What We Learned This Week: December 3-9

LESSON #1: IF YOU CAN’T BEAT THEM, BUY THEM— Barring any final hang-ups, big media will be getting bigger.   The entertainment universe is abuzz with the prospect of Walt Disney buying 21st Century Fox (more than just parts or assets of it as initially rumored), a $60 billion deal that could be done as early as next week.  Word is Fox would retain its sports and news properties (dammit), but the film wing is what has folks dreaming.  Fanboys go straight to the fantasies of seeing the X-Men/Fantastic Four worlds merged with the Marvel Cinematic Universe, and I cannot blame them for those tingles. I have them too, but circle back to some of the little things we’ve seen Disney do over the course of the year (many reported in this column): the blackout of critics from certain publications, the price hikes for theater dividends, taking their ball to their own convention and streaming service, and more.  There is something to be said for healthy competition and not a one-stop shop that is the size of an empire.  For example (and I bet you didn’t know this one), buying 21st Century Fox would give Disney controlling interest in Hulu.   Combine that potential with Disney’s ESPN service and their own streaming platform coming in 2019 and Disney could have the power to squeeze the life out of Netflix like a corporate anaconda.  Plainly put, I hope the deal doesn’t go through.  If Disney wants to use X-Men and the Fantastic Four, broker a sharing deal with Fox the way they did with Sony for Spider-Man until the rights run out and the properties are free agents again.  Share and play nice together instead of bully with a takeover.

LESSON #2: SPEAKING OF BIG BUSINESS, LET THE JUSTICE LEAGUE AFTERMATH BEGIN AT DC/WARNER BROS.— I have been one of the vocal minority to tip my hat at Warner Bros. going the bolder and more adult direction with their superhero properties as an antithesis to the sunny and safe market cornered by Disney’s MCU.  They had the balls to be different.  The bottom line, unfortunately, is that even the cajones have to sell.  I wouldn’t say Warner Bros. is losing money from its DC films, but you can tell a boardroom somewhere looks at their receipt and then looks at Marvel’s receipts and sees lost earning potential.  They’re making money, but they think they should be making even more money.  Go figure.  Justice League is being seen as a business failure and a rumored producer and operational shake-up made headlines this week.  Adding salt to the wound for many (even though I saw this coming as soon as the Flash solo film was titled Flashpoint, implying the out clause for a reboot), there is strong desire to recast Ben Affleck as Batman in the future Matt Reeves-directed film.  You had to know they were going to need to go younger at some point and it’s reading this was according to plan for Affleck too.  As much as I admire their attempt to be different, I’m fine with a shake-up and some changes to normalize these characters and their potentials.

LESSON #2: “STANDARDS OF CONDUCT” ARE NOW NECESSARY TERMS TO HAVE ON THE BOOKS— The Academy of Motion Picture Arts and Sciences, the governing and voting body of the Oscars, have enacted a “standards of conduct” requiring members to “behave ethically by upholding the Academy’s values of respect for human dignity, inclusion, and a supportive environment that fosters creativity.”  In this day and age, what should be common sense for personal behavior now has to be spelled out in specifics and put into print because of how flippant and rampant those unwritten rules have been broken.  It’s never pretty to need this measure, but it’s one that should be applauded.

LESSON #3: LOS ANGELEANS ARE DIFFERENT THAN NEW YORKERS— The critics’ groups from the two largest and leading cities have spoken with their year-end award picks.   Both are trendsetters, yet both are different.  As reported here last week, the New York Film Critics Circle stumped for Lady Bird for Best Picture and Best Actress.  This week, the Los Angeles Film Critics Association went in the direction of Call Me By Your Name for Best Picture and Best Actor with equal love shown to The Shape of Water for Best Director and Best Actress.  If those three non-conformist films are your Oscar frontrunners, this is going to be a feather-rustling awards season with bold independent film leading the way.

LESSON #4: RYAN REYNOLDS HAS NOT TURNED THE CORNER FROM MAKING BAD DECISIONS–Before Deadpool resurrected his career, Ryan Reynolds could not have put together a trashier resume if he tried.  Just when you thought being enlivened striking gold with the “Merc with a Mouth,” here he goes signing on to be the lead voice in a Pokemon movie named Detective Pikachu.  Come on, man.   You’re back.  You’re better than that crap now.  Did you not learn your lesson? Stick to the good stuff, Ryan.

LESSON #5: QUENTIN TARANTINO’S INVOLVEMENT WILL EITHER BE FUN OR A HOT MESS— News bounced around this week that J.J. Abrams and Quentin Tarantino are meeting to hash out some ideas for a Star Trek film.  Word around the campfire is Tarantino pitched an idea to Paramount and Abrams they thought was awesome and now the two filmmakers are putting together a team of writers to develop the screenplay.  If all goes well, Tarantino, a self-professed Trekkie since the original TV show, could also direct.  Follow-up word says that an R-rating has been given a green light.  I don’t know what to think about that potential.  I don’t think you need profanity and R-rated violence in a Star Trek film, in any shape or firm.  Would it spice things up?  Sure, but it’s out of character, even for this rebooted universe.  I’ll grant that Tarantino has panache like no other.  He could take an old TV episode premise like “City on the Edge of Forever” and jazz it up well for the big screen.  However, unchecked Tarantino is silly and excessive when not reined in.  I’m glad other screenwriters are involved to keep the chatty Cathy Tarantino grounded.  Hire a crack editor while they’re at it to keep it from being a 170-minute yak-fest.  I don’t see a middle ground between awesome and disaster when it comes to a guy like Quentin.

LESSON #7: THIS IS YOUR LAST WARNING FOR STAR WARS: THE LAST JEDI SPOILERS— Folks, next week is the week.  It’s finally here!  Star Wars: The Last Jedi!  I humblebragged this week that I have yet to watch the supposedly spoiler-ish final trailer and I’m pleased as punch that I made it this long.  If you’re avoiding stuff like me, be ready for radio silence next week right around Tuesday morning (hint, hint).  Be cool.  Don’t be a troll.  Don’t ruin it for people.  I promise a spoiler-free review, as always.

DON SHANAHAN is a Chicago-based film critic writing on his website Every Movie Has a Lesson.  As an elementary educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical.  As a contributor here on Feelin’ Film, he’s going to expand those lessons to current movie news and trends.  Find “Every Movie Has a Lesson” on FacebookTwitterMedium, and Creators Media.


Episode 085: Justice League

Andrew B. Dyce of Screenrant joins the fellas for some discussion on the newest entry into the DC Extended Universe.  This conversation covers the positives and negatives of our Justice League experiences, and we also give our take on the DECU’s progress thus far. Having Andrew on the show always results in insightful chat so give it a listen and let us know what you think!

What We’ve Been Up To – 0:01:51

Aaron (Three Billboards Outside Ebbing, Missouri and Wonder)
Patrick (The Death of Superman / A World Without Superman)
Andrew (#MarthaWatch2017, The Punisher on Netflix)

Justice League Review – 0:23:25

The Connecting Point – 1:48:16


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MOVIE REVIEW: Justice League

Justice League (2017)


The lead up to Justice League has been at times joyful to witness, and at others incredibly frustrating. Zack Synder’s DCEU has plenty of loyal fans defending its dark tone, but legions more who seem to prefer the more comedic and light-hearted nature of the Marvel Cinematic Universe. As a big fan of all previous DC comic book films not named Suicide Squad, I can’t help but find myself in the former category. I have thoroughly enjoyed Snyder’s willingness to go deeper into the psyches of his characters and despite not loving every casting choice or action sequence, my overall response to the DCEU has been highly positive. While I mostly prefer solo superhero films, this initial team-up of the Justice League does have me very excited. The fanboy in me is really hoping for a Green Lantern appearance. I’ll also admit that I am a bit concerned about the Whedon script doctoring that occurred after Snyder took a hiatus due to the terrible tragic loss of his daughter. My hope is that Synder’s tone is not completely replaced by a focus on humor and lack of stakes.


Well, consider me surprised. All of that Joss Whedon rewriting that I was concerned about? Totally worked. In fact, the film holds together well with two distinctly different tones flowing throughout, even if the difference is always noticeable and occasionally distracting. Whedon’s dialogue is mostly a hit, and especially so when it comes out of the mouth of The Flash (Ezra Miller). Flash provides us with the quippy nature the MCU has embraced, but it works because only one character is a goofball and not all five. The team dynamic is great and consists entirely of unique personalities. Aquaman (Jason Momoa) is a strong and powerful, independent bad-ass living the life of a loner but with a heart of gold. Cyborg (Ray Fisher) is brooding and angry, certain his new form is a curse. Batman (Ben Affleck) has renewed hope in humanity, regret over Superman’s death, and wants to save the world, while Wonder Woman (Gal Gadot) follows-up her strong solo debut with a nice little arc of her own about what it means to be a leader. Truly, what Justice League really has going for it most is the cast chemistry. The relationship between Cyborg and Flash really stands out. These two “accidents” have a lot in common and are both discovering and coming to grips with their powers together, along with slowly developing trust and a friendship.

Its rather miraculous that Whedon’s humor and light-heartedness intertwine with Snyder’s serious storyline so easily. This is still a superhero universe with a lot at stake, where humans die and superheroes are vulnerable. But the dialogue works by delivering moments of levity instead of turning the film into a comedy. Justice League does bring up philosophical questions and ideas that carry over from previous films, too. In doing so, it balances those heavier topics with the epic sense of fun that we should get from reading or watching superheroes in action.

When it comes to the action, it’s vintage Snyder all the way. Fast cuts with explosive visuals and some well-timed slow motion feature prominently. I was worried that the movie might have a serious fake CGI look to it, but surprisingly it didn’t bother me at all. The majority of the action sequences are moving so fast that it’s hard to get a good handle on what’s going on, however, there are a few stand-out scenes – most of them involving Wonder Woman in some capacity, and that’s never a bad thing.

The film isn’t perfect, though. The opening scene and early setup feels rushed and incohesive. Once the team is together everything feels great, but getting there is just a little clunky. The villain is also not particularly memorable, although I did enjoy him more than previous DC baddies. His personality was lacking but the action involving him was a lot of fun, and he conveys a sense of otherworldly strength that was necessary for us to believe in the threat he poses.

One last thing to mention is that the film has two very good GREAT post-credit scenes. One right after the film ends and another all the way at the very end of the credits. They are both worth waiting for. Do not miss these. The final one, especially, is textbook for how a post-credit scene should be done.


Justice League endured a lot of changes during its production and the result is a film that has glimpses of greatness but never quite reaches that plateau. Still, the film balances its dual tones just fine and manages to provide well-rounded character development  for the whole team. Ezra Miller steals the show as The Flash and team chemistry, in general, is a big highlight. A movie doesn’t have to be perfect to entertain, and Justice League does plenty of the latter. It is a joy to see these heroes together on the big screen and many emotions were felt. My prevailing thought when walking out of the theater with a huge smile on my face was simply,  “I want more,” and that happiness is a big relief.


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 how his expectations influenced his experience. Follow him on Facebook and Twitter to be notified when new content is posted.

What We Learned This Week: August 20-26

 RETURNING FROM SUMMER VACATION: I take two weeks off and all hell breaks loose!

LESSON #1: “MANSPLAINING” IS NEVER ENDEARING OR RESPECTFUL— For a guy who has fostered one “Strong Female Character” after another, including two of the greatest in Sarah Connor and Ellen Ripley, James Cameron sure missed the big picture of Wonder Woman.  In an interview with The Guardian (full context), the Titanic filmmaker stated “All of the self-congratulatory back-patting Hollywood’s been doing over Wonder Woman has been so misguided” and adds “She’s an objectified icon, and it’s just male Hollywood doing the same old thing! I’m not saying I didn’t like the movie but, to me, it’s a step backwards.”  Well now, Mr. Pott.  What color is the kettle?  Mr. Cameron is entitled to his opinion and slant (the film is far from perfect), but the fun thing is we all get one too.  Don’t worry Wonder Woman director Patty Jenkins dropped the mic on him with this commandingly brilliant tweet:

LESSON #2: MOVIEPASS MAY HAVE FINALLY FOUND AN ATTRACTIVE PRICE POINT— Mitch Lowe, the co-founder of Netflix, made tsunami waves recently with a ballsy new business model for the mildly-received MoviePass program.  Reducing the $15-50 per-month rate with plenty of fine print and red tape for a tidy $9.95 fee with new fine print and red tape looks like a steal.  However, will customers buy-in and, more importantly, will theaters play ball at taking a possible haircut?  The AMC Theatres chain (more on them later) immediately pushed back threatening legal action and downright banning MoviePass customers.  You have to love that $10 price point, but how useful is it if the theater companies in your area don’t take it?  Compromise is needed.

LESSON #3: ALONG THE SAME LINES, THE VIDEO ON-DEMAND MARKET IS STILL TRYING TO FIND THEIR PRICE POINT— Some of you might remember that six years ago Universal Studios initially planned to release their tentpole Tower Heist on premium VOD for $59.99 three weeks after its theatrical release with the goal of putting more money in their pockets instead of splitting it with movie theaters.  The notion was met with instant boycott and dismissal (much like the film itself) and the studio backed off.  Here in 2017, media giants Comcast (parent company of Universal), Amazon, and Apple are all developing a new VOD delivery system that will put top-shelf movies out for rental 30-45 days after their theatrical debuts at a $30 price level.  Even with $30 being substantial savings compared to hauling an average family of four to the cinema, that price point still doesn’t work if the digital download and Blu-ray/DVD release windows of $20 permanent ownership (not a temporary rental) keep dramatically shrinking like they have been for a few years.  What used to be an industry-standard of six months or more between silver screen and small screen has been cut in half.  May theatrical releases like King Arthur: Legend of the Sword and Guardians of the Galaxy Vol. 2 have arrived on August store shelves.  Why wait a month for a single high-priced rental when you can wait three and buy it for keeps for a lesser price?  I don’t see the viable premium VOD marketplace for average tight-budgeted blue collar consumers out there (and that’s not even taking into account the piracy market looming over anything VOD related).

LESSON #4: SURPRISE, SURPRISE!  DISNEY IS OUT TO MAKE ITS OWN MONEY WITHOUT PARTNERS— When you make billions hand over fist, you get to call the shots or, better yet, go out make your own game.  The Walt Disney Company will pull its lucrative movies off Netflix and launch its own branded streaming subscription platform in 2019.  They don’t need Netflix when they have the clout and fanbase to create their own exclusivity and keep all the money.  I can’t say I blame them and I stand by my prognostication from earlier in the summer for the day Disney/Marvel pulls out of San Diego’s Comic-Con and lets their own D23 be the one-way fan access point to that frenzy.

LESSON #5: NETFLIX IS NOT INVINCIBLE— From the outside looking in, casual observers (and this very column) have been exceedingly impressed by Netflix’s huge push in creating their own original television and film content.  They have thrown tremendous resources with the aim of attracting more customers and now have the $20 billion of debt to prove it.  Subscriptions are up an astounding 25% since last year, so the gamble is working, but how long can a company like that sustain those spending habits on top of Disney pulling out?  Expect an investment bubble to burst in some area (licensing fees with the studios) and, naturally, a raise in subscription rates passed onto us very soon to recoup that debt.

LESSON #6: HAS THE SLOW DEATH OF THE MULTIPLEX BEGUN?— Options like MoviePass, VOD, and Netflix have not come close to creating a new entertainment access monopoly large enough to overtake the big screen marketplace.  That said, even with price point challenges and debt issues, have the little dents and pin pricks started to add up to true damage?  I, for one, am beginning to at least wonder.   Blockbuster fatigue, thanks to poor performing duds like The Mummy, have taken their toll on consumer spending and confidence.  Multiple business outlets broke the news that AMC Theatres took a dramatic second quarter loss (and is staring at a third quarter one coming) that caused shares to fall 40% since the beginning of August.  The overall American box office is down a scant 4.4% from last year.  If that’s all it takes to financially wound one theatre chain, how are the other ones doing?  How are they sustaining 20+ screen multiplexes hawking bargain attempts and hokey incentives only to still sit empty on weeknights against growing operating costs?  I bet they’re not doing much better than AMC.  I have to think some form of internal, yet dramatic, contraction is coming.  Movies survived the invention of television.  They will survive digital and device shifts, but not without a shift or two of their own.

LESSON #7: I DON’T KNOW WHAT WARNER BROS. IS DOING WITH THE DC CHARACTER FILMS AND I DON’T THINK THEY KNOW EITHER— Spinning off of Wonder Woman‘s success as the #1 earner of the summer, Warner Bros. has the ambitious DC Extended Universe schedule of Justice LeagueAquaman, ShazamWonder Woman 2Cyborg, and Green Lantern Corps locked on the calendar through 2020.  It’s the slate after that has created a flurry of questions this week.  Matt Reeves made it known that his The Batman will be a standalone film outside of the DCEU and spread gasoline-dipped rumors of Ben Affleck being out at the Caped Crusader.  The WB brass then added the dreamy Martin Scorsese/Todd Phillips team-up announcement of a spin-off Joker solo origin story film without Jared Leto and on its own.  Confounding us even more a day later, the studio reveals they are concurrently planning a Joker/Harley Quinn film starring Leto and Margot Robbie that will be within the DCEU.  What is all this?!  Is Warner Bros. admitting defeat at building a Marvel-like universe and course-correcting to make focused films or are we watching greedy, hubris, and befuddlement? If so, why carry both? This DCEU timeline is going to start looking a clue board spider-webbed with red yarn from a police procedural or a Charlie Day meme.

LESSON #8: EWAN MCGREGOR OR NO ONE— I’ll bring the first fanboy torch and pitchfork to Disney’s announcement of an Obi-wan Kenobi solo anthology film coming in the near future.  Cast Ewan McGregor or no one at all.  After the flop of Alden Ehrenreich requiring an acting coach for Han Solo, cast some damn proven talent.  Call it stability as much as you call it justified fan service.

LESSON #9: LOOK TO ITALY AS THE OSCAR SEASON STARTS NOW— The prime third quarter film festival season kicks off with the prestigious Venice Film Festival beginning on August 30th and the top-shelf Toronto International Film Festival starting on September 7th.  The lineup in Venice includes first looks at Alexander Payne’s Downsizing, Darren Aronofsky’s Mother!, George Clooney’s Suburbicon, Guillermo del Toro’s The Shape of WaterJudi Dench’s crown in Victoria and Abdul, and the Redford/Fonda reunion Our Souls at Night.  I’ll share the killer TIFF lineup next week.  Get your coffee mugs ready to receive a pouring of Oscar buzz!

DON SHANAHAN is a Chicago-based film critic writing on his website Every Movie Has a Lesson.  He is also one of the founders and the current directors of the Chicago Independent Film Critics Circle.  As an elementary educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical.  As a contributor here on Feelin’ Film, he’s going to expand those lessons to current movie news and trends.  Find “Every Movie Has a Lesson” on Facebook, Twitter, Medium, and Creators Media.

What We Learned This Week: June 25-July 1

LESSON #1: DON’T BUY THE DOOM AND GLOOM PRETENTIOUS PEOPLE ARE PUTTING ON ROTTEN TOMATOES AND NETFLIX— It feels like every week someone wants to pit the fans versus the critics and forget that critics are fans too.  This week it was a piece in Forbes.  Let me put this as simple as I can.  Reviews don’t make people pull money out of their wallet.  Products of interest do.  The content always sells itself first.  The frosting of random measured approval is second.  I will continue to be in the “want a better RT score, make a better movie” camp.  As for Netflix, people are forgetting about the huge access it grants independent films and documentary films.  Films like Okja this week wouldn’t get a puncher’s chance at the crowded multiplexes in this country.  A platform like Netflix lets it be everywhere.  In addition to being that kind of pedestal, the ability for audience buzz through binge and repeat viewing is something a theater cannot improve for a film.

LESSON #2: IF YOU REALLY NEED A NEW PLACE TO READILY AND AFFORDABLY ACCESS FILMS, HEAD OVER TO YOUR LOCAL LIBRARY— I’m not an avid reader, but I still frequent my local library through my children.   Especially if your library is part of a larger county or state system of shared material, the completely free access to both popular and hard-to-find movies is outstanding.  Before you pay that Redbox price with a time limit, a 24-hour Video On Demand rental, or even a full subscription to something like Netflix, Hulu, or Filmstruck, consider what you can mine and discover for free.

LESSON #3: SOUNDTRACKS CAN MAKE A MOVIE— There are films with cool soundtracks and then there are cool films with cool soundtracks.  The trick is not just having a cool soundtrack but using it to its fullest extent as a supporting layer of a film.  No movie in recent memory does that better than Edgar Wright’s Baby Driver.  That film isn’t throwing obscure tracks and deep cuts in there for indie cred.  Each song is purposely piece of the storytelling and the effect is genius.  See and hear Baby Driver at your earliest convenience on the loudest movie screen you can find.

LESSON #4: LET DIRECTORS DIRECT— I encountered a great deal of double talk this week on many fronts that all talked about directors and led me to this lesson’s title.  First, The Beguiled‘s Sofia Coppola is getting flack for not including a slave character or addressing the politics of the Civil War in her auspicious remake landing in theaters this weekend.  Right off the bat, she’s the writer and director and deserves to make those calls for the vision she wants to create, period.  I’ve seen the film.  The slavery angle or more men are not what the film is missing.  Look at the material.  The “whiteness” is the part of the point.  Next, I don’t know what to make of the coming new direction of Warner Bros. under Toby Emmerich when it wants to avoid hiring “auteur directors who want final cut.”  Do they realize they just hired and leaned on Joss Whedon, who had that final cut trouble with Marvel, to save one of their films?  Do they not look back at their biggest critical successes this century and not see names like Clint Eastwood, Ben Affleck, and Christopher Nolan attached the end of the credits?  I get trimming budgets, but don’t clip the wings of the incredible people you’ve hired.  Tinker as a studio too far and people like Eastwood and Nolan are going to stop working with you and then you’ll get the “bad for business” label, Toby.

DON SHANAHAN is a Chicago-based film critic writing on his website Every Movie Has a Lesson.  He is also one of the founders and the current directors of the Chicago Independent Film Critics Circle.  As an elementary educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical.  As a contributor here on Feelin’ Film, he’s going to expand those lessons to current movie news and trends.  Find “Every Movie Has a Lesson” on Facebook, Twitter, Medium, and Creators Media.