#I like aquaman characters I just can’t stand the fans good lord

[ormymarius]

confession I have is I can’t stand a lot of other aquaman fans which is why I keep here in my little corner talking about Orm

[grigori77]

Movies of 2021 - My Pre-Summer Favourites (Part 2)

The Top Ten:

10.  ZACK SNYDER’S JUSTICE LEAGUE – one of the undisputable highlights of the Winter-Spring period has to be the long-awaited, much vaunted redressing of a balance that’s been a particular thorn in the side of DC cinematic fans for over three years now – the completion and restoration of the true, unadulterated original director’s cut of the painfully abortive DCEU team-up movie that was absolutely butchered when Joss Whedon took over from original director Zack Snyder and then heavily rewrote and largely reshot the whole thing.  It was a somewhat painful experience to view in cinemas back in 2017 – sure, there were bits that worked, but most of it didn’t and it wasn’t like the underrated Batman Vs Superman: Dawn of Justice, which improves immensely on subsequent viewings (especially in the three hour-long director’s cut).  No, Whedon’s film was a MESS.  Needless to say fans were up in arms, and once word got out that the finished film was not at all what Snyder originally intended, a vocal, forceful online campaign began to restore what quickly became known as the Snyder Cut.  Thank the gods that Warner Bros listened to them, ultimately taking advantage of the intriguing alternative possibilities provided by their streaming service HBO Max to allow Snyder to present his fully reinstated creation in its entirety.  The only remaining question, of course, is simply … is it actually any good? Well it’s certainly much more like BVS:DOG than Whedon’s film ever was, and there’s no denying that, much like the rest of Snyder’s oeuvre, this is a proper marmite movie – there are gonna people who hate it no matter what, but the faithful, the fans, or simply those who are willing to open their minds are going to find much to enjoy here. The damage has been thoroughly patched, most of the elements that didn’t work in the theatrical release having been swapped out or reworked so that now they pay off BEAUTIFULLY.  This time the quest of Bruce Wayne/Batman (Ben Affleck) and Diana Prince/Wonder Woman (Gal Gadot) to bring the first iteration of the Justice League together – half-Atlantean superhuman Arthur Curry/the Aquaman (Jason Momoa), lightning-powered speedster Barry Allan/the Flash (Fantastic Beasts’ Ezra Miller) and cybernetically-rebuilt genius Victor Stone/Cyborg (relative newcomer Ray Fisher) – not only feels organic, but NECESSARY, as does their desperate scheme to use one of the three alien Mother Boxes (no longer just shiny McGuffins but now genuinely well-realised technological forces that threaten cataclysm as much as they provide opportunity for miracles) to bring Clark Kent/Superman (Henry Cavill) back from the dead, especially given the far more compelling threat of this version’s collection of villains.  Ciaran Hinds’ mocapped monstrosity Steppenwolf is a far more palpable and interesting big bad this time round, given a more intricate backstory that also ties in a far greater ultimate mega-villain that would have become the DCEU’s Thanos had Snyder had his way to begin with – Darkseid (Ray Porter), tyrannical ruler of Apokolips and one of the most powerful and hated beings in the Universe, who could have ushered the DCEU’s now aborted New Gods storyline to the big screen.  The newer members of the League receive far more screen-time and vastly improved backstory too, Miller’s Flash getting a far more pro-active role in the storyline AND the action which also thankfully cuts away a lot of the clumsiness the character had in the Whedon version without sacrificing any of the nerdy sass that nonetheless made him such a joy, while the connective tissue that ties Momoa’s Aquaman into his own subsequent standalone movie feels much stronger here, and his connection with his fellow League members feels less perfunctory too, but it’s Fisher’s Cyborg who TRULY reaps the benefits here, regaining a whole new key subplot and storyline that ties into a genuinely powerful tragic origin story, as well as a far more complicated and ultimately rewarding relationship with his scientist father, Silas Stone (the great Joe Morton).  It’s also really nice to see Superman handled with the kind of skill we’d expect from the same director who did such a great job (fight me if you disagree) of bringing the character to life in two previous big screen instalments, as well as erasing the memory of that godawful digital moustache removal … similarly, it’s nice to see the new and returning supporting cast get more to do this time, from Morton and the ever-excellent J.K. Simmonds as fan favourite Gotham PD Commissioner Jim Gordon to Connie Nielsen as Diana’s mother, Queen Hippolyta of Themyscira and another unapologetic scene-stealing turn from Jeremy Irons as Batman’s faithful butler Alfred Pennyworth. Sure, it’s not a perfect movie – the unusual visual ratio takes some getting used to, while there’s A LOT of story to unpack here, and at a gargantuan FOUR HOURS there are times when the pacing somewhat lags, not to mention an overabundance of drawn-out endings (including a flash-forward to a potential apocalyptic future that, while evocative, smacks somewhat of overeager fan-service) that would put Lord of the Rings’ The Return of the King to shame, but original writer Chris Terrio’s reconstituted script is rich enough that there’s plenty to reward the more committed viewer, and the storytelling and character development is a powerful thing, while the action sequences are robust and thrilling (even if Snyder does keep falling back on his over-reliance on slow motion that seems to alienate some viewers), and the new score from Tom Holkenborg (who co-composed on BVS:DOJ) feels a far more natural successor than Danny Elfman’s theatrical compositions.  The end result is no more likely to win fresh converts than Man of Steel or Batman Vs Superman, but it certainly stands up far better to a critical eye this time round, and feels like a far more natural progression for the saga too.  Ultimately it’s more of an interesting tangential adventure given that Warner Bros seem to be stubbornly sticking to their original plans for the ongoing DCEU, but I can’t help hoping that they might have a change of heart in the future given just how much better the final product is than any of us had any right to expect …

9.  SYNCHRONIC – writer-director duo Justin Benson and Aaron Moorhead are something of a creative phenomenon in the science-fiction and fantasy indie cinema scene, crafting films that ensnare the senses and engage the brain like few others.  Subtly insidious conspiracy horror debut Resolution is a sneaky little chiller, while deeply original body horror Spring (the film that first got me into them) is weird, unsettling and surprisingly touching, but it was breakthrough sleeper hit The Endless, a nightmarish time-looping cosmic horror that thoroughly screws with your head, that really put them on the map.  Needless to say it’s led them to greater opportunities heading into the future, and this is their first film to really reap the benefits, particularly by snaring a couple of genuine stars for its lead roles.  Steve (Anthony Mackie) and Dennis (Jamie Dornan) are paramedics working the night shift in New Orleans, which puts them on the frontlines when a new drug hits the streets, a dangerous concoction known as Synchronic that causes its users to experience weird localised fractures in time that frequently lead to some pretty outlandish deaths in adults, while teenage users often disappear entirely.  As the situation worsens, the pair’s professional and personal relationships become increasingly strained, compounded by the fact that Steve is concealing his recent diagnosis of terminal cancer, before things come to a head when Dennis’ teenage daughter Brianna (Into the Badlands’ Ally Ioannides) vanishes under suspicious circumstances, and it becomes clear to Steve that she’s become unstuck in time … this is as mind-bendingly off-the-wall and spectacularly inventive as we’ve come to expect from Benson and Moorhead, another fantastically original slice of weirdness that benefits enormously from their exquisitely obsessive attention to detail and characteristically unsettling atmosphere of building dread, while their character development is second to none, benefitting their top-notch cast no end.  Mackie is typically excellent, bringing compelling vulnerability to the role that makes it easy to root for him as he gets further out of his depth in this twisted temporal labyrinth, while Dornan invests Dennis with a painfully human fallibility, and Ioannides does a lot with very little real screen time in her key role as ill-fated Brianna.  The time-bending sequences are suitably disorienting and disturbing, utilising pleasingly subtle use of visual effects to further mess with your head, and the overall mechanics of the drug and its effects are fiendishly crafted, while the directors tighten the screw of slowburn tension throughout, building to a suitably offbeat ending that’s as devastating as anything we’ve seen from them so far.  Altogether this is another winning slice of genre-busting weirdness from a filmmaking duo who deserve continued success in the future, and I for one will be watching eagerly.

8.  WITHOUT REMORSE – I’m a big fan of Tom Clancy, to me he was one of the ultimate escapist thriller writers, and whenever a new adaptation of one of his novels comes along I’m always front of the line to check it out.  The Hunt For Red October is one of my favourite screen thrillers OF ALL TIME, while my very favourite Clancy adaptation EVER, the Jack Ryan TV series, is, in my opinion, one of the very best Original shows that Amazon have ever done.  But up until now my VERY FAVOURITE Clancy creation, John Clark, has always remained in the background or simply absent entirely, putting in an appearance as a supporting character in only two of the movies, tantalising me with his presence but never more than a teaser.  Well that’s all over now – after languishing in development hell since the mid-90s, the long-awaited adaptation of my favourite Clancy novel, the origin story of the top CIA black ops operative, has finally arrived, as well as a direct spin-off from distributor Amazon’s own Jack Ryan series.  Michael B. Jordan plays John Kelly (basically Clark before he gained his more famous cover identity), a lethally efficient, highly decorated Navy SEAL whose life is turned upside down when a highly classified operation experiences deadly blowback as half of his team is assassinated in retaliation, while Kelly barely survives an attack in which his heavily pregnant wife is killed.  With the higher-ups unwilling the muddy the waters while scrambling to control the damage, Kelly, driven by rage and grief, takes matters into his own hands, embarking on a violent personal crusade against the Russian operatives responsible, but as he digs deeper with the help of his former commanding officer, Lt. Commander Karen Greer (Queen & Slim’s Jodie Turner-Smith), and mid-level CIA hotshot Robert Ritter (Jamie Bell), it becomes clear that there’s a far more insidious conspiracy at work here … in the past the Clancy adaptations we’ve seen tend to be pretty tightly reined-in affairs, going for a PG-13 polish that maintains the intellectual fireworks but still tries to keep the violence clean and relatively family-friendly, but this was never going to be the case here – Clark has always been Jack Ryan’s dark shadow, Clancy’s righteous man without the moral restraint, and a PG-13 take never would have worked, so going for an unfettered R-rating is the right choice.  Jordan’s Kelly/Clark is a blood-soaked force of nature, a feral dog let off the leash, bringing a brutal ferocity to the action that does the literary source proud, tempered by a wounded vulnerability that helps us to sympathise with the broken but still very human man behind the killer; Turner-Smith, meanwhile, regularly matches him in the physical stakes, jumping into the action with enthusiasm and looking damn fine doing it, but she also brings tight control and an air of pragmatic military professionalism that makes it easy to believe in her not only as an accomplished leader of fighting men but also as the daughter of Admiral Jim Greer, while Bell is arrogant and abrasive but ultimately still a good man as Ritter; Guy Pearce, meanwhile, brings his usual gravitas and quietly measured charisma to proceedings as US Secretary of Defence Thomas Clay, and Lauren London makes a suitably strong impression during her brief screen time to make her absence keenly felt as Kelly’s wife Pam. The action is intense, explosive and spectacularly executed, culminating in a particularly impressive drawn-out battle through a Russian apartment complex, while the labyrinthine plot is intricately crafted and unfolds with taut precision, but then the screenplay was co-written by Taylor Sheridan, who here reteams with Sicario 2 director Stefano Sollida, who’s also already proven to be a seasoned hand at this kind of thing, and the result is a tense, knuckle-whitening suspense thriller that pays magnificent tribute to the most compelling creation of one of the best authors in the genre.  Amazon have signed up for more with already greenlit sequel Rainbow Six, and with this directly tied in with the Jack Ryan TV series too I can’t help holding out hope we just might get to see Jordan’s Clark backing John Krasinski’s Ryan up in the future …

7.  RAYA & THE LAST DRAGON – with UK cinemas still closed I’ve had to live with seeing ALL the big stuff on my frustratingly small screen at home, but at least there’s been plenty of choice with so many of the big studios electing to either sell some of their languishing big projects to online vendors or simply release on their own streaming services.  Thank the gods, then, for the House of Mouse following Warner Bros’ example and releasing their big stuff on Disney+ at the same time in those theatres that have reopened – this was one movie I was PARTICULARLY looking forward to, and if I’d had to wait and hope for the scheduled UK reopening to occur in mid-May I might have gone a little crazy watching everyone else lose it over something I still hadn’t seen.  That said, it WOULD HAVE been worth the wait – coming across sort-of a bit like Disney’s long overdue response to Dreamworks’ AWESOME Kung Fu Panda franchise, this is a spellbinding adventure in a beautifully thought-out fantasy world heavily inspired by Southeast Asia and its rich, diverse cultures, bursting with red hot martial arts action and exotic Eastern mysticism and brought to life by a uniformly strong voice cast dominated by actors of Asian descent.  It’s got a cracking premise, too – 500 years ago, the land of Kumandra was torn apart when a terrible supernatural force known as the Druun very nearly wiped out all life, only stopped by the sacrifice of the last dragons, who poured all their power and lifeforce into a mystical gem.  But when the gem is broken and the pieces divided between the warring nations of Fang, Heart, Spine, Tail and Talon, the Druun return, prompting Raya (Star Wars’ Kelly Marie Tran), the fugitive princess of Heart, to embark on a quest to reunite the gem pieces and revive the legendary dragon Sisu in a desperate bid to vanquish the Druun once and for all.  Moana director Don Hall teams up with Blindspotting helmer Carlos Lopez Estrada (making his debut in the big chair for Disney after helping develop Frozen), bringing to life a thoroughly inspired screenplay co-written by Crazy Rich Asians’ Adele Kim which is full to bursting with magnificent world-building, beautifully crafted characters and thrilling action, as well as the Disney prerequisites of playful humour and tons of heart and soul.  Tran makes Raya an feisty and engaging heroine, tough, stubborn and a seriously kickass fighter, but with true warmth and compassion too, while Gemma Chan is icy cool but deep down ultimately kind of sweet as her bitter rival, Fang princess Namaari, and there’s strong support from Benedict Wong and Good Boys’ Izaac Wang as hard-but-soft Spine warrior Tong and youthful but charismatic Tail shrimp-boat captain Boun, two of the warm-hearted found family that Raya gathers on her travels.  The true scene-stealer, however, is the always entertaining Awkwafina, bringing Sisu to life in wholly unexpected but thoroughly charming and utterly adorable fashion, a goofy, sassy and sweet-natured bundle of fun who grabs all the best laughs but also unswervingly champions the film’s core messages of peace, unity and acceptance in all things, something which Raya needs a lot of convincing to take to heart.  Visually stunning, endlessly inventive, consistently thrilling and frequently laugh-out-loud funny, this is another solid gold winner once again proving that Disney can do this kind of stuff in their sleep, but it’s always most interesting when they really make the effort to create something truly special, and that’s just what they’ve done here.  As far as I’m concerned, this is one of the studio’s finest animated features in a good long while, and thoroughly deserving of your praise and attention …

6.  THE MITCHELLS VS THE MACHINES – so what piece of animation, you might be asking, could POSSIBLY have won over Raya as my animated feature of the year so far? After all, it would have to be something TRULY special … but then, remember Spider-Man: Into the Spider-Verse?  Back in 2018, that blew me away SO MUCH that it very nearly became my top animated feature of THE PAST DECADE (only JUST losing out, ultimately, to Dreamworks’ unstoppable How to Train Your Dragon trilogy).  When I heard its creators, the irrepressible double act of Phil Lord and Christopher Miller (The Lego Movie, Cloudy With a Chance of Meatballs), were going to be following that up with this anarchic screwball comedy adventure, I was VERY EXCITED INDEED, a fervour which was barely blunted when its release was, inevitably, indefinitely delayed thanks to the global pandemic, so when it finally released at the tail end of the Winter-Spring season I POUNCED. Thankfully my faith was thoroughly rewarded – this is an absolute riot from start to finish, a genuine cinematic gem I look forward to going back to for repeated viewings in the near future, just to soak up the awesomeness – it’s hilarious to a precision-crafted degree, brilliantly thought-out and SPECTACULARLY well-written by acclaimed Gravity Falls writer-director Mike Rianda (who also helms here), injecting the whole film with a gleefully unpredictable, irrepressibly irreverent streak of pure chaotic genius that makes it a affectionately endearing and utterly irresistible joyride from bonkers start to adorable finish.  The central premise is pretty much as simple as the title suggests, the utterly dysfunctional family in question – father Rick (Danny McBride), born outdoorsman and utter technophobe, mother Linda (Maya Rudolph), much put-upon but unflappable even in the face of Armageddon, daughter Katie (Broad City co-creator Abbi Jacobson), tech-obsessed and growing increasingly estranged from her dad, and son Aaron (Rianda himself), a thoroughly ODD dinosaur nerd – become the world’s only hope after naïve tech mogul Mark Bowman (Eric Andre), founder of PAL Labs, inadvertently sets off a robot uprising.  Cue a wild ride comedy of errors of EPIC proportions … this is just about the most fun I’ve had with a movie so far this year, an absolute riot throughout, but there’s far more to it than just a pile of big belly laughs, with the Mitchells all proving to be a lovable bunch of misfits who inspire just as much deep, heartfelt affection as they learn from their mistakes and finally overcome their differences, becoming a better, more loving family in the process, McBride and Jacobson particularly shining as they make our hearts swell and put a big lump in our throat even while they make us titter and guffaw, while the film has a fantastic larger than (virtual) life villain in PAL (Olivia Colman), the virtual assistant turned megalomaniacal machine intelligence spearheading this technological revolution.  Much like its Spider-Man-shaped predecessor, this is also an absolutely STUNNING film, visually arresting and spectacularly inventive and bursting with neat ideas and some truly beautiful stylistic flair, frequently becoming a genuine work of cinematic art that’s as much a feast for the eyes as it is the intellect and, of course, the soul.  Altogether then, this is definitely the year’s most downright GORGEOUS film so far, as well as UNDENIABLY its most FUN.  Lord and Miller really have done it again.

5.  P.G. PSYCHO GOREMAN – the year’s current undeniable top guilty pleasure has to be this fantastic weird, thoroughly over-the-top and completely OUT THERE black comedy cosmic horror that doesn’t so much riff on the works of HP Lovecraft as throw them in a blender, douse them with maple syrup and cayenne pepper and then hurl the sloppy results to the four winds.  On paper it sounds like a family-friendly cutesy comedy take on Call of Cthulu et al, but trust me, this sure ain’t one for the kids – the latest indie horror offering from Steven Kostanski, co-creator of the likes of Manborg, Father’s Day and The Void, this is one of the weirdest movies I’ve seen in years, but it’s also one of the most gleefully funny, playing itself entirely for yucks (frequently LITERALLY).  Mimi (Nita Josee-Hanna) and Luke (Owen Myre) are a two small-town Canadian kids who dig a big hole of their backyard, accidentally releasing the Arch-Duke of Nightmares (Matthew Ninaber and the voice of Steven Vlahos), an ancient, god-tier alien killing machine who’s been imprisoned for aeons in order to protect the universe from his brutal crusade of death and destruction.  To their parents’ dismay, Mimi decides to keep him, renaming him Psycho Goreman (or “P.G.” for short) and attempting to curb his superpowered murderous impulses so she can have a new playmate. But the monster’s original captors, the Templars of the Planetary Alliance, have learned of his escape, sending their most powerful warrior, Pandora (Kristen McCulloch), to destroy him once and for all.  Yup, this movie is just as loony tunes as it sounds – Kostanski injects the film with copious amounts of his own outlandish, OTT splatterpunk extremity, bringing us a riotous cavalcade of bizarrely twisted creatures and mutations (brought to life through some deliciously disgusting prosthetic effects work) and a series of wonderfully off-kilter (not to mention frequently off-COLOUR) darkly comic skits and escapades, while the sense of humour is pretty bonkers but also generously littered with nuggets of genuine sharply observed genius.  The cast, although made up almost entirely of unknowns, is thoroughly game, and the kids particularly impress, especially Josee-Hanna, who plays Mimi like a flamboyant, mercurial miniature psychopath whose zinger-delivery is clipped, precise and downright hilarious throughout.  There are messages of love conquering all and the power of family, both born and made, buried somewhere in there too, but ultimately this is just 90 minutes of wonderful weirdness that’s sure to melt your brain but still leave you with a big dumb green when it’s all over.  Which is all we really want from a movie like this, right?

4.  SPACE SWEEPERS – all throughout the pandemic and the interminable lockdowns, Netflix have been a consistent blessing to those of us who’ve been craving the kind of big budget blockbusters we have (largely) been unable to get at the cinema.  Some of my top movies of 2020 were Netflix Originals, and they’ve continued the trend into 2021, having dropped some choice cuts on us over the past four months, with some REALLY impressive offerings still to come as we head into the summer season (roll on, Zack Snyder’s Army of the Dead!).  In the meantime, my current Netflix favourite of the year so far is this phenomenal milestone of Korean cinema, lauded as the country’s first space blockbuster, which certainly went big instead of going home. Writer-director Jo Sung-hee (A Werewolf Boy, Phantom Detective) delivers big budget thrills and spills with a bombastic science-fiction adventure cast in the classic Star Wars mould, where action, emotion and fun characters count for more than an admittedly simplistic but still admirably archetypical and evocative plot – it’s 2092, and the Earth has become a toxic wasteland ruined by overpopulation and pollution, leading the wealthy to move into palatial orbital habitats in preparation for the impending colonisation of Mars, while the poor and downtrodden are packed into rotting ghetto satellites facing an uncertain future left behind to fend for themselves, and the UTS Corporation jealously guard the borders between rich and poor, presided over by seemingly benevolent but ultimately cruel sociopathic genius CEO James Sullivan (Richard Armitage).  Eking out a living in-between are the space sweepers, freelance spaceship crews who risk life and limb by cleaning up dangerous space debris to prevent it from damaging satellites and orbital structures.  The film focuses on the crew of sweeper vessel Victory, a ragtag quartet clearly inspired by the “heroes” of Cowboy Bebop – Captain Jang (The Handmaiden’s Kim Tae-ri), a hard-drinking ex-pirate with a mean streak and a dark past, ace pilot Kim Tae-ho (The Battleship Island’s Song Joong-ki), a former child-soldier with a particularly tragic backstory, mechanic Tiger Park (The Outlaws’ Jin Seon-Kyu), a gangster from Earth living in exile in orbit, and Bubs (a genuinely flawless mocapped performance from A Taxi Driver’s Yoo Hae-jin), a surplus military robot slumming it as a harpooner so she can earn enough for gender confirmation.  They’re a fascinating bunch, a mercenary band who never think past their next paycheque, but there’s enough good in them that when redemption comes knocking – in the form of Kang Kot-nim (newcomer Park Ye-rin), a revolutionary prototype android in the form of a little girl who may hold the key to bio-technological ecological salvation – they find themselves answering the call in spite of their misgivings.  The four leads are exceptional (as is their young charge), while Armitage makes for a cracking villain, delivering subtle, restrained menace by the bucketload every time he’s onscreen, and there’s excellent support from a fascinating multinational cast who perform in a refreshingly broad variety of languages. Jo delivers spectacularly on the action front, wrangling a blistering series of adrenaline-fuelled and explosive set-pieces that rival anything George Lucas or JJ Abrams have sprung on us this century, while the visual effects are nothing short of astounding, bringing this colourful, eclectic and dangerous universe to vibrant, terrifying life; indeed, the world-building here is exceptional, creating an environment you’ll feel sorely tempted to live in despite the pitfalls.  Best of all, though, there’s tons of heart and soul, the fantastic found family dynamic at the story’s heart winning us over at every turn. Ultimately, while you might come for the thrills and spectacle, you’ll stay for these wonderful, adorable characters and their compelling tale.  An undeniable triumph.

3.  JUDAS & THE BLACK MESSIAH – I’m a little fascinated by the Black Panther Party, I find them to be one of the most intriguing elements of Black History in America, but outside of documentaries I’ve never really seen a feature film that’s truly done the movement justice, at least until now.  It’s become a major talking point of the Awards Season, and it’s easy to see why – director Shaka King is a protégé of Spike Lee, and together with up-and-coming co-screenwriter Wil Berson he’s captured the fire and fervour of the Party and their firebrand struggle for racial liberation through force of arms, as well as a compelling portrait of one of their most important figures, Fred Hampton, the Chairman of the Illinois Chapter of the BPP and a powerful political activist who could have become the next Martin Luther King or Malcolm X.  Get Out’s Daniel Kaluuya is magnificent in the role, effortlessly holding your attention in every scene with his laconic ease and deceptively friendly manner, barely hinting at the zealous fire blazing beneath the surface, but the film’s true focus is the man who brought him down, William O’Neal, a fellow Panther and FBI informant placed in the Chapter to infiltrate the movement and find a way for the US Government to bring down what they believed to be one of the country’s greatest internal threats.  Lakeith Stanfield (Sorry to Bother You, Knives Out) delivers a suitably complex performance as O’Neal, perfectly embodying a very clever but also very desperate man walking a constant tightrope to maintain his cover in some decidedly wary company, but there’s never any real sense that he’s playing the villain, Stanfield largely garnering sympathy from the viewer as we’re shamelessly made to root for him, especially once he starts falling for the very ideals he’s trying to subvert – it’s a true star-making performance, and he even holds his own playing opposite Kaluuya himself.  The rest of the cast are equally impressive, Dominique Fishback (Project Power, The Deuce) particularly holding our attention as Hampton’s fiancée and fellow Panther Akua Njeri, as does Jesse Plemmons as O’Neal’s idealistic but sympathetic FBI handler Roy Mitchell, while Martin Sheen is the film’s nominal villain in a chillingly potent turn as J. Edgar Hoover.  This is an intense and thrilling film, powered by a tense atmosphere of pregnant urgency and righteous fury, but while there are a few grittily realistic set pieces, the majority of the fireworks on display are performance based, the cast giving their all and King wrestling a potent and emotionally resonant, inescapably timely history lesson that informs without ever slipping into preachy exposition, leaving an unshakable impression long after the credits have rolled.  This doesn’t just earn all the award-winning kudos it gained, it deserved A LOT MORE recognition that it got, and if this were a purely critical rundown list I’d have to put it in the top spot.  As it is I’m monumentally enamoured of this film, and I can’t sing its praises enough …

2.  RUN, HIDE, FIGHT – the biggest surprise hit for me so far this year was this wicked little indie suspense thriller from writer-director Kyle Rankin (Night of the Living Deb), which snuck in under the radar but is garnering an impressive reputation as a future cult sleeper hit.  Critics have been less kind, but the subject matter is a pretty thorny issue, and if handled the wrong way it could have been in very poor taste indeed.  Thankfully Rankin has crafted a corker here, initially taking time to set the scene and welcome the players before throwing us headfirst into an unbelievably tense but also unsettlingly believable situation – a small town American high school becomes the setting for a fraught siege when a quartet of disturbed students take several of their classmates hostage at gunpoint, creating a social media storm in the process as they encourage the capture of the crisis on phone cameras. While the local police gather outside, the shooters discover another threat from within the school throwing spanners in the works – Zoe Hull (Alexa & Katie’s Isabel May), a seemingly nondescript girl who happens to be the daughter of former marine scout sniper Todd (Thomas Jane).  She’s wound pretty tight after the harrowing death of her mother to cancer, fuelled by grief and conditioned by her father’s training, so she’s determined to get her friends and classmates out of this nightmare, no matter what.  Okay, so the premise reads like Die Hard in a school, but this is a very different beast, played for gritty realism and shot with unshowy cinema-verité simplicity, Rankin cranking up the tension beautifully but refusing to play to his audience any more than strictly necessary, drip-feeding the thrills to maximum effect but delivering some harrowing action nonetheless.  The cast are top-notch too, Jane delivering a typically subtle, nuanced turn while Treat Williams is likeably stoic as world-weary but dependable local Sherriff Tarsey, Rhada Mitchell intrigues as the matter-of-fact phantom of Zoe’s mum, Jennifer, that she’s concocted to help her through her mourning, Olly Sholotan is sweetly geeky as her best friend Lewis, and Eli Brown raises genuine goosebumps as an all-too-real teen psychopath in the role of terrorist ringleader Tristan Voy.  The real beating heart and driving force of the film, though, is May, intense, barely restrained and all but vibrating with wounded fury, perfectly believable as the diminutive high school John McClane who defies expectations to become a genuine force to be reckoned with, as far as I’m concerned one of this year’s TOP female protagonists.  Altogether this is a cracking little thriller, a precision-crafted little action gem that nonetheless raises some troubling questions and treats its subject matter with utmost care and respect, a film that’s destined for major cult classic status, and I can’t recommend it enough.

1.  NOBODY – do you love the John Wick movies but you just wish they took themselves a bit less seriously?  Well fear not, because Derek Kolstad has delivered fantastically on that score, the JW screenwriter mashing his original idea up with the basic premise of the Taken movies (former government spook/assassin turned unassuming family man is forced out of retirement and shit gets seriously trashed as a result) and injecting a big dollop of gallows humour.  This time he’s teamed up with Ilya Naishuller, the stone-cold lunatic who directed the deliriously insane but also thoroughly brilliant Hardcore Henry, and the results are absolutely unbeatable, a pitch perfect jet black action comedy bursting with neat ideas, wonderfully offbeat characters and ingenious plot twists.  Better Call Saul’s Bob Odenkirk is perfect casting as Hutch Mansell, the aforementioned ex-“Auditor”, a CIA hitman who grew weary of the lifestyle and quit to find some semblance of normality with his wife Becca (Connie Nielsen), with whom he’s had two kids.  Ultimately, he seems to have “overcompensated”, and his life has stagnated, Hutch following a autopiloted day-to-day routine that’s left him increasingly unfulfilled … then fate intervenes and a series of impulsive choices see him falling back on his old ways while defending a young woman from drunken thugs on a late night bus ride.  Problem is, said lowlifes work for the Russian Mob, specifically Yulian Kuznetsov (Leviathan’s Aleksei Serebryakov), a Bratva boss charged with guarding the Obshak, who must exact brutal vengeance in order to save face. Cue much bloody violence and entertaining chaos … Kolstad can do this sort of thing in his sleep, but his writing married with Naishuller’s singularly BONKERS vision means that the anarchy is dialled right up to eleven, while the gleefully dark sense of humour shot through makes the occasional surreality and bitingly satirical observation on offer all the more exquisite.  Odenkirk is a low-key joy throughout, initially emasculated and pathetic but becoming more comfortable in his skin as he reconnects with his old self, while Serebryakov hams things up spectacularly, chewing the scenery with aplomb; Nielsen, meanwhile, brings her characteristic restrained classiness to proceedings, Christopher Lloyd and the RZA are clearly having the time of their lives as, respectively, Hutch’s retired FBI agent father David and fellow ex-spook half-brother Harry, and there’s a wonderfully game cameo from the incomparable Colin Salmon as Hutch’s former handler, the Barber.  Altogether then, this is the perfect marriage of two fantastic worlds – an action-packed thrill ride as explosively impressive as John Wick, but also a wickedly subversive laugh riot every bit as blissfully inventive as Hardcore Henry, and undeniably THE BEST MOVIE I’ve seen so far this year.  Sure, there’s some pretty heavyweight stuff set to (FINALLY) come out later this year, but this really will take some beating …

[hintofcolor]

Okay let’s talk about the Syndercut

I’m not gonna get into like details because I dont wanna spoil anything for anyone. I am still gonna tag as spoilers and I’m gonna give a warning now probably nothing major but just to be safe

Spoiler Warning okay? Okay.

Let’s me start off by saying I have made my opinion on Zack Snyder very clear. And for the most part that opinion stands, however, I can admit when I am wrong.

I went into this movie with 0 expectations. I was fully prepared to not like it. I try my hardest to just enjoy movies and not dive deep and pick them apart because that’s so annoying and just sounds exhausting, but with some characters I just can’t help it. And I was scared I was just gonna get with characters that were nothing like the ones I fell in love with.

Basically what I’m saying is the movie is good. Like really good. I’m shocked. There are obvious issues I have with it. Barry resembles Bart more than I would like, Superman and Batman’s relationship still throws me, like how did they become close? Did I miss something? And the passing and time frame for all of the characters is just off and it makes their connections with each feel artificial. And dear god i had to go back to it 3 times to actually finish the thing. That might have more to do with my nonexistent attention span tho.

But

I wanna talk about the good things. I like being positive. Sometimes.

Firstly and most importantly

This is the closest we have EVER gotten to batdad. The vibes this Bruce Wayne gives are immaculate. The way he talks, the way he holds himself, the way he interacts with victor and Barry. That ladies and gentlemen is a dad if I’ve seen one. ALSO the bisexual vibes this man gives off is just beautiful. Honestly I’m throughly impressed with how well he did on making Bruce kinda awkward and sociable and dad like without compromising Bruce’s strength and intimidation side of the character.

Wonder Woman my guy. What can I say. Amazing 10/10 my love. My everything. This movie did her so well. I still don’t like that Clark could beat her in a fight but I’m chalking that up to her holding back so she wouldn’t hurt him. The scene with the all girls school. I cried. She is smart and powerful and KIND good they made her so sweet and that is such an important part of her character.

Alfred fussing over tea was the greatest thing I have ever witnessed, it honestly brought tears to my eyes. I couldn’t stop smiling. I’m so glad they gave him so much screen time and a personality. It’s so good

I can’t say much about Arthur. I’m not a huge aquaman fan but his character is intriguing. Ig. Idk I’m not typically a fan over the over aggressive brooding type, unless like they have a secret soft side or a really good sense of humor.

I’m not gonna talk about Barry or Superman because then I’d have to get into specifics and like I said I don’t wanna risk spoiling anything

THEY GOT RID OF BARRY FALLING INTO DIANAS BOON SCENE. Dear sweet lord thank you so much

I’m also not gonna talk about the bad guys cause again spoilers so yeah

Honestly pleasantly surprised it was good. Really good. Idk about the whole bring back the snyderverse because some of his ideas make me want to vomit. Again I’m not a huge Zack Snyder fan but this was a good movie. He did really well

I love talking and posting like this. As if I’m a movie critic or my opinion on it matters. Like ma’am who do you think you are. It sounds like I expect Zack Snyder to read this and be like ‘yes I finally did it. I made something this one random 18 year old girl likes. Now I can retire. My career is complete.’ Like babes get off your high horse

[jewishlensnart]

So it’s the holiday season, which in a lot of households means presents. You know who has more merch than almost any other Flash villain (1. being Reverse Flash as of my last count)? Captain Cold!

Have a Len lover in your life? Need to give your family gift ideas? Peep this list, y’all!

I used to own...basically everything with Len on it. I had the largest Flash collection in the southern US until about 3 years ago, when I sold the vast majority of it, and gave away even more. These reviews come from in-hand experience. Let’s start with the Original Lad:

DC Direct Captain Cold

Holy macaroni, was this figure terrible. Yes it was comic-accurate at the time, but you could not pose it, you could not keep it standing, and the face when you removed the glasses? Nightmare fuel. Still, it was a figure from 2001, and they really were doing their best, so I’d have to rate this guy a 2 out of 5.

These next two came out around roughly the same time, but could not be more different in quality. First up, DC Direct Justice Captain Cold

Strictly speaking, this figure was beautiful. Yeah it was in the hyper-realistic style of Alex Ross, who I’ve never been a fan of, but it was toned down in a way that made it less uncanny valley. The figure had stubble painted on, and if you removed the hood (which you technically could but shouldn’t), he had hair under there! But still, this was a DC Direct figure from 2008, so it had all the same flaws that a figure from that time period tended to have: absolutely a bitch to pose, hard to keep upright without the base (I let mine lean against the wall whenever I needed the base for even more precarious figures), joints prone to snapping if you worked him too hard. Still, by far my favorite of the DC Direct/Collectibles Len figures, if not my favorite full-size figure. 4.5 of 5.

Meanwhile in big box stores across the nation, DC Universe Classics was releasing their best wave yet, wave 7. Man, I had that whole thing aside from Aquaman; Big Barda, Flash, Kid Flash, Blue Beetle, Booster Gold, and of course, Captain Cold

This is the ugliest Len figure. Hands down, the least visually appealing. Which is a shame, because it’s also one of the best! Completely comic accurate until you hit the upper torso/head area, a ridiculous amount of articulation, with the single best cold gun of any of these figures...but jfc that expression. The weird poncho/hood always bothered me too, because while it was almost comic accurate, something just threw it off the track and made it look more ridiculous than cool. 3.5 out of 5.

After the New 52 hit, DC Collectibles released 2 Captain Cold figures in rapid succession, one that was packaged alone, and one that came as part of a 7-figure set

Can you spot the differences? There’s just one: the Len from the 7-figure set is in a dark blue suit, and doesn’t come with the ice mace and ice dagger. Like all DC Direct figures before them, these DC Collectibles figures are pretty to look at, but offer very little in the way of articulation. They could be hard to keep upright, which was annoying, as neither came with a stand, and do not try to take off the hood. Nothing under there. Still, they were very pretty depictions of a popular redesign, so I feel alright giving these guys a 3 of 5.

DC Collectibles spat out a final Len figure for the CWverse line back in 2015

As a big fan of Wentworth Miller and his face, I feel this figure could have been better. I mean, I’ve seen Arrowverse figures that are spot on, and this one just is not. Maybe it’s because the goggles obscure a good portion of the face, I don’t know. That being said, I love this figure, and it’s actually one I re-bought at a convention recently, along with the Heatwave figure from the same line, that hadn’t been released when I’d started selling off all of my toys. The costume is show-accurate, the figure comes with an extra set of hands, and the gun is just really cool. This is a solid 4 of 5 figure.

These next toys aren’t action figures per say, as they don’t do much in the way of action, but they’re cute and I like them, for the most part.

Funko took over the market and the world back in 2010 when it first introduced the Pop Vinyl figures, but it took a hit TV show to get Flash villains other than the Reverse Flash into production. There are 3 Captain Cold Funko products currently out, the two Pop Vinyls and a Re-Action figure

Now, I love the first Pop Vinyl. The round, lifeless black eyes of the Pops have freaked me out for a long time, but with Len in his sweet goggles, this Pop is perfect for me. I actually have him on a shelf in my closet. The variant...look, I like how they included the actual real-life hairline Wentworth Miller has, but those creepy eyes just kill it for me. The Re-Action figure, by the way, is garbage. They’re supposed to be based on the lines of toys that came out back in the 80s, but all that means to me is little to no articulation, weird molds that look nothing like the character they’re supposed to be, and few if any accessories. Why is he wearing a tie??? Just. The worst. 5 of 5 for Pop 1, 3 of 5 for Pop 2, and 1 of 5 for the Re-Action figure.

There are a bunch of figures that came out before Funko’s reign that have little to no articulation, and here they are:

Action League Citizen Cold, from the Batman: The Brave and the Bold line

I love a good boy??? 5 of 5, absolutely perfect. No you can’t pose him, but he already comes in a dynamic, interesting pose. This is my absolute favorite of all the non-poseable figures, and I miss mine all the time.

Imaginext, a line of toys for very young superhero fans, made a New 52 Captain Cold a few years back

Honestly, Imaginext toys are ridiculous, and I love every single one of them. They’re great toys for little kids, and yeah, Len is completely bald underneath that hoodie and ice gun backpack, but he has a snowball cannon to compensate with, so who’s the real loser?! 5 of 5, beautiful.

Did you kno w that back in 2011, McDonalds put out a line of Happy Meal Young Justice toys featuring Captain Cold??? Did you want to know? Too bad, you know now.

My dad’s dog chewed up his ice projectile, rendering the actual immobile figure completely useless...but I still really like it??? Like, it’s a toy that came with food that I sweet-talked the counter guy into giving me. It’s a worthless little nothing of a toy...but I still like it. 3 of 5.

Pocket Heroes were a weird little line of 3-inch figures that came in two-packs. One of those packs contained Flash and Captain Cold

You can basically only move their arms and legs, and while this figure comes with a cold gun and a remarkably ripped set of abs and pecs, the design never really appealed to me. 2.5 out of 5.

I collected MiniMates once upon a time. 2.5 inch figures that were basically fancy LEGOs? Deal me in! ViniMates are uh. Not that.

ViniMates are 6-inch figures and I Do Not Like Them. Being made of vinyl makes them almost completely free of articulation, so the post you get them in is the one they stay in. Also, this one is based on the show-interpretation of Len and it seems to be smoldering at me. Don’t like that. 1 out of 5.

On the other end of the vinyl spectrum, the Mini-Mezitz line from Mezco is simply delightful.

Mini-Mezitz were 2-inch figures with articulation in their arms, legs, and neck joints. I love mine, and they have been hanging out on the top of my bookcase for like 7 years now. 4 out of 5, absolutely weird-dorable.

Eaglemoss once put my blog on the front page of their website without telling me, back when I was actively snapping pictures of my Flash collection. The Eaglemoss lead figures, once you get past the fact that yes, these dudes are made of painted lead so maybe handle with care, are a good staple in any collection. Captain Cold got two

Both Eaglemoss figures came with information booklets about Captain Cold, though the chess piece New 52 version focused almost solely on his New 52 history. They’re both very detailed, and I really like them. 3.5 out of 5.

I never watched Thomas the Tank Engine as a kid...but I saw this weirdass thing in a HomeGoods one day and just kinda. Stopped and stared.

He’s a train. Len is a train now. Don’t like it. 1 out of 5.

So there’s this company called Kotobukiya. They’re most famous for their bishoujo statues, but they make guys too. I had the Flash Kotobukiya statue, back in the day. I was not collecting Flash stuff when they made a Captain Cold one.

I’m actually apparently getting this as a gift from my boyfriend for Hanukkah. He finally got access to my wishlist. This statue is based on the Francis Manapul New 52 redesign, and it is what we call Big Sexy. Frankly, I give it a 5 out of 5.

No offense to Wentworth Miller, but my favorite Captain Cold TV appearance is always going to be his role in the JLU episode, Flash and Substance.

The JLU figures were all godawful, but hell if we as a fandom didn’t gobble them up back in the day. I had all the available Rogues, Len, Heatwave, Captain Boomerang, Weather Wizard, “Justice Lords Flash” (who was really just Reverse Flash, let’s be real), Mirror Master...it’s the most complete set of Rogues you can get, actually. But they were terrible figures; the Dorito-like shape of the shoulder to waist ratio combined with the narrow feet of the figure guaranteed that these toys would not stay upright without a stand. They had no articulation, and most came without weapons. But you could get three-packs of them in Target for like $12, and they were designed with children in mind, so. 3.5 out of 5, because frankly, the Timmverse designs will always tug at my nostalgia strings.

Captain Cold is available in two official LEGO forms

The first is from the Mighty Macros line, and features Len vs the Flash in a racecar vs snowmobile race. It’s very cute and easy to build. The second is the more challenging Gorilla Grodd Goes Bananas set, which also includes Flash, Grodd, and strangely enough, Batman and Wonder Woman. I never owned that set, and it’s pretty hard to find these days, regularly running $80 and up. Both sets are a 5 out of 5, though, because LEGO does not mess around when it comes to quality fun.

I saved my favorites for last. In the 70s, there was a line of toys called MEGOs, which were plastic-bodied toys with cloth suits. Mattel, and later the Figures Toy Company, would both do their own versions of Captain Cold

The first version, by Mattel, is amazing. Mine is literally sitting next to me as I type this. I took him to Universal with me when I won a trip to Halloween Horror Nights back in 2015, I take him to the movies with me when I don’t have anyone else to go with, he’s my little buddy. My dad’s dog, again, chewed his left arm completely off at one point, but I don’t care. I love him. As for the Figures Toys version, I actually won a fairly cheap auction for him earlier this week, so we shall see! I don’t know if I like how he has the whole “Super Friends hypothermia Len” look going on, but I do like how his costume isn’t just cheap, tearable vinyl. We shall see what’s under that hood soon. I give the Mattel one a 5 out of 5 for the years of joy he’s given me. The Figures Toys one is pending, but I’m gonna give a tentative 4 out of 5, because it really does look nice.

You could get Len in other forms, like as a game piece in the Heroclix and Dice Masters games, as a paintable figure for a Batman tabletop roleplaying game, as trading cards, as a set of guitar picks, as a card holder, as a very hard to find but still lovely statue from DC Direct, in official pin form from Funko and Fansets, on an old 7-Eleven cup, and of course, in the pages of the comics...but I’ve always liked toys, so that’s what I decided to go over. Hope y’all enjoyed this, and maybe got some ideas for your own collections.

[comingupforblair]

The MCU vs DCEU approach to world-building

Of all the complaints leveled against the DCEU, the difference in world building compared to the MCU is arguably the most prominent, to the point where it could even be said to be why other criticisms have been as intense and frequent as they have been to the point where it’s acceptable to accuse Warner Bros of being actively uncaring or disrespectful to their characters I’ve been vocal in my defense of the approach taken, not least because of how exaggerated it has been and how it ignores the numbers, and my feelings that the MCU approach, despite it’s undeniable merits, is not and shouldn’t be the only way to build a franchise nor should alternate ways be dismissed as has been the case with the DCEU.

My intention in this post is not to say advocate for one over the other but to look at both as objectively as I can and analyze the benefits and costs of each. I won’t pretend for a second that I’m nit biased as my feelings on this subject are very well documented and I don’t aim to change anyone’s minds but rather to add a sense of nuance to a discussion which has been frustratingly reduced to a narrative that there is a right way and wrong way to build a universe and Warner Bros have chosen the wrong one.

First, I’ll give a brief definition of each approach as I see it

The MCU approach - This method involves giving characters solo films prior to a team-up in the belief that it will create audience familiarity and emotional attachment so that they will care about them all in a team-up film.

The DCEU approach - This method is far more streamlined and is built around an idea that giving audiences a taste of characters first and then building upon that to build hype for a solo film will bring in audiences as well as not including backstory that is not seen as a high priority (not showing audiences a character backstory that they have already seen multiple times for example). Solo films are, in theory at least, more director driven and stand-alone.

Since the MCU method is the one most often praised as the correct one, I’ll start with that

Benefits

Audience attachment - While I don’t believe that solo films before a team-up are absolutely necessary for creating attachment, there’s no doubt that it is helpful and can make big team-up films easier as audiences will likely have at least one character they want to see in it.

World-building - The MCU approach can allow for audiences to be introduced to new parts of the universe and meet supporting characters more easily as well as add a sense of depth to the universe as a whole, making it feel more whole.

Easier film making - Introducing a lot of characters in one film can be very difficult and this approach means film makers won’t have to spend as much time on introductions and backstory and can cut right to the important stuff

Building on characters arcs - Through this method, film makers can build on what has been established already in solo films and develop the characters more efficiently in a team-up film as audiences will know their previous films

Freedom for solo directors - This approach can allow directors to set the first impression of a character, which can be critical, and put their own stamp on them. I still believe one of the best examples was the first Thor film where Kenneth Branagh was free to cast an actor of his choosing for the role and he picked Chris Hemsworth, who was perfect. Branagh was a lifelong fan of the character and it would have been unfair for him not to get a say in that element.

Downsides

The homework effect - This is starting to rear it’s head as an issue for the MCU as it can be very difficult for audience members to understand a major film if they haven’t followed all of the preceding ones so far and films outside of it can be seen as necessary and not in a good way. This also overlaps with frequent accusations of major studios, not just Disney, making things into trilogies that don’t need to be and dragging out stories for more profit.

Continuity lockout - As with the above, this is also starting to be an issue where it can be legitimately confusing to watch films if you don’t have a good knowledge of all the preceding ones. If your favorite Avenger is Captain America and you only want to see his films and skip others, you might find yourself wondering who Scarlet Witch and Vision are and why Steve and Tony are at each other’s throats. If you have no interest in any of those films but just want to watch Thor: Ragnarok because you’re a fan of Taika Waititi, you still have to at least know the plot of the last Thor film and who Doctor Strange is and other elements such as Thor’s scenes with Loki may lack weight if you haven’t seen The Avengers and first Thor film.

Investment - The aforementioned investment from the benefits is a double-edged sword. If you place your bets on a character people love, it works out brilliantly. But if you invest a lot of time and money in a failure, it can be tough to walk back from such a blunder.

This has happened in the MCU with the Inhumans. Disney spent years pushing for them in the comics and shows to take over for the X-Men. Agents of Shield was written to revolve heavily around them to create hype for a film that ended up becoming a TV series that failed spectacularly. This puts Disney in the awkward position of now trying to downplay the characters they spent years building up and Agents Of Shield is stuck being inextricably linked to a mythology no one cares about anymore.

Emphasis on luck - As noted above, this approach requires every piece to do it’s part and that requires a lot of luck. A single failed film can seriously damage future plans or overshadow them considerably. This occured with Marvel and Iron Fist which was intended to build hype for The Defenders which was seen as a crossover event similar to The Avengers. 

Unfortunately, Iron Fist was very poorly received by critics which ended up taking a lot of hype out of The Defenders, a fact not helped by Iron Fist being a fairly crucial building block which overlaps with the first downside. This ended with The Defenders, a show that once seemed like it would be one of Marvel’s defining accomplishments, getting a reception which mostly praised it in comparison to Iron Fist.

Aversion to Controversy- When you’re building such a universe, you want everything to work efficiently and that means not having any wild cards. This recently showed up with James Gunn who was dropped the instant any controversy arose about him because Disney didn’t want the bad press. The response ended up creating an even worse controversy which will have it’s own effects on the films.

Accusations of formula - The level of investment means that producers aren’t as willing to take chances. Directors seem and may feel like they are hired to set up the next big film rather than to make something unique and audiences may struggle to find a reason to see it.

Next up is the DCEU approach

Benefits

Peaking audience interest - The approach taken so far has allowed audiences to get an idea of what characters are like and build hype for a solo film from there. This worked amazingly well with Wonder Woman in BvS and there’s a strong possibility of it happening again with Aquaman and The Flash and Margot Robbie as Harley Quinn. On the Marvel side, it worked with Black Panther and Spider-man in Civil War, especially the latter who had to overcome the ‘’another Spider-man already?” reaction.

Less pressure on creators - Going with the above, actors in solo films don’t have as much pressure on them which is also handy if they’re relatively unknown as is increasingly the case. Creators can build upon what works and discard what doesn’t and they won’t worry as much if they appear first in a solo film. Tom Holland has said that playing Spider-man in Civil War first was extremely helpful for that exact reason. There’s also less pressure on directors to win people over to characters as that’s already happened.

Streamlined stories - I think a fact often missed out in this debate is that audiences don’t need to know or see everything. Things can only be hinted at or referenced in backstories and work just as effectively. This is especially true of characters we’ve seen a lot or whose stories we already know. I can’t give an estimation on how many people wanted another solo Batman film or rehash of his origin so soon but I reckon it was about zero. Further more, the success of the CW show means a lot of people know Flash’s backstory even if it’s another continuity. 

Other franchises such as Harry Potter and Lord of The Rings show that backstories don’t need to be seen right away or even at all. Marvel also showed this with Guardians of The Galaxy where their stories are only briefly shown or hinted in non-specific details and Spider-man’s backstory which, in the case of the latter, the average cinema goer already knows and will know exactly what Peter is talking about when he references tragedy in his past. 

Creative freedom - Warner Bros has always been a director driven studio and the DCEU has made an effort to live up to that. Whatever your feelings on them, Man Of Steel and Batman v Superman look and feel like Zack Snyder films and Aquaman looks set to follow with James Wan as hopefully will other films. This allows for films that feel unique and has the potential to attract other directors who worry about their vision being compromised for the sake of the franchise. Disney have learned this as well with films like Guardians of The Galaxy, Black Panther and Thor: Ragnarok which weren’t as burdened with world building.

Easier access - Having films that are more stand alone can potentially allow for audiences who are uninterested in superhero films coming on board as they don’t have to worry as much about knowing a lot prior. Warner Bros are taking this a step further with the non-DCEU Joker film which, if it works, has the potential to raise immense possibilities for the genre as a whole which it needs to avoid the stagnation that is always being threatened as upcoming.

Downsides

Less audience investment - I said before that audiences don’t need to see characters on their own before a solo film and I stick by that but it is still a helpful tool in doing so. Not using it can be risky if you don’t know how to pull it off. 

Burden of exposition - Having a lot of characters in one film and giving each some kind of backstory can be tough and, if done poorly, can drag the film down. Justice League had mixed success with doing so, not helped by the cut running time.

Less freedom for solo directors - The DCEU approach means that directors in charge of solo films are already losing control of a major element which is casting and initial audience introductions. Sometimes, even most of the time, this can work out for the best as Patty Jenkins admitted she wouldn’t have cast Gal Gadot as Diana but it’s safe to say that the first Thor film might not have worked as well if Kenneth Brannagh hadn’t been the one to choice Chris Hemsworth for the role. 

They also don’t set the tone for the audiences’ first impression which can be critical. This can leave follow-up creators having to clean up messes more than make films and shows as was the case with Iron Fist’s appearance on The Defenders.

Less overt leadership - This can be a positive or negative depending on how you see it. On the one hand, not having a leader who sets a strict tone for films and outlines an arc can creates feelings of disjointedness. On the other, it does allow for more independence among directors even if WB have undercut that possibility with BvS and Justice League.

So that’s the benefits and downsides of the two franchises as I can see it. If I’ m missing anything, let me know.

Like I said at the start, I’m not trying to win anyone over. If you still feel like the DCEU would benefit from an approach like the MCU, that’s fine. I just wanted to outline the shades of grey in this discourse that I haven’t seen others mention. 

[themyskira]

Amazons Attack! - part 2

Previously! Wonder Woman decided to work through her identity crisis by getting a civilian identity and a job as a field agent at the Department of Metahuman Affairs, where her job is to... arrest Wonder Woman. Her partner, Tom Tresser, likes Wonder Woman because she’s hawwwt and hates “Diana Prince” because she has the nerve to, like, expect to work with him on cases and give her opinions and things. Now Circe has kidnapped Tom and Wondy has unfortunately decided to save him.

Also, everybody considers Wonder Woman to be a loser C-grade superhero and it’s suuuuuuper hilarious.

Part 2: Wonder Woman vol. 3 #7 -- Jodi Picoult (writer) and Drew Johnson (artist)

Circe is lying in wait with the captive Tom Tresser at the Wonder Woman Museum -- the one that shut its doors a year ago because Wonder Woman is unpopular, lol. It’s an unbearably stuffy-looking place, all grand Grecian columns and pedestals and busts of Diana and statues of Diana and portraits of Diana, and I’m kind of taking offence at how crappy this museum looks because if I lived in the DCU, working at the Wonder Woman Museum would be a friggin dream job. Though I suppose this goes some way to explaining why the place went bust, if it was some kind of pretentious hall of worship.

While she waits, Circe monologues about how she hates how Diana is so perfect, because perfect people are boring, and she’s probably only being perfect so that everybody sees how perrrrrrfect she is, booooooo.

Tom doesn’t say anything as he is suspended from chains and bound with live snakes, because Circe is so damn extra.

Diana arrives and the huge Wonder Woman statue in the centre of the room slowly turns to look at her. The stone surface crumbles away, and Circe bursts out of it. It’s actually a pretty cool reveal, but I can’t stop thinking about the fact that all of a minute ago Circe was in a different room, monologuing and using her magic to scry on Diana. Meaning that the moment she saw Diana enter the building, she must have scurried to disguise herself as a statue just so that she could jump out at Diana as if this was some kind of freaky surprise party.

Circe wants to talk about how much she hates Diana. Yes, I know we just went through that two pages ago, bur apparently she’s got more to say on the subject. This time her gripe is the fact that everything Diana stands for is a lie, because Diana claims to fight for humanity but will never be human.

All this, by the way, is friggin hilarious, considering this story follows directly on from Allan Heinberg’s “Who is Wonder Woman?” arc, which ends with Diana and Circe reaching a kind of truce, acknowledging that they both share the same longing to be human (yes, I know, but we don’t have the time to get into that nonsense), and Circe extending a peace offering in the form of an on/off-switch for Diana’s powers so Diana can live as a human (UGH IT’S SO STUPID nope nope gotta move on) before they part on peaceful terms.

Granted, the conclusion to that story wouldn’t be published until after “Amazons Attack!” wrapped up, due to Heinberg flaking on the story. But “Amazons Attack!” had been in the planning stages since late 2006; surely a story outline would have been relevant information to pass onto the creators involved in order to avoid, well, silly continuity fluffs like this one.

Or maybe they did know and they just didn’t care.

Anyway, Circe goads Diana about killing Max Lord, Diana loses her temper and punches Circe in the face a lot, and Circe smirks.

“What are you going to do now, ‘Wonder Woman’? Kill me? The Wonder Woman I know would never let me off that easily. Maybe you’re no longer Wonder Woman, after all… Do you even know who you are?

Yeah, Picoult’s reaaaaally hitting us over the head with the identity crisis shit. It’s bad writing on its own, but, again, in the context of the Heinberg arc that came right before this one? The one where Diana moans about how she doesn’t understand humans and she wishes she could be human and she doesn’t know who she is on every. second. page? The one that’s literally titled “Who is Wonder Woman?”? This is a straight-up retread.

Shit, maybe Picoult really wasn’t given the rundown on Heinberg’s arc. Maybe she read those first four issues and was just working on the assumption that Diana’s identity crisis would be an ongoing theme, rather than a struggle that was to be resolved at the end of that story (whenever Heinberg got around to writing it).

Also, thanks to the clumsy wording (“What are you going to do ... kill me? The Wonder Woman I know would never let me off that easily”), Circe appears to be suggesting that the real Wonder Woman would never be so merciful as to simply kill. Where’s the bloodlust and extended torture, Diana?! You’re going soft, damn you!

Circe cackles and teleports away through a mirror, and Diana races to find Tom.

He’s in a bad way, but, even bleeding and delirious, he manages to be a sexist jerk.

Tom: [weakly] Wonder Woman?! Is this a dream? Can’t be— you never wear that in my dreams… Diana: No? What do I wear? Tom: Oh, I don’t know… dessert toppings, mostly. [Diana drops Tom with a loud thud]

Tom is losing a lot of blood, however, given her fugitive status, Diana decides “a hospital is too risky” and breaks into a veterinary clinic instead. I… don’t see which she couldn’t have just dropped him off at an emergency room or outside his headquarters, but… okay, then?

While he’s being patched up, Tom starts munching on a dog biscuit, because he hasn’t eaten since he was kidnapped. Which was all of an hour ago. Then, because he still hasn’t learned to shut his damn mouth, he tells Wondy that he’s “not used to getting rescued by girls”. He adds that he wishes he could work with her instead of his partner, who’s a “tool”.

Diana points out that he’s supposed to be arresting her, and he says that he’s a maverick who doesn’t play by the rules. Well, he says “I don’t always do what I’m told”, but same diff. (Last issue he told his tool of a partner that it doesn’t matter whether arresting Wonder Woman is right or wrong because it’s what they’ve been told to do, but I guess we’re just forgetting that.)

They decide to investigate the scene of Tom’s kidnapping together. While they’re in flight, Tom cradled in Diana’s arms, he asks her whether she only dates other people who can fly. Apparently he’s been doing a good deal of fantasising about banging Wonder Woman in mid-flight, and the problem he just can’t get around is the likelihood of her dropping her flightless partner in her throes of passion. And… he thought it was a good idea to share this with her.

Tom: So, uh, I guess you only date other people who can fly? Diana: What?!? Tom: I mean, say you’re hooking up with someone high above the stratosphere and you’re so overcome with passion that you drop them? That would be a terrible way to end a date… You do get overcome with passion, right?

Drop him, Diana. Drop. Him.

He follows up with a “We’re only human, I guess. Sorry— I mean, I’m only human”, just so that Picoult can mash that theme into our faces a little harder.

And now it’s time for some more classic champagne comedy!!

Diana: So what is the place again? It can’t really be a bar for super-villains? Tom: Well… no, not exactly. Wannabee [sic] villains— fans dressed as villains, actually. And they’re all really into Ashlee and Jessica.

wut.

The bar is filled with all kinds of hilarious colourful characters, including a drunk ape, a group of metahuman brainiacs arguing over Scrabble and a couple of costumed blokes making hack observations about Diana’s costume.

Dude 1: I don’t care what they say on television — Aquaman’s totally washed up. Dude 2: An’ Wunner Woman — how’s she fight crime in a freakin’ bikini wiffout it fallin’ off?

The female bartender immediately starts fawning over Diana, who asks if she’s seen Circe, offering this incredibly helpful description: “She’s, uh, tall… fairly attractive… until you get to know her, I guess.” Really, Diana. Really. Bright pink hair, black headdress, purple cape, propensity for siccing snakes on people and throwing around magic like it’s going out of style, and your go-to is “tall”?

Incredibly, the bartender knows who she’s talking about and directs her to the women’s bathroom — “Beware the smell.” As Diana leaves, a guy who looks suspiciously like the Scarecrow pounces on the jukebox, exclaiming joyously about Jessica and Ashlee Simpson. Comedyyyyyyy.

Diana confronts Circe in the bathroom and they fight, with Circe continuing to berate her about how she doesn’t really know herself. As they wrestle with each other, Catwoman walks in, mistakes the fight for an amorous embrace and apologises.

Selina: Oh, sorry. Didn’t know it was occupied. Next time, ladies, lock the door.

Ha ha! Such zaniness! Isn’t it hilarious that somebody would be so silly to think that Wonder Woman of all people would be interested in smooching ladies?!

Incidentally, there seem to be a lot of legit villains and criminals hanging out in this loser bar for villain cosplayers and wannabes. What possible reason could an immortal sorceress, one of Batman’s most enduring rogues and a crack cat burglar/antiheroine have for slumming it in a place like this?

Circe makes one last jab about Diana not knowing herself, before vanishing through a mirror, just in time for Diana to be ambushed by Sarge Steel and a team of heavily armoured DOMA agents. He thanks Tom for helping to apprehend Wonder Woman, explaining that they were able to track her through the locator chip in Tom’s uniform. Tom was not aware there was a locator chip in his uniform, and wants to know why they didn’t use it to find him earlier instead of leaving him in Circe’s clutches for “the past 24 hours”, and ohhhhh god lord, there is not a single part of this that lines up with the previous issue’s continuity.

Tom cannot have been held captive for 24 hours. Circe ambushed him when he stopped off while driving home from work in the evening. His capture was discovered that same evening and Diana was recalled to headquarters. After being briefed, she immediately figured out where Tom was, changed into her costume and flew to Tom’s rescue. She patched Tom up and they went directly to the bar, at which point it was still clearly dark and the moon was out. This has all happened in a single night.

Tom cannot have been tracked by a locator chip in his uniform, because Tom was not wearing a uniform. He was in his civvies when he was captured. By the time he was rescued, he wasn’t wearing much at all. I think he stole a lab coat from the vet’s. Tom shouldn’t be surprised that there was a chip in his uniform. He should be surprised that Sarge Steel is claiming to have tracked him through a device that is very obviously not on Tom’s person.

If DOMA was capable of tracking Tom all along, then why did Sarge Steel assign Diana to investigate and find him Tom hard way?

The second two points can technically be explained away by the fact that, as will be revealed in later issues, Sarge Steel is really Everyman in disguise and he’s working with Circe. But that doesn’t excuse such contemptuously lazy writing, because by having Steel/Everyman deliver and get away with such a pathetically flimsy lie, Picoult makes him, Tom, Diana and the entirety of DOMA all look stupidly incompetent.

Later, Steel visit Diana, who’s imprisoned in a high-tech underground cell. He tells her that the President of the United States is prepared to let her free in exchange for the schematics for the Purple Death Ray (an Amazon WMD, reluctantly developed and deployed during the OMAC crossover bullshit of the previous year). Then he flips a switch an electrocutes her, because he doesn’t have a moustache to twirl.

Meanwhile, Circe sneaks into Themyscira, and the eternal flame in Hippolyta’s tomb goes out.

Oh, Polly. You deserve so much better than to be pulled into this shithouse crossover.

[nathanneedsausername]

2018 Film Retrospective

This is my retrospective of all the movies I saw in 2018. This is based on UK release dates so films such as The Favourite, Vice or Eighth Grade will not appear on this list despite technically being 2018 movies as I have not yet been able to see these yet. There are also many movies that I have missed in 2018.

I will still be updating this list throughout 2019 here: https://letterboxd.com/nathan_r_l/list/2018-from-best-to-worst-3/

If you want to see where these movies fall on this list as I see them.

So, anyway here from the worst of the year to my personal favourite are all the films I saw in 2018:

 37. The Queen and I (Dan Zeff):

I only saw this film a few days ago as of writing so it may seem a little harsh to call it the worst of the year as it hasn’t had any time to grow on me yet. Although I don’t see this getting any better with age. Sky intended this new David Walliams’s TV movie as a sort of Christmas present, but this must be one of the very few films I have ever seen that has actually made me angry. Nothing more than royalist propaganda that manages to completely miss the potential of the concept as well as missing the point of the sequence from Les Miserable that it decides to “pay homage too”.

36. Death on the Tyne (Ed Bye):

Not much to say here. Really it isn’t a surprise that UKTV made a bad comedy.

35. Fahrenheit 451 (Ramin Bahrani):

I promise that I saw more than just TV movies this year, it just so happens that most of them were really bad. All of the changes that were added to the story were stupid and when they actually tell the story it is painfully boring.

34. Jurassic World: Fallen Kingdom (J. A. Bayona):

Let’s be real, despite ranging in quality none of the Jurassic Park sequels have warranted their own existence. That being said Fallen Kingdom might be worth watching just to see how hilariously bad these films can get. Despite having the same director as The Orphanage and A Monster Calls no amount of good tracking shots can fix a script that is this ridiculous. The script comes across like two different ideas for new Jurassic Park movies were awkwardly stitched together when the best treatment for both would have been not to make either of them. Through in an incredibly stupid and unneeded twist and the most underwhelming Jeff Goldblum cameo in cinema history.

33. Grandpa’s Great Escape (Elliot Hegarty):

Oh, look another bad TV movie. Davis Walliams consistently finds himself attached to these boring BBC productions never quite capture the heart and care of his writing. Walliams is a good children’s author, but the small screen adaptations of his work always feel rushed and unfocused.

32. Venom (Ruben Fleischer):

The biggest disappointment of 2018. Venom is corny, bland and forgettable. According to IMDB, Zombieland director Ruben Fleischer is behind this mess but judging by Tom Hardy’s performance and the incomprehensible CGI finale no-one directed this.

31. Solo: A Star Wars Story (Ron Howard):

A soulless, lifeless film that stinks of studio interference. All of the cast feel as if they are just playing the type of character they are expected to (especially  Phoebe Waller-Bridge as L3-37). There are moments in this film where it feels like there is supposed to be a joke that has awkwardly been edited or written out after Lord and Miller left the project, these moments haunt the film and make me feel like this could have been great, but alas. 

30. Death Wish (Eli Roth):

At this point it might be time to consider that Eli Roth might be making bad movies on purpose. I went into Death Wish expecting something needlessly graphic and entertainingly violent and stupid but that’s not what this is. For the most part the gun violence in this film is pretty tame and the dialogue is far to generic and boring to be funny. There is one scene in a garage that showcases what usually makes Roth’s films memorable, but it comes too late to bring this movie into guilty pleasure territory. I do believe that Roth is a good filmmaker but the more he releases these mindless, generic thrillers the harder it is to defend him.

29. The Meg (Jon Turteltaub):

Half of this movie is a self-aware special effects movie that is genuinely entertaining. The other half is a boring and cliché. It should be good but never quite manages to keep up any momentum that it builds.

28. Tomb Raider (Roar Uthaug):

Technically better than the 2001 Lara Croft film although I know which one I would rather watch. Some interesting set pieces and homages to the newer tomb Raider games mixed with bland dialogue and an uninteresting plot.

27. Deadpool 2 (David Leitch):

Not as funny as the first movie but has better action. Deadpool 2 is mixed bag, the satire falls short when the movie insists on upping the stakes and having its audience feel emotionally connected to the story. David Leitch is a good action director and I look forward to seeing what he does next, but I can’t say that I’m all to exited about the next instalments in the Deadpool franchise.

26. Tag (Jeff Tomsic):

I don’t think that this film deserves the hate it seems to have gotten. Tag is a pretty funny movie with memorable characters and good camera work. It’s a little corny and the ending gets way to soppy but it’s a good film to watch with a group of friends if not just for some good Hannibal Buress quotes.

25. Click & Collect (Ben Palmer):

Hey, a TV movie that didn’t suck! Airing on BBC 1 on Christmas Eve this is an example of cringe comedy done well, the plot doesn’t always make sense but that doesn’t stop the comedy from really working.

24. Outlaw King (David Mackenzie):

A pretty good historical drama about Robert the Bruce. That’s all this is really a serviceable movie about an interesting topic. Not bad by any means all though a little forgettable, the performances and fight choreography are great but the writing lacks any real direction.

23. Aquaman (James Wan):

A list of other movies scenes from Aquaman made me think of:

Ratatouille

Splash

Raiders of the Lost Arc

Lara Croft: Tomb Raider

Black Panther

Star Wars: Episode I - The Phantom Menace

Lord of the Rings: Fellowship of the Ring

Lord of the Rings: The Two Towers

How to Train Your Dragon 2

Wonder Woman

Full review coming next

22. Ant-Man and the Wasp (Peyton Reed):

Not as funny or engaging as 2015’s Ant-Man. This is a decent blockbuster with some good special effects and funny moments. A lower tier Marvel film for sure that gets completely overshadowed by the other two movies that the studio brought out in 2018 but still a fun watch.

21. Ocean’s Eight (Gary Ross):

About as good as Ocean’s 13. All of the hallmarks of the Ocean’s trilogy are present. The last 15 minuets begin to over explain what we have already seen and the name of the movie spoils and reveal at the end of the movie. A well-directed heist movie none-the-less that should be enjoyable for any Ocean’s fan

20. Ready Player One (Steven Spielberg):

This movie is at its best when it is at its most Spielberg. There is a really great car chase and a plot that revolves around kids standing against authority. It goes on for way to long and some of the references are on the nose. It certainly needs to be cut down but it’s a movie worth seeing if you know your pop-culture.

19. Searching (Aneesh Chaganty):

By far the best example of found-footage to be released in years. Having the entire film appear from the perspective of computer screens and phone calls makes the experience feel far more real and personal as if you are right there figuring out the mystery with the character. The story itself separated from its gimmick has been seen before and the twist is a bit of a reach but with its unique style it feels completely fresh. If you hated Unfriended there is a high chance that you will love this.

18. My Dinner with Hervé (Sacha Gervasi):

A HBO movie featuring a fantastic performance from Peter Dinklage. The life story of French actor Hervé Villechaize is told through a crazy interview based on the one that the actor had with the director in the early 90’s. It’s a small film but one that has been made with a lot of passion from its director and star. Absolutely look this one out if you can.

17. Isle of Dogs (Wes Anderson):

Wes Anderson is responsible for some of my favourite films of all time. While his latest may not be his best work to date it is a beautiful and insanely well-crafted film full of life and wonder. Anderson has a particular style and this movie sums up exactly what makes that style work so well with every shot working perfectly.

16. Black Mirror: Bandersnatch (David Slade):

It’s hard to tell at this point whether or not this will start a new craze for choose your own adventure movies the way that Avatar started a craze for 3D. Honestly I don’t think Charlie Brooker has left anywhere to really be explored with the this concept as he dives head first into a meta-narrative all about free-will. Certainly, an ambitious endeavour for the crew of Black Mirror that has taken over the cinematic discussion for a little while. I saw this with a group of friends trying to uncover as much of the story as we could in one sitting and I highly recommend that experience if you haven’t seen/played this yet.

15. Black Panther (Ryan Coogler): 

A Marvel movie that appears to have nudged its way into Oscar conversations, regardless of whether or not I think that it deserves that acclaim this is a great film. Black Panther has some of the smartest writing of any MCU movie and one of the best villains to ever appear in a superhero movie. This is a film that will be talked about for years because of what it means for representation, it also helps that it is a really good movie.

14. Game Night (John Francis, Jonathan M. Goldstein):

The biggest surprise of the year is that the two guys behind 2015’s awful Vacation reboot managed to make one of the funniest and well-made comedies of 2018. The camerawork in this film is brilliant, one long take in particular has to be one of my favourite scenes of the year. The plot takes some logical jumps but who cares when the film is this good.

13. A Quiet Place (John Kransinski):

Sure, it doesn’t all make sense when you analyse it but watching A Quiet Place on the big screen is one of the tensest experiences I have ever had. When the credits rolled after the first time I saw this film I noticed that for the past 90 minuets, that’s the sign of some effective tension.

12. First Man (Damien Chazelle):

Chazelle has proven himself to be one of the best directors working today. While I may not love his latest as much as his previous work on La La Land and Whiplash it has to be said that First Man is a solid base hit for a great filmmaker. The third act of this film features some of the best special effects of the year mixed with one of the most emotional sequences of the year. Gosling and Foy are both brilliant and both deserve nominations as does Chazelle.

11. Three Billboards Outside Ebbing, Missouri (Martin McDonagh):

Slightly twisted and very enjoyable Three Billboards is a strange film. McDonagh is able to find humour in the darkest of places but never undermines the serious nature of the subject matter.

10. Incredibles 2 (Brad Bird):

Going into the top 10 it feels important to restate that these rankings are based purely on my own personal opinions on each film. Incredibles 2 is objectively not as good as the 2004 original, but it doesn’t have to be, this is a very fun movie featuring some great animation, fantastically directed action sequences that only Brad Bird could pull off and do I even have to mention the Jack-Jack scenes? Brad Bird is one of the greatest filmmakers to ever work in animation and this feels like his victory lap, not his best film but absolutely one that showcases just how great he is.

9. The Shape of Water (Guillermo del Toro):

Best picture winner, The Shape of Water deserves all the acclaim that it has gotten. This “adult fairy-tale” features a wonderful score, fantastic performances, beautiful set-design and characteristically excellent direction from one of the world’s greatest directors! Everyone has already lumped praise on this film and so I am not left with too much else to say other than see this film.

8. The Zen Diaries of Garry Shandling (Judd Apatow):

I hear that 2018 was a great year for documentaries, I wouldn't know because I only saw this one but if Three Identical Strangers and Won’t you be my Neighbour are better than this then I need to see them. Judd Apatow looks into the life of his friend and fellow comedian Garry Shandling only 2 years after his tragic death. His approach leaves no stone unturned as he dives head first into the late comedian’s mind using his own diaries and interviews with his closest friends and collaborators. As a stand-up comedy fan it is absolutely fascinating to get a look the real life of an often misunderstood legend like Shandling for it to be as neatly put together and wonderfully entertaining as this is a welcome bonus.

7. Avengers: Infinity War (Joe Russo, Anthony Russo):

For the technical achievement alone Infinity War deserves a place in my top 10. The Russo brothers managed to pull off a stunt that just a year ago I was ready to call impossible, bringing together 10 years worth of character arcs and plot points while still making an enjoyable film. Even though it has been 9 months I still don’t know what to say about this film and my lack of words may be the best compliment I can give it.

6. Mission: Impossible – Fallout (Christopher McQuarrie):

If you asked me in June I would have said that the Mission: Impossible franchise had peaked with Brad Bird’s Ghost Protocol in 2014, I also would have been dead wrong. Fallout is not just the best film in the franchise but an absolute high point in action cinema. Seeing this on the big screen was one of the most visceral and intense movie going experiences I have ever had, every stunt is a nail-biter and the whole time I was on the edge of my seat.   

5. Thoroughbreds (Cory Finley):

This is the movie that I saw alone and have yet to properly have a conversation with someone about. This film slipped under almost everyone’s radar and then disappeared. I am telling you now find this movie it is a fantastic, quaint little film with the power to make you uncomfortable and make you laugh at the same time. Olivia Cooke and Anya Taylor Joy are both brilliant and the ending has one of my best moments of the year with a single long shot and the power of suggestion. If you missed it, which you probably did, go look it out. 

4. BlacKkKlansman (Spike Lee):

Loud, funny, unapologetic, stylish and controversial. Those are the five words that describe all of Spike Lee’s best movies and BlacKkKlansman is no exception. With multiple Oscar worthy performances, a great score and a screenplay that shows Spike at his angriest and smartest in a long time, this film will get under some peoples skin, as great cinema should. 

3. I, Toyna (Craig Gillespie):

Every now and then a movie comes along that perfectly sums up why I love this art form, I Tonya is one of those movies. Deeply impactfull on an emotional level while remaining hyper stylised, Gillespie manages to make the audience feel sympathy for characters that would be the villains in any other story by taking you on an emotional roller coaster through the life of Tonya Harding that leaves the viewer feeling just as broken as the titular character by the conclusion.

This film is so good I watched it twice in two days.

2. Lady Bird (Greta Gerwig):

I fell hard for this film. Greta Gerwig’s painfully honest look at growing up feels like watching a selection of incredibly well shot home movies from a real person. The real achievement of Gerwig’s directorial debut is how it manages to feel relatable even if you aren’t in the same situation as the protagonist. When the credits role it’s hard to feel slightly disappointed that you can’t keep watching what is going to happen to this character next and when the only criticism you have is that you didn't want it to end, the film must have been pretty good.

1. Spider-Man: Into the Spider-Verse (Bob Persichetti, Peter Ramsey, Rodney Rothman):

I’m just as surprised as you are.

Somehow and for whatever reason this is the movie that resonated with me the most in 2018, this is the film I see myself going back to the most. Sometimes the best film is the most entertaining one, this film had me hooked instantly and kept me in a near trance-like state during its run-time. In don’t have anything to profound to say about this film it’s just really a great film that everyone can enjoy. If this is still playing near you and you haven’t seen it yet, go check it out you won’t be disappointed.

[furederiko]

I've sort of lost track of holidays and festives since the year began, but today's Good Friday!!! Meaning it's a good friday to post a Random News Digest as well... Ahahahaha!

Fantastic Beasts and Where to Find Them

The quest for young Albus Dumbledore has come to a close. Warner Bros has entrusted the iconic role to... none other than Jude Law. Which shouldn't come as a surprise, considering the Brit actor's long history with the studio, from the "Sherlock Holmes" series to the upcoming "King Arthur: Legend of the Sword". Personally, I still think Rafe Spall would make a better Albus, but perhaps the movie needs more of Law's... star power considering the first "Fantastic Beasts and Where to Find Them" wasn't exactly the big "Harry Potter" hit that WB expected. Beside, Law also suits the "younger man and quite a troubled man" criteria better than Spall.

The down side of this casting, is the general assumption that the sequels will put more focus on the bromancing frenemy between his Dumbledore and Johnny Depp's Gellert Grindelwald. It has been hinted that the two characters have shared a rather 'close' relationship in the past, perhaps even something that was somewhat romantically inclined. Okay, let me correct that. J.K. Rowling has said it herself that "Dumbledore fell in love with Grindelwald, and that added to his horror when Grindelwald showed himself to be what he was.", so it's more than just mere speculation. Thus, it IS going to be interesting to see how Law and Depp come to blow with one another, which is what many "Harry Potter" fans should be dying to see. Then why do I call it a 'down side'? Because at least for me, it's Eddie Redmayne's Newt Scamander...'s magical ZOO that was the prime highlight of the first movie. Those creatures, with the chemistry between Alison Sudol's Queenie and Dan Fogler's Jacob Kowalski coming hot in second place, are the part that I found to be delightful. These three characters, alongside Katherine Waterston's Tina, have all been confirmed to return, so one would easily wonder how these New Yorkers are going to fit in the story that takes place in Paris and Watford, England. Admittedly, Tina and even Newt himself, were pretty dull and boring for a lead. But it would feel like such a crime if they are put aside to the corner, as the spotlight is stolen by Law and Depp instead.

It is currently unclear whether the next movie will once again feature two separate storylines going in parallel with one another. But that's exactly what's currently generating the concern for some people. David Yates will be returning to helm the second movie, so let's just hope he'll find a way to make the sequel feel more... balanced and evenly focused. "Fantastic Beasts and Where to Find Them 2", a tentative title for now because I'm not even sure if it will be accurate to the story anymore, is set to be released next year on November 16th, 2018. That's when we'll see whether this will turn out to be a magical Brokeback Mountain between Law and Depp, or another adventure of Newt & Co.

DC Films

Pray tell, why are we getting another poster for "The Justice League"? The popular notion is that WB is launching one as preparation for that last trailer debuting in theaters alongside "The Fate of the Furious". Yet when you look at the timing, somehow it just feels rather inappropriate. I mean, why not release it alongside those character posters and teasers last month? Can't remember? Those ones that oddly arrived on the same week to Spider-Man's posters and trailer. Sounds dejavu? Because Marvel Studios had just debuted the trailer and first poster for their upcoming Thor movie as well! You know, the one that will premiere just two weeks ahead of "The Justice League"!

Aaaah yes, THAT is the reason why calling this as coincidence is hokey at best. As if WB is trying to convince audience that... yes, despite the muted colors and the joyless forced humor, their grand ensemble movie is as colorful and fun. Now I can't help but wonder if this is a direct answer to that hillarious FANMADE video that's casually making fun of Ben Affleck's Bruce Wayne and Gal Gadot's Diana Prince... LOL. Anyway, my point is... hogging on another movie's spotlight is acceptable, since many studios have been doing this since the Hollywood's dinosaur age. But I do really wish WB would stop being so dickish, while at the same time, being utterly obvious about it. Stop positioning themselves as the angry envious rival, subtly but blatantly creating flame wars with Marvel, because it does them no good. Acting all offensive in a non-existent competition is the wrong thing to do, because it makes them look BAD instead!

"Wonder Woman" also made news because the movie is said to be tracking for a $83 million opening. Eventhough it is unfortunately lower than DC Films' previous two movies, it sure didn't stop fans from turning into bragging mode and stuff. After all, that's how the internet works, and sorry to say, precisely the way 'DC fans' tend to overreact with things both good and bad. Meanwhile, another outlandish rumor hit the internet, claiming that WB will release not one, not two, but FOUR Batman-related movies in the year 2019. Yeah, judging from the studio's track record on announcing DC projects, only to end up losing directors or getting back to first page rewrites... over and over again, that sounds too good to be true, right? Despite all that, just imagine the headlines and numerous thinkpieces immediately run by various entertainment, and fansites. Well, at least until WB's producer Jon Berg and DC Entertainment's President Geoff Johns themselves shot down this report in their own hillarious way. I don't know about you, but THAT is what I call FUN.

Last but not least, Dolph Lundgren has joined "Aquaman" to play merman(?) King Nereus of Xebel. Making him the third antagonist after Patrick Wilson's Orm, and Yahya Abdul-Mateen II's Black Manta. That's not counting the likelihood of Willem Dafoe's Dr. Vulko turning evil, of course. Director James Wan has confirmed this casting himself, and Lundgren will likely join production when it begins on May in Hawaii. Although having the former Punisher sounds good, once again, this casting felt a little toooo obvious to be a coincidence. After all, we just got a hot rumor surrounding Sylvester Stallone's important role in the upcoming Guardians movie. And when you start remembering that Lundgren used to play as Stallone's rival/opponent in "Rocky IV" before teaming up in "The Expendables" series? Aaaaaah, it's another act of spite, right there! Oh WB, when will you ever learn...

Transformers

Have you seen the latest trailer for "Transformers: The Last Knight"? I certainly haven't, because I'm totally not looking forward to see this movie anytime soon. But I heard it was great, and well... probably the best one this movie has released so far. Honestly, after the lackluster tragedy that was "Transformers: Age of Extinction", I never would've thought that we're going to get a 5th movie of this winding-down franchise. And this is just the beginning of another array of sequels, because director Michael Bay himself has explicitly stated to MTV that... "There are fourteen stories written. And there’s good stuff. So, I would like to do one of them, though.". 14? SERIOUSLY?!! Dang it, for a guy who thought "Transformers: Dark of the Moon" was meant to be the last, this statement felt like an offensive mockery. Anyways, this 5th movie is set to arrive on June 23rd. I'm personally more curious about whether it will rake as much money as the previous one. Somehow I suspect it won't, but general audience seems to love this franchise... so, we'll see.

SONY Marvel Universe

SONY Pictures has found its Miles Morales! What for? That animated "Spider-Man" movie that is set to be released on December 21st, 2018. Yes, the same date that recently has been occupied by "Aquaman". The young actor privileged to lend his voice for the animated Miles is none other than Shameik Moore. Fans might argue that Morales is half black, half latino in the comics, whereas Moore is not. But this is an animated movie, which only requires his voice, so I don't think it should be a problem. The actor himself shot to fame following his debut in Rick Famuyiwa's "Dope", later starred in the Netflix drama "The Get Down", and will next be seen in "The Pretenders". Speaking of "Dope", who would've guessed that it was such a good movie, eh? I mean, most of its main cast has gotten big comic book roles now. Tony Revolori is soon to be seen as Flash in MCU's Spider-Man. Kiersey Clemons is Iris West in DC's who-knows-when Flash movie, a feature that was almost directed by Famuyiwa. Zoe Kravitz was in "X-Men: First Class". And now Moore. Should we expect anyone else from that movie?

Aside from Moore, another cast who has joined the movie is Liev Schreiber. Schreiber portrayed Sabretooth in "X-Men Origins: Wolverine", and is currently well known as the lead actor of "Ray Donovan". According to the same report, Schreiber will be voicing the movie's antagonist/supervillain, though his character is being kept a secret for now. If I didn't know better, I have a feeling that Schreiber is going to voice Otto Octavius, or more popularly known as Dock Ock. Unless he's being assigned to voice Kraven the Hunter, which might also work when you put into account his previous ferocious comic book role. Then again, just like Moore, only his voice will be utilized, so he can practically play anyone. LOL. Hollywood's favorite duo Phil Lord and Chris Miller are writing and producing this movie, while Bob Persichetti and Peter Ramsey will co-direct the movie. Considering this is an animated movie, shouldn't they start working from now? I mean, animation is unlike live action movie, because it needs to be done at least 2 years in advance to achieve the highest quality. Let's just hope that this movie will be able to stand against the rising tide of "Aquaman" when it arrives next year. Otherwise, this might spell trouble for SONY's ambitious universe.

X-Men Universe

In a very surprising (but seriously pleasant) announcement, "Deadpool 2" has discovered its future-mutant Cable. And my oh my, it's Mad Titan Thanos himself, Josh Brolin!!! Yes, scoring his second Marvel role, Brolin's Cable will be featured in not one, nor two, but FOUR future X-Men movies. Popular speculation says that his next movie will be "X-Force", if not "New Mutants" as well. He's joining Ryan Reynolds who is returning to produce and star as lead character Wade Wilson, as well as Zazie Beets who will portray Domino. Interestingly, Brolin has played a comic book character before, as the titular character in the critically and financially failed DC movie "Jonah Hex". Which means, he and Reynolds are fated kindred spirits from the get go! That's nothing but true fact, no matter how Reynolds openly 'complains' about it... LOL.

No offense to David Harbour, Brad Pitt, or Michael Shannon, but Brolin sounds too perfect for this role. Not just in terms of looks, but also in the actor's ability to play the straight-faced man with a penchant to infuse his character with various kinds of intensity. "Old Boy", and "Sicario" are great examples of this. Created by Rob Liefeld and writer Louise Simonson, Cable is the complete opposite personality to the obnoxious, oddball, and foul-mouthed Deadpool. He's a tough, no-nonsense mutant whose gruff attitude and mysterious aura didn't waste time to attract a great number of fans. He has also been paired with Deadpool ever since. Suffice to say, it's a character that is right up on Brolin's alley, with "Men in Black 3" as its easiest example. With this sequel expected to arrive in 2018, production for the David Leitch feature is set to have a June start in Vancouver. Brolin is currently filming his Thanos role with Marvel Studios in Atlanta, and might even have completed his motion-capture part already. So rest assured, scheduling issue is not even a thing. Interestingly, both movies will be released next year, which means, 2018 would be a truly Marvel-ous year for Brolin!

Marvel Studios

Have you seen the mindblowing first teaser of "Thor: Ragnarok"? The long awaited teaser was simply rock and roll AWESOME, wasn't it! Not only director Taika Waititi delivered a Thor Odinson's movie that already felt distinctly different to his previous solo features, he also imbued it with his signature quirky fun but gorgeous colorful style. It felt like this least-favored franchise of the Marvel Cinematic Universe has finally embraced its funky Asgardian glory and cosmic side, eh? As if that's not enough to please us, it has already scored an amazing achievement by being the most-watched trailer that both Disney and Marvel Studios ever released! Is this a good sign? Most definitely. In fact, this was such a splendid teaser, I'm actually hoping that Marvel Studios won't be releasing anything else after this. This one's more than enough to grab audience's attention.

The official poster that came afterwards, though? Perhaps it didn't quite leave a similar impression, but arguably still emitted a strong promise of colors and style. Especially with all those Rainbow-Bridge-tone illuminating the titular character. Just look all those gorgeous colors, right? Chris Hemsworth is looking cool with that new haircut, and of course, don't forget the absence of Thor's beloved Mjolnir. Seriously, this movie is going to be strangely fun but epic! November 3rd, 2017 can't come soon enough.

But let's not get ahead of ourselves too soon. "Ragnarok" is still 7 months away, and there's "Guardians of the Galaxy Vol. 2" and "Spider-Man: Homecoming" that we need to anticipate first! With all three releases of the year looking equally fun and colorful, it would be a mistake to skip any one of them, right? HUGE mistake. And we can expect the first screenings reactions from "Vol 2" pretty soon. Why? Director James Gunn, along with stars Chris Pratt, Zoe Saldana, and Dave Bautista have kicked off the sequel's worldwide promotional tour in Tokyo, Japan last week. Not surprising, because it is set to hit theatres in Australia, Southeast Asia, and other international countries theatres starting on April 25.

As for the North American region, if I'm not mistaken, some of the press members are going to be the first to see it, just a few days from now. I bet early social media reviews and responses will arrive pretty much the same day. That's also the same reason why it's going to get harder and harder to avoid spoilers spreading throughout the internet. Even interviews and press roundup have slowly reveal details about the movie, much earlier than we expected. For example, Kurt Russell has spoken to Total Film (via Flickering Myth) on whether we'll be seeing a "Tango and Cash" reunion in this movie between his Ego the Living Planet, and Sylvester Stallone's mysterious character. Nah... I won't spoil anything about it, just go ahead and read the article if you're up with a little spoiler.

For the time being, "Vol 2" is tracking for a $150 million domestic debut. This is considerably close to the opening of "Captain America: Civil War", and also a solid improvement to the $94,3 million debut of the first "Guardians of the Galaxy" back in 2014. It's hard to predict whether this opening estimation is on point or not, because even "Beauty and the Beast" have magnificently surpassed its initial tracking number (and has broken the $1 billion mark yesterday). There's always a chance that the same accomplishment will occur with "Vol 2", considering the franchise is now sitting on everyone's top 5 most favorite among the MCU. Not to mention, "Vol 2" is the first movie that will kick start the 2017 Summer Movie season in the US. I guess we'll have to wait and see, and hope the best for the sequel. Because if it's good, then I bet Gunn would not shy away from returning to create a "Vol 3".

As for "Homecoming", several rather spoilery details of the movie might have landed online as well. In this case, regarding the "Daily Bugle" existence in the MCU, several scene descriptions from an event held in Tokyo, the possible appearance of other Avengers beside Robert Downey Jr.'s Tony Stark, as well as actress Angourie Rice's true role in the movie. Hailing down from a Tom Holland's fanbase account on Twitter, these reports felt... a little hard to fully believe, because it could very well be a subjective assumption on their part. So do take them with a huge grain of salt.

Finally, remember that candid photos of Elizabeth Olsen filming an action scene for "Avengers: Infinity War" in Edinburgh? There's a video version of it now, and one that looks rather... dire and serious. This scene once again hinting that Olsen's Scarlet Witch and likely Paul Bettany's Vision will come into blow with a CGed henchmen, presumably the Black Order members. If you're curious, then go ahead and check it on Youtube. Assuming it hasn't been taken down, of course. Inline with the casting announcement from FOX, it seems Josh Brolin would have concluded his part as Thanos in May so that he can join the production for "Deadpool 2" in Vancouver. Which is probably why the "Infinity War" production will then proceed with his Black Order members instead.

Netflix

This might sound surprising, but it's the last category for today! Yes, because I have no topics for the game section. LOL.

It wasn't long ago that we heard Marvel's "The Defenders" has wrapped its production, to pave way for the second season of Marvel's "Jessica Jones". Looks like Marvel's "The Punisher" has followed suit as well with its completion. A Twitter fanbase account for lead actor Jon Bernthal, reported that the cast has thrown away a wrap party for the production that began on October 2016. Judging from this, it's safe to assume that the series will in fact arrive later this year instead of next year. It's a little suspicious though, that it wrapped just a few weeks after "The Defenders" eventhough they started at relatively the same time. Considering the mini series only has 8 episodes, does this mean "The Punisher" might be a more compact/shorter series than those previous four? I sure hope so, because forcing these serialized shows into a 13 episodes with materials enough for maybe 10 at most, certainly didn't work charm. Said sentiment has even become one of the loudest talked-about criticism thrown at them. Here's hoping Netflix will realize this issue and solve it accordingly, because seriously, watching Marvel's "Iron Fist" alone has already worn me out.

Meanwhile, Netflix is reminding its audience that the 2nd season of "Sense8" will arrive in May 5th, by launching an official trailer. Which is highly necessary, because even I have forgotten that I've written about this fact before! YIKES!!! The inability of Netflix to set a fixed annual release date is admittedly troublesome, as it tends to wore out its devoted audience due to uncertainty of when to expect any continuations. "Sense8" and "Voltron Legendary Defender", as well as their uncertain delays are good examples of this particular issue.

IMHO, "Sense8" is a show that would have benefitted from having its second season arriving as soon as possible, preferably in mere months apart (just like the Network side, perhaps?). The first season was undoubtedly slow if not poorly paced, and the story only got interesting and intense in the last two-to-three episodes. It undeniably felt like an extended intro for the real story, thus forcing viewers to wait too long (remember, first season was launched in 2015!) to see what's next (one that hopefully explores the REAL intrigue behind them), simply doesn't do any good. Sure, there was a "Sense8: Christmas Special" on December 23rd last year, but I doubt many even knew it existed nor have watched it. I sure haven't, because even I only remember about it just now, FOUR months later. LOL. And to be honest, although I'm probably among the few who DID enjoy the first season, I've realized I'm not that anxious to see the second. Why? I have forgotten whatever was happening in it, so seeing this new trailer only succeeded in making me scratch my head in confusion. That is NOT good...

Thankfully, Netflix's bingewatch functionality helps to counter this problem. After all, unlike movies that come and go, we can view any of their original shows anytime we want. So those who haven't seen the first, can plan their start later by watching both seasons all at once. Trust me, I believe that would be more effective for this series. So right now, I'm patiently waiting for the critics' reviews first before actually checking the second season. While at the same time, re-watching the first season one by one, which might be a challenge because sadly this show doesn't have a strong rewatchability. My only hope is, I won't end up forgetting about this plan in just a few weeks after release. LOL.

[irregularjohnnywiggins]

Well, I've got nothing better to do, talk to me about PJO and whether I should pick it back up (I stopped at Son of Neptune)?

I’d say yes, but with reservations.

At the risk of occurring the wrath of Riordan fans, I’ll goout and say that Heroes of Olympus is… not great. However, the seriesreally pick up on Mark of Athena, which is more or less the payoff from LH andSoN’s very poorly implemented buildup. Whilst I can’t really remember any ofthe major plot elements of MoA (which may be a testament to how long ago itwas, but I haven’t read Titan’s Curse in about five years and can still easilyrecall everything that happens in it, so… make of that what you will) I doremember that the team dynamics were more… fulfilled than in the previous books.Giving Annabeth her own story arc was a note of genius, and whilst Percy hasabout as much to do as he did in SoN, the action scenes he’s in are reallycool.

Really, however, if you’re pressed for time you may as welltry the House of Hades first, because it’s seriously the best of the five. I’llassume since you’re… following me, you’re aware of the plot points surroundingNico, but all the characters are perfect in this. One slight quibble I have isthat I vehemently disagree with most Riordan fans about Percy and Annabeth’splace in the story – some think it’s too angsty, I say it’s not angsty enough,at least compared to the other plots in the book. There is also an entirelysuperfluous Piper chapter that makes her already broken power set even more so,and leads me to question why anyone else needs to be here.

As for Blood of Olympus… idk. It’s a very mixed bag, anddespite spanning half the world (or perhaps because of it) the ostensiblygrander final battle manages to be entirely less epic than the Battle of NewYork in Last Olympian. Whilst we’re comparing it to Percy Jackson, the biggestproblem I have with Heroes of Olympus is how much it reduces the complex war ofits predecessor (where the leaders on both sides were shitty, and the demigodson the Titans’ side may have been misguided and angry – but they weren’t wrong,and Percy had to acknowledge that) to a simplistic good vs evil (everyone onGaia’s side is irredeemable, the antagonistic demigods in the form of Octavian’sgroup are just power-hungry, and there are no stakes beside whether or not yourfaves will make it out alive).

My overall take on the Heroes of Olympus is that you couldreally just read House of Hades and lose nothing, although Mark of Athena isstill fun if you feel like it.

For the two books we have of Trials of Apollo, I’d say sure,go ahead. It definitely wins from keeping Percy in the back – his story wasover by the end of Last Olympian, and the series acknowledges it by only usinghim for action sequences and the occasional joke about how he’s still gettingdragged into this – my favourite being him griping over all the Aquaman jokes.Apollo’s narration is funny, and all of the side characters are cool – which isgood, because the book leans heavily on them to cover up the fact that theantagonists are perhaps the weakest of the lot (from Titan Lords to Primordialsof the Earth to… Bankers. Ohhhh!). Speaking of the supporting cast, one of thebest things about ToA is all the diversity rep, because Riordan does not give afuck anymore. From the first two books, it definitely looks like a fun series.

However, where I would suggest you go is the two side books –The Kane Chronicles and Magnus Chase and the Gods of Asgard.

The Kane Chronicles are really damn good, but always getoverlooked in favour of Heroes of Olympus, which may account for part of my distainfor the later. Seriously, though, the Kane Chronicles have engaging characters(the majority of which are actually ethnically accurate, i.e. approaching LukeCage levels of all-black cast), compelling stories (which don’t fall into theHoO foothole of not really having set endings for themselves – the series doesn’trely on cliffhangers, which is a nice touch), and whilst they’re isn’t the samecomplexity of PJ, there is a focus on Order vs freedom, and the series doesn’tcome down on one side or the other – chaos without control is bad, orderwithout change is bad, we need to find a middle ground, a far better moral than‘punch everything’. It’s just… really good. I’d also recommend the Demigods andMagicians book, a series of three short stories that not only bring the PJ andKC characters together, but also go some way to even cross over the theology.

As for Magus Chase, it’s fucking spectacular. Admittedly,that Norse Mythology is my favourite may have some factor in that opinion, butI stand by it. It scales down the scale from HoO, returning it to the oldformula of a mythology explored via one POV, and whilst there are similaritiesbetween Magnus and Percy, I have to say I prefer Magnus, who’s more dry andsarcastic, and also has a firmer grasp on what is going on than Percy ever did.It also has the advantage of a great villain, but it’s Loki, what did youexpect? I actually haven’t finished it yet, but from the first two books it’sdefinitely well worth a read.

So… that was a ramble. Bottom line: HoO is on a ‘If youreally wanna’ basis, Kane Chronicles and Magnus Chase are a must. Hope thishelps!