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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Intro/Outro Music – “Air Hockey Saloon” by Chris Zabriskie

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MOVIE REVIEW: Justice League

Justice League (2017)

GOING IN

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.


COMING OUT

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.

Verdict

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.

Rating:


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.

Episode 080: The Princess Bride

It is inconceivable to us that The Princess Bride turns 30 years old this year. This classic is cemented into pop culture, known for its memorable dialogue. Surprisingly, we manage not to turn this episode into a quote-a-long (although it was pretty tempting). We do, however, find plenty of themes to discuss – like friendship, revenge, and (of course) true love. It is an extra special treat to talk through one of our favorite films of all-time and we think you’ll enjoy this one.

What We’ve Been Up To – 0:02:07

(Aaron – Star Wars)
(Patrick – Monument Valley)

The Princess Bride Review – 0:19:35

The Connecting Point – 1:11:53

Contact


Join the Facebook Discussion Group

Download this Episode


Intro/Outro Music – “Air Hockey Saloon” by Chris Zabriskie

Support us on Patreon & get awesome rewards:

or you can support us through Paypal as well. Select the link below and make your one-time or recurring contribution.

Rate/Review us on iTunes and on your podcast app of choice! It helps bring us exposure so that we can get more people involved in the conversation. Thank you!

Episode 079: Blade Runner 2049

For the second week in a row we’ve got replicant fever and are trying to answer that nagging question, “Do androids dream of electric sheep?” Blade Runner 2049 inspires us to honor its epic length with some extended conversation of our own. There is plenty to discuss in the incredible new film from Denis Villeneuve so join us for an in-depth journey as we explore the film’s emotional and philosophical impact on us.

What We’ve Been Up To – 0:02:14

(Aaron – My Little Pony: The Movie)
(Patrick – Clue)

Blade Runner 2049 Review – 0:19:05

The Connecting Point – 1:34:45

Contact

Join the Facebook Discussion Group

Download this Episode 


Intro/Outro Music – “Air Hockey Saloon” by Chris Zabriskie

Support us on Patreon & get awesome rewards:

or you can support us through Paypal as well. Select the link below and make your one-time or recurring contribution.

Rate/Review us on iTunes and on your podcast app of choice! It helps bring us exposure so that we can get more people involved in the conversation. Thank you!

Feelin’ TV: May 29-June 4

Expiration dates can be a good thing. If cows didn’t gently whisper the use by date of their milk into the ears of dairy farmers, we’d regularly be pouring chunky liquid onto our Frosted Flakes. We’d never know when to throw out sour cream. We’d neglect to change the oil in our cars and destroy our engines. We’d have human sacrifice, cats and dogs living together, mass hysteria…but I digress. While television dramas that adhere to the old school case of the week style story structure can continue in perpetuity, some dramas need expiration dates. Dexter is my go to example of this. Much of seasons 1-4 were as good as anything on television. But it was getting less and less plausible that Dexter wouldn’t be caught every minute of every episode. Had the show-runners and the network agreed that Dexter would end after season five or season six, it might have a place in the conversation about best TV shows of the 00’s. Instead, because of viewership numbers, Showtime squeezed every last bit of creative juice from Dexter’s orange and just kept squeezing until they had four more seasons of utter garbage that spoiled the first four seasons by association. In contrast, well thought of shows like Breaking Bad and Mad Men set expiration dates for themselves, allowing the creators to focus their storytelling on their eventual end game. The Leftovers and The Americans have done this and produced some of their best episodes since. While it makes me sad to think that there’s only one episode of The Leftovers and one season of The Americans to go, I appreciate the decision knowing that I’ll see quality storytelling written with the end in mind.

House of Cards needs an expiration date. Don’t get me wrong. I love House of Cards. This has been said a lot about a lot of different actors, but I would actually pay money to sit and watch Kevin Spacey read the phone book in character as Frank Underwood. Robin Wright is bone-chilling as the cold and calculating Claire. Michael Kelly is creepy as hell as the ruthlessly loyal Doug Stamper. Season five, which dropped on Netflix last week, even adds Campbell Scott and Patricia Clarkson to the mix as a pair of DC power-brokers with ambiguous motives, and predictably, they’re fantastic. There’s a lot about season five that I really enjoyed. Unfortunately, so much of the narrative feels meandering and aimless. Thankfully, the final two episodes snap the story into focus and give me hope for a possible season six, but I can’t imagine that the Underwood’s story has much more than one season left in them if they want to remain interesting. The first three seasons of the show were so riveting as Frank and Claire schemed and lied and bribed and murdered their way into the White House that the last two, while still fun, paled in comparison. If you haven’t gotten to it yet, I’m not at all saying that season five was bad. I enjoyed it quite a bit. I just don’t know how much I’ll continue to enjoy it in the future if subsequent seasons don’t have the end in mind.

In other news…

• “Just when I thought I was out, they pull me back in!” I’ve already mentioned The Americans briefly above, but I wanted to take a moment to applaud the show on the completion of a tight, concise, riveting and gut-wrenching season. It looked like the Jennings family might be on the way out of the game, but as Phillip and Elizabeth find out, it’s not an easy game to quit. The finale was chock full of nice little character moments that I appreciate the show taking the time to recognize. Paige effectively saying her goodbyes to Pastor Tim, Martha being given the chance for some happiness in her new home, the entire montage set to Elton John’s “Goodbye Yellow Brick Road” and Phillip’s moment of decision about what to do with the intel that is going to keep him from doing what he wants are all given the time they need to breathe even though there’s a lot of business to get down to. All that was missing was Oleg, whose stories haven’t always interested me but whose situation I’ve found to be quite intriguing this season. As the Jennings’ begin to hear about the cracks in their idealized homeland of 1980’s Soviet Russia, there’s something that resonates with this 2017 American too. We’re seeing with Oleg’s story that as the differences between the living conditions of the rulers and the ruled widens, the ruled are less concerned with the consequences of showing their disdain for the systems that oppress them. In the past year or so, we’ve seen the kind of change that this sort of awakening can produce. As for me though, I much more enjoy watching the Jennings family than I enjoy watching the news. At least when it comes to their homeland, I know how the story ends.

• It was hard for me to think about the series finale of Damon Lindelof’s HBO series The Leftovers without thinking about the finale of his similarly themed show, ABC’s Lost. I was a big fan of Lost until that finale, at which point I became rather annoyed that I had ever watched the show at all. The problem with Lost was that it asked lots of questions and the implication was, both in the show and through interviews with the show’s creators, that it was going to eventually provide the answers to those questions for viewers. What ended up happening was, instead of providing the answers to five seasons of questions, the sixth season simply concerned itself with asking its own questions and answering those, leaving a lot unresolved. Looking back on that finale that aired in May of 2010, it would’ve been nearly impossible to pull off a satisfying conclusion to the story because there was simply too much ground to cover. It’s an interesting contrast to The Leftovers, a show that raised a whole heck of a lot of questions but, to its credit, never promised answers to any of them. Answers were not what the show was about. What The Leftovers turned out to be was a character study about how people cope when there aren’t any answers to be found. While there’s probably plenty of intrigue that could be mined from finding the answers to the questions that would arise if 2% of the world’s population suddenly disappeared, Lindelof and Tom Perrotta (the writer on whose novel the first season was based) chose to take the route of telling smaller, more personal stories of a few of the people who were left behind. There was some really, really weird stuff going on in the post-Great Departure world. It was stuff that if I really thought about it, I’d want to have its purpose explained to me. But people do weird things when they don’t have answers to the tragedies that occur in their lives, and The Leftovers is better for deciding to be concerned with those people and not the circumstances that caused or led to the tragedy. In that way, it would’ve been almost impossible for me to be disappointed with this week’s finale, and indeed I was not. In fact, I’d consider it among the best series finales that I’ve ever seen. From the opening moments with Nora (Carrie Coon) and Matt (Christopher Eccleston) doing Mad Libs (sorry, Matt Libs) by the sea to the final comforting images of two characters assuring each other that in a world where nothing is certain, they can be certain in their belief in each other. Alan Sepinwall wrote a long, detailed and spoiler filled review of the finale and the show itself over at Uproxx. If you’re a fan of the show, I suggest checking it out.

Thanks to the people who have given me a few suggestions about some things to watch while most shows are on hiatus in July and August. I’ve almost gotten through 2 seasons of Luther this week upon the recommendation of Phillip, a loyal reader and regular participant on our Facebook page. Other shows on the docket are The Goldbergs, Halt and Catch Fire and at some point, I’m going to have to catch up with the latest season of Orphan Black that recently became available on Amazon. What am I missing? Give me your suggestions in the comments or on Facebook.

Next week we’ll cover Fargo and Better Call Saul more in depth as both have moved the pieces into place for exciting ends to their seasons.

Episode 061: Wonder Woman

We go for the team-up this week by calling in Andrew Dyce for this special episode on DC’s newest entry into their comic book film universe. Wonder Woman let into theaters shouldering an enormous weight as the first female-directed and led superhero movie. Not only has it garnered incredible financial success in its first weekend, but it has received overwhelming praise as something fresh, new, and necessary. We dig into the film and have a great conversation about its themes and importance to the future.

What We’ve Been Up To – 0:01:52

(Aaron – You’re Next)
(Patrick – The Last of Us)
(Andrew – American Gods/Twin Peaks: The Return)

Wonder Woman Review – 0:21:14

The Connecting Point – 1:40:04

Contact

Download this Episode 


Intro/Outro Music – “Air Hockey Saloon” by Chris Zabriskie

Support us on Patreon & get awesome rewards:

or you can support us through Paypal as well. Select the link below and make your one-time or recurring contribution.

Rate/Review us on iTunes and on your podcast app of choice! It helps bring us exposure so that we can get more people involved in the conversation. Thank you!