What We Learned This Week: July 22-28

Posted on by everymoviehasalesson.

LESSON #1: YOU ARE THE CURATOR OF YOUR OWN SOCIAL MEDIA— Boy, oh boy, the lessons that spin out of the James Gunn dismissal and Twitter developments could fill this column for hours.  First, I must properly renew my applaud to our highly responsive and active Facebook group for the civil and engaging conversation when this story broke mere hours after WWLTW was already published for last week.  For me, the top lesson moving forward from all that happened is this one rooted in responsibility. Trolling or not and joking or not, celebrity or commoner, your name is assigned to your social media personas and presences. No one controls that content but you. There is no “must be the curator.” You “are” the curator. Act as if you are saying those words to people’s faces. Speak with context and think before you click the send button, because what you post leaves tracks. It doesn’t go away easily. You must control the message, from posted public content on down to privacy settings and who you allow in your circle. Get disciplined and clean up your act.

LESSON #2: HYPOCRISY IS A SHORT STEP AWAY FROM PRUDENCE— Though I may disagree with their firing, I get where Disney is coming from. They have an image to maintain, but they have turned a blind eye for years. Disney bankrolled Harvey Weinstein’s Miramax shingle for years. Robert Downey, Jr.’s legal rap sheet has more convictions than Gunn’s zero, but heaven forbid the fire their cash cow star.  Are we going to see revisionist history apologies or retroactive action on those two examples or that dozens of others? Not likely, which is why a studio like this turning over a new leaf is a good and prudent thing for the future, but it is still very damning when the past isn’t handled or at lest addressed.  This all could have been handled better without the caving to political wackos.

LESSON #3: DIRECTORS HAVE EARNED THE POSITION TO BE IN A FIGHTING MOOD— Even before the James Gunn headlines added butthurt political naysayers to the list of public enemies, the recent pushback against toxic fandom was already firing up talented filmmakers.  Before his own pickle, Gunn himself jabbed that hurtful fans of the bullying internet variety need to “go to therapy.”  Zack Snyder, and even Michael Bay, have never been shy about standing by their work.   Logan and Walk the Line director James Mangold, who recently threw his hat in the Star Wars ring by signing on to helm a Boba Fett standalone film, berated the buzz in a tweet that connecting the calls for blasphemy and emotional overload to the studios hiring “hacks” instead of bolder minds.  The same landscape not-so-jokingly “cured” Mission: Impossible series director Christopher McQuarrie from ever wanting to direct a Star Wars film.  In my eyes, these examples are not being thin-skinned against criticism.  These kinds of statements of strong words against the paying customers are rooted in demanding and respecting artistic integrity, something the selfish sect of moviegoers don’t properly understand.  I, for one, support the hell out of these public displays of spine.  I wish more did the same.

LESSON #4: GET OFF YOUR BUTT AND DO SOMETHING ACTIVE— This lesson is a combination of positive and negative recent examples surrounding the summer movie season.  The core message is to get out and have a physical outlet away from fantasy and escapism.  On one hand, the “get a life” and “go to therapy” clapbacks to the toxic fanboys is an indirect call to them to have something else fulfilling in life other than movies and entertainment.  Excellent counterexamples have appeared this summer at the movies between Tag and Uncle Drew and the idea of “play.” My Chicago colleague and Consequence of Sound film critic Clint Worthington richly outlined this psychology in highly recommended little editorial read published on Crooked Marquee.  I love the underlying messages from Clint’s article and the movie examples.  Put down the screens.  Get off the couch.  Get out of the movie theater air conditioning.  Go outside.  Get together with friends in person instead of virtually and have interpersonal activity and collaborative fun.  Simply put, go play.  It’s summer.  Get some exercise and get better juices flowing than those that come from sitting down and watching some thing you’ve seen a hundred times.

LESSON #5: THE DEAL IS DONE— The two largest official steps of have cleared in the deal of the century.  Shareholders of both 21st Century Fox and the Walt Disney Company approved the $71.3 billion takeover deal on Friday morning.  That follows the approval from the U.S. Department of Justice.  No more red tape exists, only transitional preparations.  Folks, the reality is official real.  It’s officially OK to start all that click-bait fan casting of Fantastic Four, X-Men, and more.  Deeply suspicious campfire rumors are bubbling up that substantial fix-up work may already be necessary on the two upcoming Fox/Marvel films The New Mutants and X-Men: Dark Phoenix. Uh oh.  We knew speedbumps were possible.  Hang tight.  It could be worse.  Could you imagine the kind of image and tone cleanup Marvel would have to apply to the DCEU if they bought Warner Bros.?!  Great googa-mooga!

 

DON SHANAHAN is a Chicago-based film critic writing on his website Every Movie Has a Lesson and also on Medium.com where he is one of the 50 “Top Writers” in the Movies category.  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.  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.

What We Learned This Week: July 15-21

Posted on by everymoviehasalesson.

LESSON #1: EVERY AMERICAN TEENAGER AND THEIR PARENTS NEED TO SEE BO BURNHAM’S EIGHTH GRADE— Dropped jaws, bashfulness, winces, worries, and all, this dynamite film needs to be required viewing for the teens out there, especially girls, of these complicated and confusing present times. And the people that should be joining them in the next closest seats are their parents who need their eyes and hearts opened as well. Adults, you can engage and empathize easily with its challenges. It goes both ways to mend a “we don’t know them/they don’t get us” valley of separated understanding between parent and child.  A wise and willing audience for Eighth Grade knows and accepts two truths. First, that social challenges in real life could be, and often are, worse than a movie shows, and, second, those same apprehensions absolutely have the ability to get better for all involved with maturity and, again, efforts towards engagement and empathy. That’s where the conversations about this movie need to go.  There are life lessons for days out of this movie.  

LESSON #2: DENZEL WASHINGTON IS THE BEST TEACHER OF MANNERS – When Denzel Washington is involved, you know one powerhouse speech is coming every movie. Unlearned critics of the actor say he plays the same altruistic anti-hero in every film lately. If they say that, those amateur tone police officers only hear Washington’s volume and aren’t listening to his words or read his actions in between the speeches across the many different shades of characters he plays, from football coaches and disgraced cops to failed fathers and this vicious vigilante. In The Equalizer 2, Washington reels off a topical and poignantly corrective rant for the ages about manhood, gangs, and guns. If the aggressive theatrical combat didn’t already amp you up, soul-rattling and truth-telling moments like that one will rouse you in the best possible way.

LESSON #3: ALL EYES THIS WEEKEND ARE ON SAN DIEGO— Newswires buzz with headlines as long as the lines to get into Hall H on a Saturday at the annual Comic-Con in San Diego.  Disney/Marvel might be playing it low-key this year with its post-Infinity War radio silence and deep-down desire to do their own convention for their own earnings, but that doesn’t mean there will be a shortage of breaking news, new trailer drops, and the building of buzz.  As the resident “No Trailer Guy” of the site, this is a blessing and a curse of great news and tantalizing temptation. We should have a great deal more to talk about this time next week.

LESSON #4: THE COMPETITION HAS BLINKED AND VICTORY IS A MATTER OF TIME— Word came through Thursday that Comcast retracted its counteroffer to buy 21st Century Fox, leaving Disney’s bid competition-free for approval.  Comcast’s exit puts all those fanboy dreams (combined Marvel properties), tears (the death of a major brand and its history), and fears (streaming takeovers and squashes) one step closer to reality.  This has been quite the story to watch and it’s going to get bigger as things progress.

LESSON #5: REPRESENTATION IS GOING TO KEEP MATTERING— Last week, it was the Scarlett Johannson vs. the Transgender Community throwdown s–tstorm.  On a smaller and less noisy level, IndieWire had an interesting counterpoint piece written by Jenna Marotta recently about actors with disabilities being able to play their own parts instead of putting the likes of Joaquin Phoenix in a wheelchair for Gus Van Sant’s Don’t Worry He Won’t Get Far on Foot or removing one of Dwayne Johnson’s legs with CGI for Skyscraper.  The slippery slope gets more slippery.  On one hand, the article presents its point solidly in that greater and truer representation through casting is absolutely beneficial.  In the other, artistic vision, freedom, and integrity for filmmakers to make the movies they want with the people they want, especially for the business and marketing ends, will be challenged.  Compromise must be sought because this push for representation isn’t going away.

LESSON #6: YOU KNOW, MY BIRTHDAY IS RIGHT AROUND THE DATE OF THE 75TH VENICE INTERNATIONAL FILM FESTIVAL— If anyone wanted to know a little something to get their favorite Feelin’ Film columnist (and like fourth favorite film critic) for his upcoming 39th birthday, I know just the thing.  That would be a plane ticket to Venice and pass to see the newly announced world premiere of Damien Chazelle’s First Man.  The director’s La La Land follow-up should fire up the Oscar season and, by going to the prestigious Venice International Film Festival, it will get the jump on the vaunted Toronto International Film Festival by a few months.  Smooth move, Damien, and a please, please, pretty please to those with deep pockets and a giving heart to hook your guy up.

DON SHANAHAN is a Chicago-based film critic writing on his website Every Movie Has a Lesson and also on Medium.com where he is one of the 50 “Top Writers” in the Movies category.  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.  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.

Episode 117: Ant-Man and the Wasp

Posted on by thisispatch.

This week we are covering the sequel to the 2015 hit, and one of Aaron’s favorite Marvel characters, Ant-Man. It’s got jokes, it’s got heart, and it’s got the word QUANTUM being used more than a few times. We also have a great conversation about the recently released documentary Won’t You Be My Neighbor?

What We’ve Been Up To – 0:00:56

(Aaron & Patrick – Won’t You Be My Neighbor?)

Ant-Man and the Wasp Review – 0:18:50

The Connecting Point – 1:09:03


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MOVIE REVIEW: Ant-Man and the Wasp

Posted on by Aaron White.

ANT-MAN AND THE WASP (2018)

2 Hours and 5 Minutes (PG-13)

Riding the summer movie coattails of Avengers: Infinity War, the latest addition to the Marvel Cinematic Universe is Ant-Man And The Wasp. Our lovable insect-sized hero is back in the clutches of the law, struggling to learn how to balance being a father, a business owner and a superhero.

Paul Rudd is back as Scott Lang, the Robin Hood-esque burglar, 2 years after his Civil War appearance in Germany. Having stolen his suit to take part in the battle, Scott landed himself on house arrest; his actions also alienated both Hope van Dyne (Evangeline Lilly) and her father Dr. Hank Pym (Michael Douglas), unintentionally making them criminal conspirators. Having been the only person to go “sub-atomic” and survive, emotions are put aside when Dr. Pym and Hope insert themselves back into Scott’s life to extract any subconscious memories he has of his time in the Quantum Realm. Hope and Hank need Scott’s connection to the Quantum Realm in the hopes of saving Janet van Dyne, the original Wasp, who disappeared there decades ago. Hope suits up as “The Wasp” and this duo is back together just in time to face an enemy more powerful than they’ve ever faced. Ghost (Hannah John-Kaman) is an accidental science experiment who molecular instability allows her to phase through objects, coming in handy when she steals Pym technology for her own means.

Peyton Reed returns to the director’s chair for this sequel, bringing with him the same comedic wit and pure joy that was present in the first film. My favorite thing about the Ant-Man films is that the stakes are relatively high, but they’re not nearly as dire as they are in most MCU movies, where it seems like the fate of the entire universe is always at stake. Scott’s adorably dense yet somehow qualified ex-con friends are back,  played by Michael Peña, T.I. and David Dastmalchian, providing off-beat humor without drawing too much attention from the plot. Character growth was present in Hope and Scott, while we got a small glimpse into the past mistakes Dr. Pym made. At times the script felt like it was lacking in some stylistic ways, which could easily be explained by Edgar Wright not joining the team for this film; some of Rudd’s jokes seemed forced and unnatural, a few scenes seemed rushed without being able to fully play out their potential, etc. However, the fight/stunt scenes were well choreographed, the visual effects were blended seamlessly, and I’m still eager to see what Ant-Man and the Wasp get into next.

Once again, Reed has managed to somehow create a comic heist film but on a much larger scale, blending in elements of science fiction and physics, all while still adhering to the rules within the Marvel Cinematic Universe.

PS: There are 2 post-credit scenes: the first, I was definitely not ready for but the second is completely useless and there’s no point in waiting for it.

Rating:

Erynne Hundley is Seattle-based writer and freelance film critic, currently writing and editing articles for Essentially Erynne. She prides herself on crafting spoiler-free film reviews that balance franchise history, stylistic approach, script interpretation, and the emotional turmoil the final piece creates. You can find her on Twitter and Instagram for article updates.

What We Learned This Week: May 6-12

Posted on by everymoviehasalesson.

LESSON #1: BIDDING WARS CAN BE FUN— In huge industry news this week, media conglomerate Comcast stepped in with a new $60 billion all-cash offer full of pot sweeteners to purchase 21st Century Fox from Rupert Murdoch, months after Disney’s $52 billion all-stock deal looked to be imminent.  Welcome to the of billionaire bullfight!  I know some Marvel Cinematic Universe dream fulfillment lies in the balance down here on the fan level, but I’m kind of rooting for all the executive hardball tactics to make Disney squirm a little to cough up more money.  Laugh all the way to the bank, Mr. Murdoch.  Make them pay through the nose.

LESSON #2: DISNEY CONTINUES TO WANT ITS OWN MONEY— In this column’s frequent reports on Disney’s coming exclusive streaming services and pull-out from Netflix, we know they want to keep their own exclusive dollars without sharing.  They have the power, demand, and clout of content to do so and more steps were going to come.  I am happy to humblebrag report that I called this latest news TWICE last summer. In April, Disney officially announced that they will not be presenting any of their hot Marvel properties in the high-demand Hall H parties they have conducted for years at the San Diego ComicCon.  I don’t think this is a year of radio silence to sell the Avengers: Infinity War cliffhanger.  I think they want people to pay only them for the big convention stages.  I expect Disney/Marvel to start building their annual D23 event into their showcase.

LESSON #3: MOVIEPASS IS STILL DOOMED— The floundering MoviePass service continues to be a hot topic, last mentioned here in April where I labeled it “doomed to fail.”  More financial news keeps coming to light about the amount of money going down the drain faster than infant diarrhea (if infant diarrhea ever made it to drains).  Following Aaron White’s post and suggestion, it may be time to consider alternatives like Sinemia, other alternatives, or the available deals already being done by the theater chains themselves (like AMC’s returning $5 Tuesdays). Share your good experiences and recommendations with your FF peers.  In the meantime, gather your eulogy for the upcoming MoviePass funeral.

LESSON #4: KIDS CAN USE A DOSE OF SILENT FILMS— In this cinematic and television market of repetitive and hyperactive animated crap, I just love this LifeHacker Offspring piece shared by our Feelin’ Film contributor Jacob Neff recently entitled “Why You Should Watch Silent Films With Your Kids.”  I back the statements made in the article 100%, from the quality of the buried treasure content to the “with your kids” part of making movie-watching a shared experience and not a babysitting tactic to ignore your kids.  As a parent of a 5-year-old and a 3-year-old myself, I can attest to the awesome draw of a good Charlie Chaplin flick.  Try it sometime.  Use the clips in the LifeHacker article as preparation (and while you’re there click on the embedded recommended article on “Mister Rogers’ Neighborhood” and screen time). Sit with them and marvel at the creativity and entertainment together.  I promise a stellar experience.

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.  He is a proud member and one of the founders of the Chicago Independent Film Critics Circle.  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, and Medium.

 

Episode 107: Avengers Infinity War

Posted on by thisispatch.

After 10 years and 18 films, Marvel’s ambitious, unique interconnected world of superhero films comes to this, a team-up movie the likes of which we have never seen before. Historic in its scope and in its box office success, Avengers: Infinity War is a special blockbuster and one that provides plenty to discuss. We’ve been chomping at the bit to talk about this one, its place in the MCU, and where Marvel goes from here.

Avengers: Infinity War Review – 0:02:33

The Connecting Point – 01:27:30


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MOVIE REVIEW: Avengers: Infinity War

Posted on by Aaron White.

AVENGERS: INFINITY WAR (2018)

2 Hours and 29 Minutes (PG-13)

Marvel and The Russo Brothers had a very daunting task before them. Paying off the culmination of a decade of build-up and backstory, stretching over 18 films, is a challenge unlike any studio or director in Hollywood had ever faced. And to accomplish this feat, they worked with what has to be the largest cast of known stars ever assembled for a movie. The ambition of Marvel and its commitment to the cinematic universe it pioneered is worthy of praise and respect.

If there’s one thing I was looking for in Avengers: Infinity War, it was raised stakes. Much like the comic books these films are based on (in which characters rarely die and cities are destroyed without much afterthought), Marvel films have not fully dealt with loss in a way that seems realistic. Right from the start of Infinity War, though, Marvel makes it very clear that has changed. The potential consequences of a Thanos (Josh Brolin) victory are evident and the film progresses with an emotional weight and sense of urgency that it could not have attained if the studio followed its same old formula. This also creates much more investment in characters and the worlds they inhabit, and thus pays off quite a few very moving scenes in a much bigger way. If you haven’t cried in a Marvel movie before, you’re not alone, but this may be your first. I had genuine chills a few different times. But don’t worry, that trademark Marvel humor and witty one-liners are still there and won’t have you depressed for too long at a time.

Another area that Marvel outdoes previous films in their own franchise is with Thanos himself. Make no mistake, this is his film and his story. He is a fully developed villain with more screen time than any before him, and it helps to create a character with whom the audience can both despise and yet struggle with feelings of empathy for. Brolin’s talent is very obvious in this performance despite the incredible looking CGI that encompasses him. His Thanos is not just some loud, angry, destructive villain. He is intelligent and calculating. He is nuanced. He is cold, yes, but when he gives his reasons for what he wants to do with the Infinity Stones and why, in a very warped way it makes some sense. His presence as the foil to the Avengers and Guardians gives this film something unique and memorable.

With a cast this large it is inevitable that not everyone’s favorite will have the responsibility or amount of action they hope for. The Russo’s do an admirable job of balancing these heroes, however, and somehow left me feeling satisfied. Sure, a little more backstory or deeper character moments for them all would be nice, but it’s also unrealistic to expect in a single film of this length. By managing to give everyone at least one small moment in the sun, the Russo’s succeed where I believe many would have failed. Another result of keeping most character development small is that the film moves fast, pausing a few times for majorly impactful storyline beats, but mostly cutting between different groups of heroes working to accomplish different tasks. By keeping the heroes in smaller groups, we get to feel more focused when we’re with them, and enjoy the new forms of dialogue that emerge between characters who previously had not interacted.

The action in Avengers: Infinity War is, as expected, fantastic. Seeing heroes fight together with new gear and weapons, or teaming up in ways never experienced by movie goers before, was a huge treat. In one major battle that involves a host of heroes and countless alien attackers, the Silvestri score and rising stakes create a feeling similar to that in the Battle of the Pelennor Field from The Return of the King. While Avengers: Infinity War never quite reaches that level of epic, it comes much closer than many (myself included) ever thought possible.

VERDICT

If you’re thinking that this review is a but vague, please know that is by design. Fans have waited 10 years for this and going in with as little information possible is going to result in the best viewing experience. Avengers: Infinity War isn’t entirely unpredictable, but it’s got some surprises too. The historic puzzle that the Russo Brothers have put together is nothing short of amazing and will lend itself to multiple viewings. Perhaps that’s the highest praise possible for a film of this kind, that after it finished I immediately would have sat through those 2.5+ hours again. To sum it all up, Avengers: Infinity War lived up to the hype by being both entertaining and emotional. Well done, Marvel. Well done.

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.

What We Learned This Week: March 11-17

Posted on by everymoviehasalesson.

LESSON #1: GIRLS SHOULD PLAY TOO— Setting off a firestorm of action on a Feelin’ Film Facebook group post this week was the announcement of a Rotten Tomatoes alternative specializing in female film critics.  Underserved and underrepresented, I’m all for a platform to celebrate and highlight different voices in film criticism.  The more the merrier.  Gender inequality is a rampant problem and opportunities like Cherry Picks (I hope a better name is coming) can only help the topic and add to the discussion.

LESSON #2: CAN WE BAN THE TERM “MADE IT FOR THE FANS” PLEASE?— Speaking of RT, over these recent ’10s years of Rotten Tomatoes gobbling up more public attention, the perceived backlash against low RT scores has set off soundbites from several stakeholders.  A prominent reaction a few years back was director David Ayers after Suicide Squad (video).  The latest is actor Joel Edgerton pushing back against the negative reviews bestowed upon the Netflix release Bright.  Both gentlemen used the term “made it for the fans” as a shield of righteousness for what they say was the intended purpose of their films.  Breaking news, Joel and David, critics are fans too.  They just have a wider and more published platform to voice their opinion.  Not all fans are going to like crappy films.  Want more fans, and therefore more critical, support? Make better films and earn more fans.

LESSON #3: HOW DO YOU FEEL ABOUT A DANNY BOYLE JAMES BOND FILM?— With director Sam Mendes not slated to return to the James Bond world after Spectre, audiences and news writers have been in a three-year guessing game of who will take over the helm of the spy franchise.  Word is that man could be Slumdog Millionaire Oscar winner and Trainspotting leader Danny Boyle.  Coupled with Trainspotting screenwriter John Hodge, I think the pair is an exciting fit for Bond.  Fun fact: Boyle directed Daniel Craig in a Bond-esque role opposite the Queen in his Opening Ceremony program of the 2012 Summer Olympics in London.  Boyle and Hodge can add a pulpy edge and a different speed of kinetic energy to push the action and the character forward in interesting directions.  Whatever they concoct, you know it sure won’t be boring.

LESSON #4: HOW DO YOU FEEL ABOUT A JON FAVREAU STAR WARS SERIES OR EVEN A GAME OF THRONES-ESQUE ONE?— In similar news, news landed that Iron Man, The Jungle Book, and current Lion King director Jon Favreau has been brought on to write and executive produce a live-action Star Wars series in the near future.  Favreau follows the February announcement of Game of Thrones creators David Benioff and D.B. Weiss being tapped to write and produce a new film series.  Like Boyle, I think the powers that be have found great hires.  Favreau brings of engaging storytelling, humor, and blockbuster know-how while the Benioff/Weiss team brings edginess and world-building strengths. All of the qualities can have an effective place in this universe.  The task now is for Disney not to micro-manage and fire them like the other top-notch talent they’ve brought in before.

LESSON #5: DISNEY IS THE HOLLYWOOD PLAYGROUND BALL HOG— Why are they the selfish superstar that doesn’t pass? Because they can be.  This month, Disney announced the calendar of their intended release dates for the next five years.  Disney has retained Marvel’s traditional reservation of the first weekends in May, the Star Wars pre-Memorial Day tradition, Pixar’s usual third-week-of-June slot, and their own Thanksgiving animation slot.  More and more, they are squeezing for the Fourth of July weekends, that magical Presidents Day/Valentine’s Day weekend in February (thanks, Black Panther), and bigger chunks of Christmas.  Disney is Kobe Bryant, the “seat’s taken” kids from Forrest Gump, the manspreading subway rider, and bank-buying billionaire all rolled into one with zero f–ks given.  When they show up, everyone else runs for cover.

LESSON #6: NETFLIX DOESN’T HAVE ANY QUIT RIGHT NOW— Ambition is one thing.  Resources is another.  The wild thing is when a creative outlet has both.  That’s Netflix right now.  The volume of original content they are putting out is downright insane.  You would think they can only get so much be money to be had from new subscribers.  That number has to level out and slow production, right?  Not anytime soon, according to Netflix.  They’re booming to have around 700 original shows and movies in the 2018 calendar year.  That’s beyond machine-like.  You wonder how much is too much or how much isn’t profitable.

LESSON #7: THE SLIPPERY SLOPE OF AUDIENCE RESPONSIBILITY VERSUS STUDIO ACTIONS— Speaking of Netflix, Annihilation, filmmaker Alex Garland’s tepid box office loser and follow-up to Ex Machina, landed on Netflix only a few short weeks after a theatrical bow from big studio Paramount.  Indiewire’s Zach Sharf wrote an interesting take on the matter citing that part of the fault for the film’s failure is on the audience as much as it’s on Paramount.  He talks about “hard sells” and he’s right.  The general moviegoing audience pays for a more simpler fare than Annihilation.  That’s not a bad thing entirely, but that’s what’s making money.  Any diligent corporation should find the best scenario for earning and profit.  With Netflix throwing its money around, Paramount made an appropriate business decision and one, as it turns out, made more money than failing in the theaters.  I hate to say, but get used to these kinds of decisions and deals.  That’s the landscape.  They only people that can change that are the consumers and it’s going to take quite the unified and concerted effort to change trends.  Stop paying for Transformers films and give that money to risks like Annihilation if you want better products.  I’ve said this many times in this column and in the Feelin’ Film discussion group.  Whether we like it or not, this is a business first and an art exhibition second.

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.  He is a proud member and one of the founders of the Chicago Independent Film Critics Circle.  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.

 

Episode 098: Black Panther

Posted on by thisispatch.

Black Panther has arrived and Marvel’s latest film is shattering box office records and receiving plenty of praise in its first weekend. We’re joined by Emmanuel Noisette of Eman’s Movie Reviews to discuss the cultural importance and quality of entertainment that Ryan Coogler’s film brings.

What We’ve Been Up To – 0:02:12

(Aaron – Hamilton: An American Musical)

Black Panther Review – 0:09:21

The Connecting Point – 1:30:15


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MOVIE REVIEW: Black Panther

Posted on by Aaron White.

BLACK PANTHER (2018)

GOING IN

This is the most excited I’ve been for a Marvel film in several years. Black Panther looks to be set in a completely unique world that feels like an African Asgard. The importance of this superhero film for African Americans is significant, too, and cannot be dismissed. With a cast of incredible actors of color plus two of my favorite Tolkien-universe stars, and director Ryan Coogler whose never made anything less than an excellent film, expectations are high that this will be a comic book movie to remember. Plus, his superhero persona is a cat. I mean, c’mon… who doesn’t love cats?

2 Hours and 14 Minutes Later.


COMING OUT

There’s nothing quite like that feeling when a highly hyped movie delivers the goods. It’s euphoric and can lead to long bouts of smiling the rest of the day. When that film is in a genre that has largely become stagnant and routine, a diamond emerging from the rough is an even bigger deal, and cause for great celebration. Those who have followed Ryan Coogler’s brief career thus far (Fruitvale Station, Creed) knew the young director had the chops to pull of a great Black Panther movie, and boy did he ever.

Early in the film, T’Challa’s (Chadwick Boseman) sister Shuri (Letitia Wright) tells him “Just because something works doesn’t mean it can’t be improved.” This little nugget of wisdom feels like foreshadowing because that is exactly what Coogler and this fantastic cast have done with Black Panther. Marvel movies make money and are highly enjoyable, so the formula thus far has worked just fine. But Coogler, who also co-wrote the film, has definitely elevated that formula and created something with so much more depth than the majority of comic book films. Fans are constantly clamoring for these films to be more than just jokes and great action, and to have some genuine stakes. Because of the more personal level of the conflict in Black Panther it has those necessary stakes, both for T’Challa as a king and the nation of Wakanda. Coogler’s film also tackles the reality of African American history while comparing that to an incredibly advanced civilization free from colonization and bondage. The subtle but strong way the story handles all of these topics is what makes it so special.

Well, that and the acting. Black Panther features a standout cast that just rocks it in almost every role. Andy Serkis steps out of the motion capture suit to play villain Ulysses Klaue and promptly steals every scene he is in. It’s a performance that is dripping with that exaggerated comic book style and I ate up every second he was on screen. Pairing with him in the villain role is Michael B. Jordan as Killmonger, who unsurprisingly is phenomenal. Goodness gracious can this guy act! I’ll be blunt – these two together are the best Marvel villains we’ve seen. In Killmonger, for once Marvel has given us a villain worth caring about, and the difference in personality and motivation between he and Klaue makes for superb entertainment. Other standouts are Danai Gurira as Okoye, as T’Challa’s Wakandan General and absolute bad-ass warrior. Her performance is fierce and she epitomizes the strength of Wakandan women who may live under a patriarchy, but are every bit as equal and valued as the men. I could go on and on, but the aforementioned Letitia Wright also was excellent. As T’Challa’s sister, she provides an interesting picture of someone who has grown up with the comfort and technology of a secret tribal country yet still has the sensibilities of a wide-eyed teenager. She gives the film plenty of its humor and is the primary vessel for us to learn about and fall in love with Wakandan vibranium tech (which is AWESOME).

The setting of Wakanda is a beautiful, at times breathtaking, fascinating sort of African Asgard. The filmmakers took great care to make each tribe look and feel unique. Everything about this world felt so vibrant and traditional, from the rituals to the manner of conversation. Much of the score features tribal music with beating drums that fit perfectly, but at times it also switches up to modern musical styles. This is best shown in one particular fight scene where the style of music alternated back and forth based on which character was shown in battle.

Black Panther is truly great, but it isn’t quite perfect. My two biggest complaints about the film are its CGI and a few of the narrative choices made during the climax that felt like shortcuts. The climax also felt a little long to me, but that’s a minor quibble. The CGI being wonky was a major problem in a genre that showcases its heroes using their abilities. Many times it was so bad that it took me out of the moment and lessened the intensity of the action sequence taking place. There are definitely great moments, many relating to the Panther’s kinetic reflecting suit, but overall it was still a letdown from a studio that should be acing that element.

VERDICT

Black Panther may not be king of the MCU, but it certainly is a worthy challenger for that mantle. The film’s deep themes and focus on developing characters makes it linger in your thoughts even after the high has passed. This is the first Marvel film in a long time that I immediately purchased tickets to see again. There are so many great lessons and they’re all contained in a beautifully unique wrapper unlike anything we’ve ever seen before. Representation matters and Black Panther is certainly an important step forward in film, but it’s also just a damn good comic book movie and reminder of what the genre can be at its height. Wakanda Forever.

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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.