. These have been bland movie offerings. Better movies get better audiences and returns. Better movies with verified must-see buzz climb over other entertainment options an open wallets. It will always start with quality.

LESSON #5: IT WILL ALWAYS BE ABOUT PRICE POINT— The posturing of the streaming wars continue with WarnerMedia announcing the proposed price of its upcoming streaming service. The sticker of $16-17 monthly would include HBO (which is $15 by itself currently), Cinemax, and the sizable WB library of content. That may be a fair price on paper, but in the eyes of customers, that’s more than double Disney Plus and higher than Netflix, Hulu, and even Apple. Other than hardcore HBO fans and folks that miss the WB bulk that used to be backbone of the closing Turner Classic Movies, people aren’t going to bite for this. Now, if that $16 included Warner’s current standalone DC Entertainment as a match to all the Marvel stuff under the Disney Plus umbrella, the temptation and value would be closer.

LESSON #6: APPLE WANTS TO BE AN OSCAR PLAYER—Many in the industry watched with impressiveness at Netflix’s Oscar campaigns for Roma and The Ballad of Buster Scruggs. They have broken the glass ceiling and Apple is looking to follow. News broke this week of their strategy to produce and back six modestly-budgeted films a year as sponsored Oscar hopefuls. This plan is independent from a recent multi-year agreement between Apple and indie darling A24 to make multiple features together, but you have to think that collaboration is a perfect source for this goal.  Watch out, folks. Fine apple wine is coming.


DON SHANAHAN is a Chicago-based and Rotten Tomatoes-approved film critic writing on his website Every Movie Has a Lesson. His movie review work is also published on 25YL (25 Years Later) and also on Medium.com for the MovieTime Guru publication.  As an educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical. He is a proud director and one of the founders of the Chicago Independent Film Critics Circle and a member of the nationally-recognized Online Film Critics Society.  As a contributor here on Feelin’ Film now for over two years, he’s going to expand those lessons to current movie news and trends while chipping in with guest spots and co-hosting duties, including the previous “Connecting with Classics” podcasts.  Find “Every Movie Has a Lesson” on Facebook, Twitter, and Medium to follow his work.  (#104)

What We Learned This Week: May 12-18

LESSON #1: SCARY BUSINESS DEALS ARE ALSO SMART ONES— Just as there are two sides to every story, there are two sides to every business deal.  On the surface, Walt Disney, which acquired controlling stake in Hulu as part of the Fox deal, looks like the corporate greed monster or the Borg from Star Trek lore many fear in buying the rest of the Hulu pie from Comcast.  Honestly, though, this was inevitable and necessary. Split between two opposing controllers, Hulu was going to die a slow death of futility and stagnation.  Comcast squeezed Disney for $5.8 billion (far more than it paid years ago for LucasFilm or Marvel) for something the Mouse House was likely going to dissolve anyway with their Disney+ service.  That’s like the movie business equivalent of an NBA trade for an expiring contract that will never play a game in his new uniform. Comcast laughs all the way to the bank and the marketplace loses something that would have become clutter.

LESSON #2: EVEN “NO SUCH THING AS TOO MUCH OF A GOOD THING” MIGHT NEED LIMITS— Now that Avengers: Endgame has cleared the Marvel end of self-imposed radio silence, have you seen the release date reservations of Disney’s calendar for the next five years?  Look below:

That, my friends, is insane.  Welcome to “market saturation.” I get that they are too big to fail and I get that they still make successful and positive products, but, good golly, space a few things out.  I’ll tip my hat that no new Star Wars films are coming for three years after The Rise of Skywalker.  That’s a nice pause.  That’s only one slow pause on a much bigger machine of cycles.  Other studios see this calendar and avoid these dates in order to not get squashed as the feeble competition.  Still, with a calendar that thick, where can the others hope to go at some point? Yowzers!

LESSON #3: START YOUR RESURRECTION CLOCKS NOW— Gazing into that future of release dates, one could wonder two things.  First, when will inevitable character turnover occur and, second, how long will the dead really stay dead.  I say that second one because anyone who knows the parent medium of comic book films (the graphic novels themselves) knows that no one ever really stays dead.  Even Christopher Nolan couldn’t really “kill” Batman. At this big level, when you put profit-minded and impatient studio execs in charge, I have to think the turnover or resurrection window narrows.  Contributor Jonah Koslofsky over on The Spool did a nice editorial piece this week on this underlying angle.  Sure, Hugh Jackman is supposed to be done with Wolverine after Logan, but what happens if the MCU fame comes calling (especially after/if Dark Phoenix bombs)?  Do we really think Robert Downey Jr. wouldn’t at least be tempted to consider another monster paycheck to return?  If their integrity holds (and I hope it does so as to not cheapen their phenomenal on-screen sacrifices and exits), wonderful, but when do the reboots and recastings start to come (Henry Cavill?! No, dude), especially with Logan’s new MCU home under the Disney roof?  Rub that chin and begin to wonder.

LESSON #4: THERE IS AT LEAST ONE PLACE WHERE DISNEY IS STRIVING AGAINST CREATIVE BANKRUPTCY— Speaking of that lengthy release calendar and recurring characters, the repetitive trends are a little maddening.  Call it whatever kind of adjective-assisted fatigue you want, this steady-yet-successful pattern of franchises, sequels, re-imaginings, and reboots from Disney (and other studios too, let’s be fair) have led many observers to bring out the “creatively bankrupt” label.  A sliver of less of that came to light this week when Pixar producer Mark Nielsen confirmed that Pixar has no other sequels on their planning board after this summer’s Toy Story 4.  Expect, fresh ideas, new faces, and big ideas which are, namely, all the reasons Pixar became successful in the first place.  This counts as promising news!

LESSON #5: THE ARTHOUSE HAS AN INTERNATIONAL LIFELINE— We in the United States are living in big screen blockbuster era.  It’s rare to see little films blow up anymore. If they do, they still have a genre bend to them for cross-demographic appeal matching today’s moviegoers.  The decline of the arthouse scene of independent film has been very apparent for a long time. We’re seeing a market transition where streaming and VOD platforms become their best profit options with multiplexes full of the big cheese.  So, it’s really encouraging to see one more place where arthouse films are gaining audiences: OVERSEAS. Eric Kohn of IndieWire wrote a nice analysis piece that shows a movie like Capernaum opening #2 and early $12 million behind Avengers: Endgame in China.  Here in the states last year, the same movie earned a little over $1.6 million in its entire run.  Opportunity like this for Capernaum and Shoplifters is great news for this class of filmmaking and for the global industry in general.  Slowly but surely, good films will find an audience and tastes can evolve along the way.

LESSON #6: FEAST YOUR EYES ON PRODUCTION DESIGN— In the final lesson suggestion spot, allow me to re-share a YouTube essay from the fine folks at CineFix ranking (with several ties) the ten best production designs of all-time.  This stellar list covers all genres and periods with fairness and there’s not a dud in the bunch. If you don’t notice and appreciate production design when you watch a film, let a little study like this be a primer and have a discerning eye into that craft ingredient when you watch movies going forward.  Production design is absolutely vital, both visible and invisible.


DON SHANAHAN is a Chicago-based and Rotten Tomatoes-approved film critic writing on his website Every Movie Has a Lesson and also on Medium.com for the MovieTime Guru publication.  As an educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical. He is a proud director and one of the founders of the Chicago Independent Film Critics Circle and a new member of the nationally-recognized Online Film Critics Society.  As a contributor here on Feelin’ Film now for over two years, he’s going to expand those lessons to current movie news and trends while chipping in with guest spots and co-hosting duties, including the previous “Connecting with Classics” podcasts.  Find “Every Movie Has a Lesson” on Facebook, Twitter, and Medium to follow his work.  (#102)

What We Learned This Week: May 5-11

LESSON #1: EVEN POPULAR THINGS HAVE DIFFERING TASTES AND CRITICISMSAvengers: Endgame may be shredding box office records left and right (more on that in Lesson #2), but even something that universally-loved has its range of assessments.  Take legendary Spanish filmmaker Pedro Almodovar and how he’d love to see sexier superhero films with less neutering.  Even with a great moment for women in the film, some writers’ scorecards wanted more.  Then there are those who speak on the state of the genre and franchise as a whole.  Michael Nordine of Indiewire thinks something that actually doesn’t really end is problematic.  The deepest (and most respected voice) take of all came from top Roger Ebert critic Matt Zoller Seitz who talks about the content label and sketchy present and future.  All are fascinating pieces. Even if I personally disagree with many of them, you won’t see me calling them haters or even contrarians or dissenters.  There’s just different strokes for different folks. See Lesson #3 later.

LESSON #2: DATA CAN SEPARATE FALSE AND TRUE ACCOMPLISHMENTS— I’m going to stretch your legs and brain for a bit on this one.  After its huge start and decent staying power, it’s a matter of “when” and not “if” for Avengers: Endgame to overtake Avatar for the all-time worldwide box office crown and possibly Star Wars: The Force Awakens for the domestic title.  These are nice “pat your yourself on the back” gold stars for Disney and their marketing department.  However, inflation is still very real and the modern numbers don’t tell the whole “biggest movie ever” story they want you to believe.  To echo Jason Segal’s great “Call me when LeBron has six championships/It’s the only argument I need, Shawn!” rant from Bad Teacher, call me when Avengers: Endgame can topple two particular inflation adjusted statistics ruled by Gone With the Wind, Titanic, and the films of eras past.  

Let me and the outstanding data of Box Office Mojo educate you and improve your short-sightedness.  First, here’s that inflation-adjusted domestic all-time box office list.  Currently, Avengers: Endgame is 36th.  How? Simply, the average movie ticket prices have changed and here’s that chart next.  They’ve doubled since the $4.50 times of 1997’s Titanic and exponentially since the 1930s.  If it’s not about the dollar signs to you, fine, then go look at the number of tickets sold, regardless of their era or price.  There’s a chart for that too and Avengers: Endgame is again 36th.  What’s even more amazing, as I put my social studies teacher hat on, is that there were 5.5 BILLION fewer people in the world to even see movies in 1939 and Gone With the Wind still put up numbers that triple-lap the movies of today.  That is true dominance and popularity. So, you can try you ranting argument about “different eras/competition/cultures,” but success is success.  Those historical measurements are undeniable and irrefutable. The success of Avengers: Endgame is truly wonderful.  Go, baby, go! Make that money.  But, it might as well be a participation ribbon for overpriced Girl Scout cookies.

LESSON #3: THERE ARE DIFFERENCES BETWEEN “SHADE” AND “HATE”— After a minor pot-stirring debate in the Feelin’ Film Facebook group on the genuineness (or lack thereof) of James Cameron’s congratulatory tweet towards the folks at Disney/Marvel for passing his Titanic on the all-time box office scoreboard, I feel that teacher hat coming on again.  This time, it’s about vocabulary. Just to be casual this time, I’ll let the Urban Dictionary do the defining of the lexicon on the table, so follow the links.  “Shade” is not “hate,” and “hate” is not “shade.”  “Salty,” by the way, is somewhere in the middle. There are nuances to both the sincerity of comments and the reactions that those words bring about.  Know the differences and seek context from people you’re arguing with.

LESSON #4: THERE’S A $700 MILLION BLOCKBUSTER ON NETFLIX THAT YOU’VE NEVER HEARD OF— For my viewing recommendation that I end these posts lately, I’ll share buried treasure on Netflix.  Skipped by algorithms where you need to dig, China’s The Wandering Earth is a treasure chest is bigger than many movies you’ve heard of.  It’s a science fiction action film about global efforts to push our home planet out of the solar system away from a swelling sun and the pull of Jupiter’s gravity.  How, you ask? With rocket thrusters covering the whole globe. That’s sounds bonkers and aces. Eat your heart out, Michael Bay!


DON SHANAHAN is a Chicago-based and Rotten Tomatoes-approved film critic writing on his website Every Movie Has a Lesson and also on Medium.com for the MovieTime Guru publication.  As an educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical. He is a proud director and one of the founders of the Chicago Independent Film Critics Circle and a new member of the nationally-recognized Online Film Critics Society.  As a contributor here on Feelin’ Film now for over a year, he’s going to expand those lessons to current movie news and trends while chipping in with guest spots and co-hosting duties, including the previous “Connecting with Classics” podcasts.  Find “Every Movie Has a Lesson” on Facebook, Twitter, and Medium to follow his work.  (#101)

What We Learned This Week: April 28-May 4

THE 100TH EDITION OF WHAT WE LEARNED THIS WEEK

LESSON #1: SATISFACTION IS BEAUTIFUL WHEN YOU GET IT— It’s been a week and we can certainly talk about Avengers: Endgame details.  As many of the over-300 comments in our Facebook group page reaction thread will tell you, the movie delivered on its Infinity War setup, surprises of secrecy, and hype of finale performance.  Reviews big and small are overwhelmingly stellar. It’s a great feeling when a series can stick its landing.  There’s both catharsis and satisfaction to be had where a viewer will always celebrate and connect to the giving film in question.  Folks, what we have here is a rare instant classic, a movie we will be talking about and remembering for a long time from Day 1. Behind the scenes, these endearing stars, especially Robert Downey, Jr., are getting P-A-I-D.

LESSON #2: PLOT HOLES ARE PROBLEMATIC IN MULTIPLE WAYS— Some of the minority points of dissatisfaction towards Avengers: Endgame (including those from this critic) have typically cited the broad term of “plot holes.” For me, once you dive into time travel, plot holes become nearly automatic.  The question becomes at what point do plot holes matter? Which ones are worth citing and which ones are petty to complain about? Nearly a year ago, friend-of-the-page YouTuber Patrick Willems did an outstanding video testimony on plot holes and I think it’s a fitting rewatch for Avengers: Endgame.  His light side of “worry about the things that matter” is balanced by the overarching notion of “mainstreamed nerd culture” and the need to get “back to quality criticism.”

LESSON #3: PLOT HOLES BE DAMNED, ANSWERS ARE AVAILABLE— With the Endgame secrecy lifted in most places (Disney itself opens things up on Monday), the movie’s directors and screenwriters have been responding to theories and questions all over the place in exclusive sit-downs on the post-premiere press tour.   Fandango chatted with writers Christopher Markus and Stephen McFeely.  So did The New York Times.  The directing Russos talked at length in China and in Entertainment Weekly.  For me, hearing directly from the sources like this beats clickbait fan theories any day.

LESSON #4: LET’S ADD SOME NEW FAN THEORIES ANYWAY— Between the scope, importance, and even the plot holes of Avengers: Endgame, there’s room for the internet masses to apply their own guess work and prognostication.  Take the time travel as one place and hidden Easter eggs as another.  There’s even some guessing going on for who the next villain will be and when we’ll see the X-Men, despite no springboarding post-credits scenes or direct clues.  Maybe some of the big dangling ideas of Avengers: Endgame can join this Collider all-time list of some of the best and most famous fan theories.

LESSON #5: KEEP AN EYE ON UNIVERSAL PICTURES— With all the success and eyes on everything Disney, there are other power plays being made out there.  Long-time Sony producer Amy Pascal is leaving Sony for Universal Pictures.  The woman who steered the old Raimi Spider-Man boom, reignited James Bond under a new studio, survived The Interview fiasco with grace, and brought a range of successes spanning The Social Network and Spider-Man: Into the Spider-Verse is quite a get for Universal.  Sony now has a big hole to fill.  

LESSON #6: WHEN FANS MAKE ENOUGH NOISE ACTION CAN SOMETIMES HAPPEN— This week, new Sonic the Hedgehog movie coming in November debuted its first full trailer and look at the titular video game speedster.  The reactions were overwhelmingly negative. When that happens for a live-action movie, reshoots can sometimes be possible or fresh tries at editing a few tonal changes.  That’s not as simple for an animated film where that end of creative work takes years to render. Amazingly, the film’s director Jeff Fowler heard the complaints and vowed to redesign the character in time for November.  I call that ballsy and brave to say out loud.  You don’t see Disney doing that publicly after the Aladdin jeers.  Let’s see how it turns out.


DON SHANAHAN is a Chicago-based and Rotten Tomatoes-approved film critic writing on his website Every Movie Has a Lesson and also on Medium.com for the MovieTime Guru publication.  As an educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical. He is a proud director and one of the founders of the Chicago Independent Film Critics Circle and a new member of the nationally-recognized Online Film Critics Society.  As a contributor here on Feelin’ Film now for over a year, he’s going to expand those lessons to current movie news and trends while chipping in with guest spots and co-hosting duties, including the previous “Connecting with Classics” podcasts.  Find “Every Movie Has a Lesson” on Facebook, Twitter, and Medium to follow his work.  (#100)

Episode 163: Avengers: Endgame

This week we are of course talking about the final chapter in a story 10 years and 22 films in the making. We break down our reaction to this once-in-generation event, while also taking a look back at the past and contemplating the future. This is a wonderful conversation that we both thoroughly enjoyed and think you will, too.

Avengers: Endgame Review – 0:02:55

The Connecting Point – 1:31:05


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What We Learned This Week: April 14-27

LESSON #1: THERE ARE CASES WHERE FAN SERVICE IS NECESSARY— Folks, with a universe and property as big as the Marvel Cinematic Universe, we have reached a saturation point and commitment level where fan service is warranted. That’s right and here’s a paraphrase from my Avengers: Endgame review.  What some have called pandering should actually be seen as one of the many objectives in an invested and vetted blockbuster like this one. It is to a point where the course of things is thematically and tonally misaligned without those inclusions. Avengers: Endgame is unabashedly a three-hour festival of celebrating all the dream fulfillment of past and present for this deep roster of beloved characters. The wow moments come often and hit both the jaw-drop and stand-up-and-cheer levels.  Not every piece of fandom has earned that. Star Wars has and this one has too.

LESSON #2: PREPARATION IS KEY— Thanks need to go out to Feelin’ Film host Aaron White for spurring the one-movie-a-week #RoadtoEndgame.  Those rewatches since the first week of December have been outstanding for adding to the build-up and, more importantly, refreshing us to all the ins-and-outs of the MCU at it reaches its pinnacle.  If it’s too late for you to watch all 22 films before Avengers: Endgame, let our man and friend-of-the-podcast Emmanuel Noisette of E-Man’s Movie Reviews shortcut you to five must-see movies:

The movies are how you enrich your mind.  Now, you need to prepare your body. Eat a good meal before Avengers: Endgame to avoid expensive concessions and the distraction to snack.  Be mindful of your bladder power and your body will remember how it survived Titanic and six Tolkien films at the theater.  Honestly, when your mind is engaged in the movie, you won’t need a potty break.

LESSON #3: A GOOD FRANCHISE NEEDS TO CREATE A CODA— The final spoiler-free celebration note I can post about Avengers: Endgame in this column comes from the last life lesson of five from my review and it speaks to the purpose beyond the fun of fan service.  The range of the definition of “coda” can be merged into “a concluding part of a dramatic work that is formally distinct from the main structure” and “serves to round out, conclude, or summarize.” Avengers: Endgame is not a pivot point, but a grand finale eleven years in the making. True to the blueprint, it is hard to imagine a more gratifying and rewarding summit.  I wish every franchise could craft something this fitting or even have the chance to crescendo with all the energy they can muster.

LESSON #4: WHAT’S NEXT FOR MARVEL REMAINS A PLEASANT MYSTERY— Normally, thanks to the constant Disney push and bragging, we normally know every little forthcoming detail possible about their dominating calendar of coming attractions.  At this moment, a year of somewhat “radio silence” after Infinity War, you have to tip your hat to Kevin Feige and company for holds their cards close to the vest.  Sony can’t help but admit to and tout Spider-Man: Far From Home, which is regrettable, but understandable.  They have a rare blockbuster to sell. Meanwhile, Feige recently hinted at a 5-year Phase 4 MCU plan that didn’t name names, but shared the usual ambition and confidence.  Naturally, the big question remains the character acquisitions from Fox. To that question, Feige has used the vague measurement of “a very long time” as to when we’ll see the likes of the X-Men or the Fantastic Four saving the day next to the established Avengers.  Feige’s absolutely supreme planning and patience should not be questioned. He’s earned our trust that the slow play is the right play. They’ll be worth the wait.

LESSON #5: LITTLE FILMS NEED HELP— As much as we are here this weekend to celebrate the big stuff, smaller films need audience too.  When they don’t get them, a part of the industry weakens and even dies. A spotlight example of that came through the news wires this week of the cuts happening behind the scenes after Disney’s acquisition of Fox.  The Mouse House is killing off or jettisoning several unreleased Fox projects with earning potential and the bottom line in mind. It’s a creative bummer but an unfortunate reality of business. I’ve said this often in this column space: Once you start charging for tickets, this becomes a business first and an art exposition second.  Like any owner targeting profit and returns on investment, Disney is making those tough decisions. Honestly, it’s likely bad business deals that made Fox vulnerable for sale. Do better and the predicament doesn’t come.

LESSON #6: HULU’S DAYS ARE NUMBERED— As you may know, one of the components of Disney’s purchase of Fox was controlling interest in Hulu.  The remaining 30% of that stake is owned by Comcast who, according to reports this week, is in talks with Disney to broker a lucrative deal.  No matter where that bidding ends up, a dissolution in the near-future feels inevitable.  Disney, should it gain that final portion, is pushing its own brand of Disney+ as its streaming flagship.  You would think they wouldn’t push or carry two. Comcast, if they stand pat, was planning on starting their own streaming shingle to add to the marketplace since they don’t own enough of Hulu to compete.  Either way, it doesn’t look promising.

LESSON #7: THE ACADEMY IS STARTING TO WISE UP— In other distant news away from Infinity Stones and Corporate Greed Monsters, the Academy of Motion Picture Arts and Sciences actually announced a few minor changes and rulings this week that didn’t immediately make them Public Enemy #1 with the social media torches and pitchforks they were met with the last two press releases between the hosting screw-ups and the Popular Film category in 2018.  First, they affirmed their eligibility rules that didn’t take an anticipated shot at streaming services like Netflix, keeping the playing field fair.  Secondly, they showed modern wisdom with a redefined International Feature Film category and expanding their last three-nominee category (Best Makeup and Hair-Styling) to a proper and full five.  It’s refreshing to see them get a few things right. Keep it up, AMPAS!

LESSON #8: FINALLY, IF BIG, DUMB SUPERHERO MOVIES AREN’T YOUR THING, WE STILL HAVE STUFF FOR YOU— For my parting viewing recommendations this week with all things super raining down on us, I think I have just the thing for those abstaining from heroics.  Here’s a list on Ranker of the “Most Pretentious Movies Ever Made,” topped by, what else, a Stanley Kubrick film.  If those are too blunt or obvious, try this nice little selection from Taste of Cinema of ten great movies meant to challenge your intelligence, topping by Richard Linklater’s Waking Life.  Finally, here are the May additions to the Criterion Channel with choices galore!  Call these three lists counter-programming.  Enjoy!


DON SHANAHAN is a Chicago-based and Rotten Tomatoes-approved film critic writing on his website Every Movie Has a Lesson and also on Medium.com for the MovieTime Guru publication.  As an educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical. He is a proud director and one of the founders of the Chicago Independent Film Critics Circle and a new member of the nationally-recognized Online Film Critics Society.  As a contributor here on Feelin’ Film now for over a year, he’s going to expand those lessons to current movie news and trends while chipping in with guest spots and co-hosting duties, including the previous “Connecting with Classics” podcasts.  Find “Every Movie Has a Lesson” on Facebook, Twitter, and Medium to follow his work.  (#99)

MOVIE REVIEW: Avengers: Endgame

100% spoiler-free with no plot points even hinted at! AVENGERS: ENDGAME closes the book on one of the greatest film franchise achievements in history on a very high note. It is every bit the emotional experience you expect & a gratifying finale. Also, for the first time in 10+ years there is no post-credit scene so feel free to rush to the bathroom as required.

 


 

Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on the emotional experience he has with a film. Follow him on Facebook and Twitter to be notified when new content is posted.

What We Learned This Week: March 31-April 6

LESSON #1: DIGITAL CHECKOUTS CAN BE LIKE THE OKLAHOMA LAND RUSH SOMETIMESAvengers: Endgame pre-sale tickets went on sale this past Tuesday and, of course, set records on sites like Fandango and broke others.  Some folks reported ease or even went the old fashioned route of walking up to the box office window in person (where there theaters were open early) while others were stuck in virtual traffic jams. The online rush, escalating wait times, and fast sellouts were not unlike when a highly sought after play or concert goes on sale only multiplied by every city in America.  If you survived, congratulations. Go sell your tickets on eBay like some others and make some coin on a sucker or two!

LESSON #2: DISNEY IS BIGGER THAN YOU REALIZE— Feelin’ Film host Aaron White posted this excellent little piece from Cartoon Brew showing everything Disney now owns after its acquisition of 21st Century Fox.  The visual infographic is astounding:

The organization and color-coding are fantastic and informative.  If the entertainment holdings and properties inside the shape weren’t already humongous, I look at all of the little single-circle corporations on the periphery and my eyes open even wider.  I don’t know whether to be fearful, impressed, or both.

LESSON #3: SUCCESSFUL MOVIES DESERVE THE FINANCIAL REWARDS THEY EARN— Well, it’s been a month since the trolls tried to badmouth and boycott Brie Larson’s Captain Marvel.  How did that turn out?  The movie soared past the billion dollar earnings mark this week.  So much for the haters holding people back.  In the March 15th edition of this column, I called this eventual success declaring “it seems like the louder they piss and moan, the larger the amount of success and love gathers in the other direction to put the ugly folks back in their place.” I’ll say it again.  With loyalty and support like this, all toxic fandom is ever going to win is comeuppance.

LESSON #4: SCREENWRITERS NEED TO CRAFT MORE CREATIVE ENDINGS— I really enjoyed this column from Cracked by Daniel Dockery.  He calls out a dumb, repetitive ending trope we’ve been seeing far too often for a long time.  He summarizes and defines that ending as “The overwhelming enemy force is instantly thwarted via a very obvious, easily-exploited weakness.”  Dockery is dead right.  Look at A Quiet Place, War of the Worlds, Independence Day, The Avengers, Edge of Tomorrow, Mars Attacks!, Signs, and just about every Star Wars movie.  I’m sure the list goes on.  I’m with the author.  Let’s get these endings right and better.  I’m looking at you, Avengers: Endgame.  

LESSON #5: TREAT YOURSELF TO A SCREWBALL COMEDY— With Shazam! yucking it up this weekend, might I suggest staying in the comedy genre with some old classics of the genre’s purest form.  Dig through your disc and screaming sources for these gems from the 1930s listed by Netflix’s blog site.  You deserve a treat, so indulge in a few with that checklist.

 


DON SHANAHAN is a Chicago-based and Rotten Tomatoes-approved film critic writing on his website Every Movie Has a Lesson and also on Medium.com for the MovieTime Guru publication.  As an educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical. He is a proud director and one of the founders of the Chicago Independent Film Critics Circle and a new member of the nationally-recognized Online Film Critics Society.  As a contributor here on Feelin’ Film now for over a year, he’s going to expand those lessons to current movie news and trends while chipping in with guest spots and co-hosting duties, including the special “Connecting with Classics” podcast program.  Find “Every Movie Has a Lesson” on Facebook, Twitter, and Medium to follow his work.

FF+ The Wedding Guest, Avengers, Aladdin & Cats

In this week’s episode of FF+, we review Dev Patel’s new thriller as well as documentary about the amateur boxing tournament known as Golden Gloves. We also react to two new Disney trailers and then share both our own picks, and some of our listeners’, for best movie cat.

New For You 

The Wedding Guest – 0:02:31

Cradle of Champions – 0:09:53

Trailer Talk

Aladdin – 0:15:43

Avengers: Endgame – 0:21:19

In the News

Best Movie Cats – 0:28:50


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Music: City Sunshine – Kevin MacLeod

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