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baconpal · 4 years ago

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pokemon rant time

this one’s about the 2 new things, and is at least slightly intended for people actually excited/interested in them, click keep reading or perish

Gonna try and keep stuff short cus there's a lot of topics this time and I've already gone off about how pokemon Isn't meant for me or meant to be a good video game anymore, but gamefreak is right back on their bullshit, so I feel I need to at least point it out.

I'd like to preface all this with, if you are a fan of pokemon still, please realize you can ask for more out of this series. Expect perfection, even if you don't think you'll get it anytime soon. Pokemon won't go anywhere, the old games won't go anywhere, and gaming is a hobby, not a necessity; don't accept low quality products from a company just because you feel like you're supposed to.

With this next wave of pokemon games, gamefreak is clearly testing how little they can put in to a $60 game while still keeping the 2 major audiences they've cultivated. By responding to the most obvious and vocal complaints from the community, gamefreak is aiming to make games that seems like what most players want, without having to put in the work on quality products.

GEN 4 REMAKES Pokemon BS (I am not calling this shit BDSP) is intended for the audience that put up with let's go and RS remakes. The most vocal and obvious complaints for these games is their failure as definitive versions of the games they are remakes of, such as missing features/content, or drastically changed story/dialogue/style. In a way, the recent remakes are inferior versions of incredibly old games, which shows a lack of improvement in pokemon as a whole.

To address these issues, BS is very, very, VERY clearly aiming for a more 1-to-1 recreation of the DS games, but with fully 3d graphics. Clearly the map layout has been transferred exactly, and gen 4 already had mostly 3d environments to begin with, and everyone knows about the future-proof pokemon models at this point, so the amount of effort required to create something like this is absolutely minimal. Assuming dialogue, trainer teams, move lists, etc. are also lifted directly from DP, then this game could be developed in basically no time at all, leaving the team time to ensure the product is of decent quality and includes ALL of the content of the originals, if not more, like the earlier pokemon remakes did to ensure they were truly definitive versions of the games. That being said, it is unlikely the team behind BS has been making use of this saved time to improve the game.

One failing already clear is that the quality is not very good, at least graphical quality. The footage we have shows environments lacking in color compared to the original, with messy, unpleasant textures that contrast poorly with the simplistic environments. The characters especially do not work. As cute and fun the fanart of tiny dawn has been, BS dawn and all other characters look awful. They have gorilla arms that reach down to the floor and lifeless faces, as well as incredibly stiff/simplistic animations. As it stands, BS is a visually inferior game to DP, though most consumers will simply see it as 3D>2D without any understanding of what an artstyle is, so this might not be a problem for many, but that doesn't mean you should accept it.

What remains to be seen is what content will be added/missing from pokemon BS. It is very possible that massive parts of the game, such as the underground, variety of online modes, postgame areas, and content from platinum could be missing entirely. We also do not know if pokemon from after gen 4 will be worked into the region, or even supported. Gen 8 still currently does not support a large number of pokemon, and the remakes may continue this limited dex trend.

Even assuming the remake includes everything from the DS games and doesn't add anything that slows down the story or harms the experience, it will still only be an exercise in forced obsolescence. The main reason people can't really play DP still is that the online isn't supported anymore. If BS turns out to be exactly the same as DP, then you're buying the same game for at a higher price, only to play it until the online service goes away again, or the next game comes out, if both don't happen at the same time.

Don't let yourself buy a 13 year old game at twice the original price.

GEN 4 NOT-REMAKE KIND OF NEW THING On to legends now, gamefreak is targeting the people who put up with sun/moon and sword/shield. The obvious problem with those games to most people was simply a lack of change from the standard pokemon formula. Even when changing the gyms to trials or stadiums, most people still understand that the format and story structures are mostly unchanged. Of course, this problem has seemingly been addressed by changing the game structure a fair bit, but almost entirely by removal.

Trainer battles, and by extension, gyms and tournaments/elite 4 have been confirmed to be absent, meaning all battles are only vs single pokemon, in spite of the player likely having a team of 6 pokemon. Even if battle difficulty is increased to compensate (doubtful), this will still drastically increase the simplicity of combat and make it even less likely for the game to include any meaningful challenge. Exploring towns and meeting NPCs is also seemingly missing, as the game is confirmed to have only a single village, which frankly looks incredibly boring and we've yet to see a single NPC inhabiting the village.

Battles now use an ATB format instead of a turn-based format (for those of you who don't know what that means, it basically means nothing, it's still turn based, it just means the speed state determines who gets more turns instead of who goes first, that's it), but beyond that there seems to be no noteworthy changes, pokemon learn 4 moves with limited PP, type advantage will still definitely be the most important aspect to battle, and the player being able to walk around during battle provides no meaningful impact. While the little dash the pokemon do to approach each other is cool, it is already a sign that gamefreak will not be addressing the issue of lacking animations for pokemon battles, as they can't even be assed to animate and program pokemon walking around the environment during combat, and lucario doing 1 kick for a move described as a series of punches isn't a great sign either.

On the topic of lacking animations, the new "pet simulator feature" for legends seems to be an advancement on the ride system from sun/moon, which presumably people missed from sword/shield. Being able to ride on your pokemon to do stuff sounds cool, but in all likelihood, this system will be limited to only a select few pokemon who will each do a select few actions, and is not a reasonable replacement for all the other pet raising features that have been removed in the past. Similar to BS, the total number of pokemon included may also be limited arbitrarily, in spite of the fact that no new pokemon need to be added, as these games are not claiming to be a new generation.

The largest issues I personally have with this new game is the horrible technical quality and gameplay quality shown in the initial trailer. Unfortunately, these types of problems seem to be difficult to explain to the average consumer, even though the issues seem incredibly obvious and inexcusable to people like me. Most people were able to understand the problem with the berry trees in gen 8, because it was easy to explain, "this tree doesn't look like the other trees, and it sticks out, isn't that weird?", and so gamefreak has eliminated any immediately obvious issues like that, sticking with a very consistent artstyle for legends, making it almost impossible to easily explain its faults to the average pokemon fan.

People have been really quick to compare legends to BoTW; the game that invented grass, trees, and mountains. In spite of these comparisons, nobody seems to point out that legends looks dramatically worse than that almost 5 year old game from the previous generation. Plants are stiff and lacking in energy, draw distances are poor, colors are drab, and textures are messy. Many parts of legends seems to ape BoTW on just the surface, essentially just following market trends. Even the controls seem to follow after modern 3rd person shooters/stealth games, including a seemingly pointless roll and a clunky looking ball lobbing arc that feels unfun before even getting to play it myself.

The largest issue, painfully obvious to some, and impossible to explain to others, is the framerate. The trailer clearly was ran on actual switch hardware, and not prerendered, which would be a good mark for gamefreak if it didn't result in a trailer that never once hit 30fps. Even with empty fields, with only 1 or 2 characters on screen, the game was incapable of meeting the target speed, and had to resort to optimizations like reducing the frame rate of pokemon only inches away from the player to stop-motion levels of choppy. If situations with almost nothing going on result in slow-down, how will the game perform during actual gameplay? Even though slow-down is something everyone can feel, many people aren't capable of identifying it.

The major things to wait and see for legends is if the removed aspects of the series are made up for by some additional systems or content, and definitely wait to see if the performance improves. As with BS, preordering a game like this only shows that gamefreak only has to market the game by saying it's different, not improved, like they've been doing for years now.

TL;DR FUCK GAMEFREAK One major thing of note is that gamefreak is releasing 2 games based on gen 4 at the nearly the same time, meaning they have no obligation to design new pokemon or even include pokemon not from sinnoh, and also that the sales of each game can be used as an indicator for which of their 2 audiences is more loyal to them. Both BS and Legends are in a position to be pushes aside if they fail, but if either succeeds, gamefreak can continue in the direction of the more successful game and reap the benefits, without any need to innovate, improve, or adapt to criticism.

The last thing I feel I have to remind people about is that gamefreak is a company; you don't need to be "grateful" to them. I've seen that word thrown around far too much by people who seem to buy pokemon games like its a tax, and not something they want to do. You don't have to suck up to a company that made games you liked as a kid if the games aren't what you want anymore. Pokemon is so wildly successful that it can't possible die, so don't buy the games out of pity, or out of some feeling of obligation. Buy the video games you want to play and nothing more.

Basically, if you are considering getting any of these new games, please wait until the games are out before purchasing them, and decide for yourself if they are worth your money, and more importantly, your time. Preordering these games only lets gamefreak know their audience will buy and put up with anything. They have no real competition at the moment, so the only thing the audience can do to encourage improvement is show some of restraint.

#juvenile rant #pokemon #if you read all that then good job cus jesus that got long #please just respect yourself #you deserve better games #you arent weird for wanting things to be good #anyway have a good night

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blazehedgehog · 4 years ago

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What are your thoughts on the infamous "Top Ten Hottest Female Sonic Characters" video? I don't mean that question as a joke, do you think that that video kinda set back the image of "Sonic fan" back for a good few years?

My stance on this has always been that everyone on the internet is weird about something, and Sonic fans are not necessarily weirder than anything you’d find if you overturned a rock in another corner of the internet.

This is an immutable fact that becomes more obvious the more time you spend online. Spend enough time online and you’re going to see something you didn’t know existed, and if you spend too much time online, eventually you start to become numb to it.

In isolation I think that video is meaningless. There’s lots of things out there of that caliber -- the “Andy drawing a map of Princess Peach’s Eyes” image, for example. You might know of that image, but not many people know that it was only one of many. There was a whole series of those comics that was basically “me, a human male of the real world, repeatedly express my deep romantic affection for Princess Peach.”

Or, like, Pokemon, right? I remember in the early days of the Let’s Play community, Pokemon Let’s Plays had to be permanently banned from SomethingAwful on all grounds because it attracted thirsty creepers who weren’t very subtle about their feelings towards underage girls.

Like I said, there’s weird stuff all over the place if you point the spotlight in the wrong directions. And for some people out there, it’s part of growing up -- more and more of the internet is being taken up by the awkward intellectual awakening period we experience in transition from child to adult. A lot of earnest emotional confusion is being permanently recorded out there for all to see as we all figure ourselves out.

Tangentially, I see discussion today about how Zoomers in particular are a generation that has no guilt and openly embraces the cheesy and the stupid with genuine love, and I think it’s related to that. They can’t hide from who they were as kids, they just kind of have to own it. I can respect that.

What I think happened with Sonic is just the games themselves being so bad. Getting things like Shadow the Hedgehog, and Sonic 2006, or even the later Ken Penders run of the Archie comics, whatever, and kind of forcing the question: “If they’re always so terrible, why do they keep making more?”

That naturally leads to one answer: because Sonic fans keep buying them. So what’s wrong with Sonic fans?

“Well I saw this video one time...”

“There’s this webcomic about this medallion...”

“Have you seen what these church kids are drawing?”

In the big picture, nothing out of the ordinary is actually happening here. Kids are being kids (broadly speaking). It's a natural effect of Sonic maintaining a certain level of popularity with a certain age group for a sustained period of time.

I’ve even talked about how Sonic has kind of reached this status where the franchise is almost a perpetual motion machine. Sega couldn’t kill Sonic the Hedgehog at this point if they tried. It’s become this thing like Star Trek or Transformers where fans will just exist forever, even during lulls in quality or breaks in media. They will churn out their own new content and feed each other for theoretical eternity. If Sonic has survived this much for this long, it is immortal.

But that also means that, like... what is a “brand”? It’s a set of standards and rules governing the appearance and behavior of a specific piece of intellectual property. In order to be “on-brand” you have to adhere to the rules, otherwise you are not allowed to be part of the brand. Luigi is always taller than Mario. Mega Man’s briefs are always a different color than his arms and thighs. Sonic the Hedgehog can never cry.

Fans don’t have to stay on brand. The “brand” is whatever they think it should be. They can do anything with the characters, take them anywhere, write anything they feel like, embarrassing or not. Sonic the Hedgehog is a ghost now? Sure why not. Tails is part of a massive crossover involving every cartoon media property in a war against internet bullying? Nobody can stop you. You can just make up anything and do it. Sega probably wouldn't approve, but if you're a fan, you don't need their approval. You just need faith in your own ideas.

And this even applies to big budget, professional work. We've seen it before, when Sega lets other people redesign Sonic. Style guides and brand rules are what keeps a character in check so they look and act in a consistent way, but if you pull back the curtain and look at what gets submitted before the rules are applied...

...then even professional, “official” designs start getting pretty weird. Artistic license is great and all but people will break characters over their knee and remake them as something unrecognizable if you give them enough room to do so.

And for a fandom, not only can they be like this all the time, forever, they can go even further beyond. When you have an imagination, the sky is the limit.

And, again, I say “fandom” there. Not just Sonic fandom, but all fandoms, everywhere. They always were, and always will be like this. (And, to be clear: that’s great!)

The only difference is, Sega’s own inability to stay consistent gave more people a reason to go turning over rocks and seeing what crawled out. Unsurprisingly, a very active, self-sustaining fanbase meant there was a lot to see.

#questions #sonic the hedgehog #sega #sonic team #sonic boom #fandom #chrischan #andy sweetie #tails gets trolled #hottest sonic females #Anonymous

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letterboxd · 3 years ago

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Poker Face.

Tiffany Haddish tells Gemma Gracewood about taking a holiday from comedy in Paul Schrader’s The Card Counter, her hotel comfort viewing, and why Oscar Isaac thinks of her as Jesus.

“When I say yes to a movie, that’s a hundred to two hundred people that get to work and I want them to be happy about working.” —Tiffany Haddish

Comedians taking on dramatic roles is not an innovation in cinema, but it’s which comedian, in which role, that makes a casting choice a talking point. Melissa McCarthy in Can You Ever Forgive Me? Mo’Nique in Precious. Peter Sellers in Being There. Robin Williams in everything.

In The Card Counter, Paul Schrader’s meditative slow-burn on American shame, part of the tension as a viewer lies in what we already appreciate about Tiffany Haddish as a performer. She is an unbridled crack-up, a live wire on screen and off, a former foster kid committed to busting unsustainable Hollywood beauty myths by wearing the same dress throughout an awards season. Her physical comedy is electric, even when it’s a simple raise of an eyebrow.

The wildest thing about La Linda—a gamblers’ agent working the mid-level casino circuit, who spies, in Oscar Isaac’s William (Bill) Tell, a potential new thoroughbred for her stable of card counters—is the way her drinks order changes from hotel bar to hotel bar. “I came in there with my comedy ways and it sucked,” Haddish laughs, disarmingly honest about her leap from the hi-jinks her fans know her for, to her dramatic role in Schrader's new film. “Paul was hard on me at first,” she recalls. “He had to reel me in, make adjustments, strip all this stuff off, all my tools, leave me with these instruments I barely ever use.”

Oscar Isaac and Tiffany Haddish in a scene from ‘The Card Counter’.

There’s an enduring myth that drama is tougher to pull off than comedy, something Haddish’s friend Morris Chestnut corrected her on a few years back. “He’s like, ‘No, what you do, that’s hard work. You are actually overworking yourself, doing these comedies.’ And I’m like, ‘He don’t know what he’s talking about.’ Then I actually did a drama. And I was like, ‘Oh, that was so easy. Oh, that was beautiful.’ It’s way easier. It’s way easier.”

What La Linda doesn’t know, but any casual observer of Schrader’s work will, is that Isaac’s Bill has a past, and that his methodical attempts to keep his guilt in check through a supremely minimal lifestyle, perhaps even to allow himself a spark of pleasure—redemption, even—are about to come unwound.

Before that, though, there’s time for La Linda, Bill and Cirk (Tye Sheridan)—the son of one of Bill’s former, shall we say, colleagues—to become an odd little chosen-family unit as they travel the circuit. Bill and La Linda cook up a nice heat while killing time in cocktail lounges, and her casual business charisma is a charming offset to the deeper themes at play. Writing fresh from a Venice Film Festival viewing, Rahul notes “you keep expecting Haddish to break out of the understated style and that tension works.” Andy agrees: “Her simple outlook on life and lack of existentialism offer a nice contrast to Tell’s brooding sorrow. Plus, La Linda is just a great character name.”

Haddish understood the pull between Bill and La Linda, and La Linda’s desire to probe into his mysterious monotony, in a very specific way: “As a standup comedian, I work with a lot of men that—they’re very talented, they’re doing big things when they’re on stage—but then when they come off the stage you’re like, ‘Who are you? Why are you so dark? Who hurt you? What’s going on?’ I can relate to that in so many ways.”

Still, of all the dramatic writer-directors to work with in America, why Schrader? What was it about his specific brand of lonely-white-man stories that appealed? “Cat People. It’s my jam,” declares Haddish, of Schrader’s 1982 erotic horror reimagining of the 1942 classic (and one of his few films with a female lead, played by Natassja Kinski). “I love that movie. It had some weird, twisted shit in it.” She has been campaigning Schrader to mount a sequel, so that she can have a crack at playing a sexy, predatory jungle cat. “I try to bring it up to him all the time. And he’s like, ‘Tiffany, we’re not doing it. No.’”

Natassja Kinski in Paul Schrader’s 1982 remake of ‘Cat People’.

Haddish imagines that Cat People would certainly be on La Linda’s list of hotel-room comfort watches, along with Shaft and Goodfellas. Haddish, on the other hand, prefers to kick back with series television when she is on the road. “I watch old sitcoms like Martin or, like, The Facts of Life. I love a good cartoon, especially the throwback ones on Boomerang. I really like the old school, like ThunderCats. That’s a good wind down for me.”

Filming days are long, making the minutes can be stressful, and Covid safety protocols add layers of complexity to the job. There are performers who are cast not only for what they bring to their roles, but also for the energy they bring to set. Haddish has an undeniable magnetism, so it is unsurprising to read her co-star Isaac, in The Card Counter’s production notes, describe her as being “like Jesus”, in that people would drop everything and follow her. She enjoys this comparison, revealing that she has always wanted to be an AD, the crew member with, traditionally, the greatest people skills. “I always wanted to be assistant director just so I can be like, ‘All right, picture’s up, guys.’ And just so I can know everybody and be cool with everybody.”

But as a performer with clout, what is her intention when she—Tiffany Haddish, famous actress™—walks onto a soundstage? Haddish’s answer is a generous primer on how to be a good sort on set (or, indeed, in any working environment). “When I say yes to a movie, that’s a hundred to two hundred people that get to work and I want them to be happy about working,” she explains. “I’m going to work with them again in something else, and I want to have a pleasant experience with the crew. The DP, the gaffers, all these people, we all work together as a unit, so I think it’s super important.”

Paul Schrader, Oscar Isaac and crew on the set of ‘The Card Counter’.

Certain crew members, she admits, “are imperative to making me look good”, but more than that, her approach is grounded in her own physical and emotional safety in an often volatile and unpredictable creative environment. “I see how some actors won’t talk to any crew members at all, and I feel like that’s not okay because these people are busting their ass to make you look great, and they are part of telling this story too. They might not be hanging off the side of the building like you are, but they are making sure that the camera’s operating correctly, so you don’t have to shoot it five hundred times.

“These people keep me alive. They keep me going and they can tell when I’m in a bad space. They’re like, ‘Here’s a Snickers.’ If I’m working with an actor who might be treating me not the best, they’re coming over, they’re giving encouraging words, ‘You’re going to be okay.’ We’re a team. I even talk to the editor. They’re like, ‘Picture’s up, sound’s rolling, and speed.’ And I’d be like [staring down the camera lens], ‘What’s up editor? Hey, it’s your girl Tiffany Haddish. Just a little note: I’m thinking about you. Now, if you could just make sure this lazy eye is this way… I know you’re in that room by yourself, but look out for your girl.” Sometimes, Haddish will even throw a bone to the studio executives. “I know they’re watching the dailies,” she laughs.

Her investment in the welfare of her film families is paying off in unexpected turns such as The Card Counter, with more to come. Up next, a trio of unusual comedies: Jerrod Carmichael’s existential buddy farce On the Count of Three, which was picked up by Annapurna out of Sundance this year; Cory Finley’s surrealistic sci-fi romp Landscape with Invisible Hand; and the intriguing Nicolas Cage vehicle, The Unbearable Weight of Massive Talent.

Related content

A list of favorite gambling movies from Gamblers, a podcast from The Big Picture’s Sean and Amanda

Life Detained: Jack Moulton’s interview with Kevin Macdonald, director of The Mauritanian

Josh’s list of Neo-Noir films

Follow Gemma on Letterboxd

‘The Card Counter’ is in US cinemas now.

#the card counter #paul schrader #tiffany haddish #cat people #oscar isaac #tye sheridan #gambling movies #neo noir #girls trip #actress #Black actress #letterboxd #gemma gracewood #morris chestnut #filmmaking tips #goodfellas

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grigori77 · 3 years ago

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Summer 2021′s Movies - My Top Ten Favourite Films (Part 2)

The Top Ten:

10. WEREWOLVES WITHIN – definitely one of the year’s biggest cinematic surprises so far, this darkly comic supernatural murder mystery from indie horror director Josh Ruben (Scare Me) is based on a video game, but you’d never know it – this bears so little resemblance to the original Ubisoft title that it’s a wonder anyone even bothered to make the connection, but even so, this is now notable for officially being the highest rated video game adaptation in Rotten Tomatoes history, with a Certified Fresh rating of 86%. Certainly it deserves that distinction, but there’s so much more to the film – this is an absolute blood-splattered joy, the title telling you everything you need to know about the story but belying the film’s pure, quirky genius. Veep’s Sam Richardson is forest ranger Finn Wheeler, a gentle and socially awkward soul who arrives at his new post in the remote small town of Beaverton to discover the few, uniformly weird residents are divided over the oil pipeline proposition of forceful and abrasive businessman Sam Parker (The Hunt’s Wayne Duvall). As he tries to fit in and find his feet, investigating the disappearance of a local dog while bonding with local mail carrier Cecily Moore (Other Space and This Is Us’ Milana Vayntrub), the discovery of a horribly mutilated human body leads to a standoff between the townsfolk and an enforced lockdown in the town’s ramshackle hotel as they try to work out who amongst them is the “werewolf” they suspect is responsible. This is frequently hilarious, the offbeat script from appropriately named Mishna Wolff (I’m Down) dropping some absolutely zingers and crafting some enjoyably weird encounters and unexpected twists, while the uniformly excellent cast do much of the heavy-lifting to bring their rich, thoroughly oddball characters to vivid life – Richardson is thoroughly cuddly throughout, while Duvall is pleasingly loathsome, Casual’s Michaela Watkins is pleasingly grating as Trisha, flaky housewife to unrepentant local horn-dog Pete Anderton (Orange is the New Black’s Michael Chernus), and Cheyenne Jackson (American Horror Story) and Harry Guillen (best known, OF COURSE, as Guillermo in the TV version of What We Do In the Shadows) make an enjoyably spiky double-act as liberal gay couple Devon and Joaquim Wolfson; in the end, though, the film is roundly stolen by Vayntrub, who invests Cecily with a bubbly sweetness and snarky sass that makes it absolutely impossible to not fall completely in love with her (gods know I did). This is a deeply funny film, packed with proper belly-laughs from start to finish, but like all the best horror comedies it takes its horror elements seriously, delivering some enjoyably effective scares and juicy gore, while the werewolf itself, when finally revealed, is realised through some top-notch prosthetics. Altogether this was a most welcome under-the-radar surprise for the summer, and SO MUCH MORE than just an unusually great video game adaptation …

9. THE TOMORROW WAR – although cinemas finally reopened in the UK in early summer, the bite of the COVID lockdown backlog was still very much in effect this blockbuster season, with several studios preferring to hedge their bets and wait for later release dates. Others turned to streaming services, including Paramount, who happily lined up a few heavyweight titles to open on major platforms in lieu of the big screen. One of the biggest was this intended sci-fi action horror tentpole, meant to give Chris Pratt another potential franchise on top of Guardians of the Galaxy and Jurassic World, which instead dropped in early July on Amazon Prime. So, was it worth staying in on a Saturday night instead of heading out for something on the BIG screen? Mostly yes, although it’s mainly a trashy, guilty pleasure big budget B-picture charm that makes this such a worthwhile experience – the film’s biggest influences are clearly Independence Day and Starship Troopers, two admirably clunky blockbusters that DEFINED prioritising big spectacle and overblown theatrics over intelligent writing and realistic storytelling. It doesn’t help that the premise is pure bunk – in 2022, a wormhole opens from thirty years in the future, and a plea for help is sent back with a bunch of very young future soldiers. Seems Earth will become overrun by an unstoppable swarm of nasty alien critters called Whitespikes in 25 years, and the desperate human counteroffensive have no choice but to bring soldiers from our present into the future to help them fight back and save the humanity from imminent extinction. Less than a year later, the world’s standing armies have been decimated and a worldwide draft has been implemented, with normal everyday adults being sent through for a seven day tour from which very few return. Pratt plays biology teacher and former Green Beret Dan Forrester, one of the latest batch of draftees to be sent into the future along with a selection of chefs, soccer moms and other average joes – his own training and experience serves him better than most when the shit hits the fan, but it soon becomes clear that he’s just as out of his depth as everyone else as the sheer enormity of the threat is revealed. But when he becomes entangled with a desperate research outfit led by Muri (Chuck’s Yvonne Strahovski) who seem to be on the verge of a potential world-changing scientific breakthrough, Dan realises there just might be a slender hope for humanity after all … this is every bit as over-the-top gung-ho bonkers as it sounds, and just as much fun. Director Chris McKay may still be pretty fresh (with only The Lego Batman Movie under his belt to date), but he shows a lot of talent and potential for big budget blockbuster filmmaking here, delivering with guts and bravado on some major action sequences (a fraught ticking-clock SAR operation through a war-torn Miami is the film’s undeniable highlight, but a desperate battle to escape a blazing oil rig also really impresses), as well as handling some impressively complex visual effects work and wrangling some quality performances from his cast (altogether it bodes well for his future, which includes Nightwing and Johnny Quest as future projects). Chris Pratt can do this kind of stuff in his sleep – Dan is his classic fallible and self-deprecating but ultimately solid and kind-hearted action hero fare, effortlessly likeable and easy to root for – and his supporting cast are equally solid, Strahovsky going toe-to-toe with him in the action sequences while also creating a rewardingly complex smart-woman/badass combo in Muri, while the other real standouts include Sam Richardson (Veep, Werewolves Within) and Edwin Hodge (The Purge movies) as fellow draftees Charlie and Dorian, the former a scared-out-of-his-mind tech geek while the latter is a seriously hardcore veteran serving his THIRD TOUR, and the ever brilliant J.K. Simmonds as Dan’s emotionally scarred estranged Vietnam-vet father, Jim. Sure, it’s derivative as hell and thoroughly predictable (with more than one big twist you can see coming a mile away), but the pace is brisk, the atmosphere pregnant with a palpable doomed urgency, and the creatures themselves are a genuinely convincing world-ending threat, the design team and visual effects wizards creating genuine nightmare fuel in the feral and unrelenting Whitespikes. Altogether this WAS an ideal way to spend a comfy Saturday night in, but I think it could have been JUST AS GOOD for a Saturday night OUT at the Pictures …

8. ARMY OF THE DEAD – another high profile release that went straight to streaming was this genuine monster hit for Netflix from one of this century’s undeniable heavyweight action cinema masters, the indomitable Zack Snyder, who kicked off his career with an audience-dividing (but, as far as I’m concerned, ultimately MASSIVELY successful) remake of George Romero’s immortal Dawn of the Dead, and has finally returned to zombie horror after close to two decades away. The end result is, undeniably, the biggest cinematic guilty pleasure of the entire summer, a bona fide outbreak horror EPIC in spite of its tightly focused story – Dave Bautista plays mercenary Scott Ward, leader a badass squad of soldiers of fortune who were among the few to escape a deadly outbreak of a zombie virus in the city of Las Vegas, enlisted to break into the vault of one of the Strip’s casinos by owner Bly Tanaka (a fantastically game turn from Hiroyuki Sanada) and rescue $200 million still locked away inside. So what’s the catch? Vegas remains ground zero for the outbreak, walled off from the outside world but still heavily infested within, and in less than three days the US military intends to sterilise the site with a tactical nuke. Simple premise, down and dirty, trashy flick, right? Wrong – Snyder has never believed in doing things small, having brought us unapologetically BIG cinema with the likes of 300, Watchmen, Man of Steel and, most notably, his version of Justice League, so this is another MASSIVE undertaking, every scene shot for maximum thrills or emotional impact, each set-piece executed with his characteristic militaristic precision and explosive predilection (a harrowing fight for survival against a freshly-awakened zombie horde in tightly packed casino corridors is the film’s undeniable highlight), and the gauzy, dreamlike cinematography gives even simple scenes an intriguing and evocative edge that really does make you feel like you’re watching something BIG. The characters all feel larger-than-life too – Bautista can seem somewhat cartoonish at times, and this role definitely plays that as a strength, making Scott a rock-hard alpha male in the classic Hollywood mould, but he’s such a great actor that of course he’s able to invest the character with real rewarding complexity beneath the surface; Ana de la Reguera (Eastbound & Down) and Nora Arnezeder (Zoo, Mozart in the Jungle), meanwhile, both bring a healthy dose of oestrogen-fuelled badassery to proceedings as, respectively, Scott’s regular second-in-command, Maria Cruz, and Lilly the Coyote, Power’s Omari Hardwick and Matthias Schweighofer (You Are Wanted) make for a fun odd-couple double act as circular-saw-wielding merc Vanderohe and Dieter, the nervous, nerdy German safecracker brought in to crack the vault, and Fear the Walking Dead’s Garrett Dillahunt channels spectacular scumbag energy as Tanaka’s sleazy former casino boss Martin, while latecomer Tig Notaro (Star Trek Discovery) effortlessly rises above her last-minute-casting controversy to deliver brilliantly as sassy and acerbic chopper pilot Peters. I think it goes without saying that Snyder can do this in his sleep, but he definitely wasn’t napping here – he pulled out all the stops on this one, delivering a thrilling, darkly comic and endearingly CRACKERS zombie flick that not only compares favourably to his own Dawn but is, undeniably, his best film for AGES. Netflix certainly seem to be pleased with the results – a spinoff prequel, Army of Thieves, starring Dieter in another heist thriller, is set to drop in October, with an animated series following in the Spring, and there’s already rumours of a sequel in development. I’m certainly up for more …

7. BLACK WIDOW – no major blockbuster property was hit harder by COVID than the MCU, which saw its ENTIRE SLATE for 2020 delayed for over a year in the face of Marvel Studios bowing to the inevitability of the Pandemic and unwilling to sacrifice those all-important box-office receipts by just sending their films straight to streaming. The most frustrating part for hardcore fans of the series was the delay of a standalone film that was already criminally overdue – the solo headlining vehicle of founding Avenger and bona fide female superhero ICON Natasha Romanoff, aka the Black Widow. Equally frustratingly, then, this film seems set to be overshadowed by real life controversy as star and producer Scarlett Johansson goes head-to-head with Disney in civil court over their breach-of-contract after they hedged their bets by releasing the film simultaneously in cinemas and on their own streaming platform, which has led to poor box office as many of the film’s potential audience chose to watch it at home instead of risk movie theatres with the virus still very much remaining a threat (and Disney have clearly reacted AGAIN, now backtracking on their release policy by instigating a new 45-day cinematic exclusivity window on all their big releases for the immediate future). But what of the film itself? Well Black Widow is an interesting piece of work, director Cate Shortland (Berlin Syndrome) and screenwriter Eric Pearson (Thor: Ragnarok) delivering a decidedly stripped-back, lean and intellectual beast that bears greater resemblance to the more cerebral work of the Russo Brothers on their Captain America films than the more classically bombastic likes of Iron Man, Thor or the Avengers flicks, concentrating on story and characters over action and spectacle as we wind back the clock to before the events of Infinity War and Endgame, when Romanoff was on the run after Civil War, hunted by the government-appointed forces of US Secretary of State “Thunderbolt” Ross (William Hurt) after violating the Sokovia Accords. Then a mysterious delivery throws her back into the fray as she finds herself targeted by a mysterious assassin, forcing her to team up with her estranged “sister” Yelena Belova (Midsommar’s Florence Pugh), another Black Widow who’s just gone rogue from the same Red Room Natasha escaped years ago, armed with a McGuffin capable of foiling a dastardly plot for world domination. The reluctant duo need help in this endeavour though, enlisting the aid of their former “parents”, veteran Widow and scientist Melina Vostokoff (Rachel Weisz) and Alexie Shostakov (Stranger Things’ David Harbour), aka the Red Guardian, a Russian super-soldier intended to be their counterpart to Captain America, who’s been languishing in a Siberian gulag for the last twenty years. After the Earth-shaking, universe-changing events of recent MCU events, this film certainly feels like a much more self-contained, modest affair, playing for much smaller stakes, but that doesn’t mean it’s any less worthy of our attention – this is as precision-crafted as anything we’ve seen from Marvel so far, but it also feels like a refreshing change of pace after all those enormous cosmic shenanigans, while the script is as tight as a drum, propelling a taut, suspense-filled thriller that certainly doesn’t scrimp on the action front. Sure, the set-pieces are very much in service of the story here, but they’re still the pre-requisite MCU rollercoaster rides, a selection of breathless chases and bone-crunching fights that really do play to the strengths of one of our favourite Avengers, but this is definitely one of those films where the real fireworks come when the film focuses on the characters – Johansson is so comfortable with her character she’s basically BECOME Natasha Romanoff, kickass and ruthless and complex and sassy and still just desperate for a family (though she hides it well throughout the film), while Weisz delivers one of her best performances in years as a peerless professional who keeps her emotions tightly reigned in but slowly comes to realise that she was never more happy than when she was pretending to be a simple mother, and Ray Winstone does a genuinely fantastic job of taking a character who could have been one of the MCU’s most disappointingly bland villains, General Dreykov, master of the Red Room, and investing him with enough oily charisma and intense presence to craft something truly memorable (frustratingly, the same cannot be said for the film’s supposed main physical threat, Taskmaster, who performs well in their frustratingly brief appearances but ultimately gets Darth Maul levels of short service). The true scene-stealers in the film, however, are Alexie and Yelena – Harbour’s clearly having the time of his life hamming it up as a self-important, puffed-up peacock of a superhero who never got his shot and is clearly (rightly) decidedly bitter about it, preferring to relive the life he SHOULD have had instead of remembering the good in the one he got; Pugh, meanwhile, is THE BEST THING IN THE WHOLE MOVIE, easily matching Johanssen scene-for-scene in the action stakes but frequently out-performing her when it comes to acting, investing Yelena with a sweet naivety and innocence and a certain amount of quirky geekiness that makes for one of the year’s most endearing female protagonists (certainly one who, if the character goes the way I think she will, is thoroughly capable of carrying the torch for the foreseeable future). In the end this is definitely one of the LEAST typical, by-the-numbers MCU films to date, and by delivering something a little different I think they’ve given us just the kind of leftfield swerve the series needs right now. It’s certainly one of their most fascinating and rewarding films so far, and since it seems to be Johansson’s final tour of duty as the Black Widow, it’s also a most fitting farewell indeed.

6. WRATH OF MAN – Guy Ritchie’s latest (regarded by many as a triumphant return to form, which I consider unfair since I don’t think he ever went away, especially after 2020’s spectacular The Gentlemen) is BY FAR his darkest film – let’s get this clear from the start. Anyone who knows his work knows that Ritchie consistently maintains a near flawless balance and humour and seriousness in his films that gives them a welcome quirkiness that is one of his most distinctive trademarks, so for him to suddenly deliver a film which takes itself SO SERIOUSLY is one hell of a departure. This is a film which almost REVELS in its darkness – Ritchie’s always loved bathing in man’s baser instincts, but Wrath of Man almost makes a kind of twisted VIRTUE out of wallowing in the genuine evils that men are capable of inflicting on each other. The film certainly kicks off as it means to go on – In a tour-de-force single-shot opening, we watch a daring armoured car robbery on the streets of Los Angeles that goes horrifically wrong, an event which will have devastating consequences in the future. Five months later, Fortico Security hires taciturn Brit Patrick Hill (Jason Statham) to work as a guard in one of their trucks, and on his first run he single-handedly foils another attempted robbery with genuinely uncanny combat skills. The company is thrilled, amazed by the sheer ability of their new hire, but Hill’s new colleagues are more concerned, wondering exactly what they’ve let themselves in for. After a second foiled robbery, it becomes clear that Hill’s reputation has grown, but fellow guard Haiden (Holt McCallany), aka “Bullet”, begins to suspect there might be something darker going on … Ritchie is firing on all cylinders here, delivering a PERFECT slow-burn suspense thriller which plays its cards close to its chest and cranks up its piano wire tension with artful skill as it builds to a devastating, knuckle-whitening explosive heist that acts as a cathartic release for everything that’s built up over the past hour and a half. In typical Ritchie style the narrative is non-linear, the story unfolding in four distinct parts told from clearly differentiated points of view, allowing the clues to be revealed at a trickle that effortlessly draws the viewer in as they fall deeper down the rabbit hole, leading to a harrowing but strangely poignant denouement which is perfectly in tune with everything that’s come before. It’s an immense pleasure finally getting to see Statham working with Ritchie again, and I don’t think he’s ever been better than he is here – he's always been a brilliantly understated actor, but there’s SO MUCH going on under Hill’s supposedly impenetrable calm that every little peek beneath the armour is a REVELATION; McCallany, meanwhile, has landed his best role since his short but VERY sweet supporting turn in Fight Club, seemingly likeable and fallible as the kind of easy-going co-worker anyone in the service industry would be THRILLED to have, but giving Bullet far more going on under the surface, while there are uniformly excellent performances from a top-shelf ensemble supporting cast which includes Josh Hartnett, Jeffrey Donovan (Burn Notice, Sicario), Andy Garcia, Laz Alonso (The Boys), Eddie Marsan, Niamh Algar (Raised By Wolves) and Darrell D’Silva (Informer, Domina), and a particularly edgy and intense turn from Scott Eastwood. This is one of THE BEST thrillers of the year, by far, a masterpiece of mood, pace and plot that ensnares the viewer from its gripping opening and hooks them right up to the close, a triumph of the genre and EASILY Guy Ritchie’s best film since Snatch. Regardless of whether or not it’s a RETURN to form, we can only hope he continues to deliver fare THIS GOOD in the future …

5. FEAR STREET (PARTS 1-3) – Netflix have gotten increasingly ambitious with their original filmmaking over the years, and some of this years’ offerings have reached new heights of epic intention. Their most exciting release of the summer was this adaptation of popular children’s horror author R.L. Stine’s popular book series, a truly gargantuan undertaking as the filmmakers set out to create an entire TRILOGY of films which were then released over three consecutive weekends. Interestingly, these films are most definitely NOT for kids – this is proper, no-holds-barred supernatural slasher horror, delivering highly calibrated shocks and precision jump scares, a pervading atmosphere of insidious dread and a series of inventively gruesome kills. The story revolves around two neighbouring small towns which have had vastly different fortunes over more than three centuries of existence – while the residents of Sunnyvale are unusually successful, living idyllic lives in peace and prosperity, luck has always been against the people of Shadyside, who languish in impoverishment, crime and misfortune, while the town has become known as the Murder Capital of the USA due to frequent spree killings. Some attribute this to the supposed curse of a local urban legend, Sarah Fier, who became known as the Fier Witch after her execution for witchcraft in 1668, but others dismiss this as simple superstition. Part 1 is set in 1994, as the latest outbreak of serial mayhem begins in Shadyside, dragging a small group of local teens – Deena Johnson (She Never Died’s Kiana Madeira) and Samantha Fraser (Olivia Scott Welch), a young lesbian couple going through a difficult breakup, Deena’s little brother Josh (The Haunted Hathaways’ Benjamin Flores Jr.), a nerdy history geek who spends most of his time playing video games or frequenting violent crime-buff online chatrooms, and their delinquent friends Simon (Eight Grade’s Fred Hechinger) and Kate (Julia Rehwald) – into the age-old ghostly conspiracy as they find themselves besieged by indestructible undead serial killers from the town’s past, reasoning that the only way they can escape with their lives is to solve the mystery and bring the Fier Witch some much needed closure. Part 2, meanwhile, flashes back to a previous outbreak in 1977, in which local sisters Ziggy (Stranger Things’ Sadie Sink) and Cindy Berman (Emily Rudd), together with future Sunnyvale sheriff Nick Goode (Ted Sutherland) were among the kids hunted by said killers during a summer camp “colour war”. As for Part 3, that goes all the way back to 1668 to tell the story of what REALLY happened to Sarah Fier, before wrapping up events in 1994, culminating in a terrifying, adrenaline-fuelled showdown in the Shadyside Mall. Throughout, the youthful cast are EXCEPTIONAL, Madeira, Welch, Flores Jr., Sink and Rudd particularly impressing, while there are equally strong turns from Ashley Zuckerman (The Code, Designated Survivor) and Community’s Gillian Jacobs as the grown-up versions of two key ’77 kids, and a fun cameo from Maya Hawke in Part 1. This is most definitely retro horror in the Stranger Things mould, perfectly executed period detail bringing fun nostalgic flavour to all three of the timelines while the peerless direction from Leigh Janiak (Honeymoon) and wire-tight, sharp-witted screenplays from Janiak, Kyle Killen (Lone Star, The Beaver), Phil Graziadel, Zak Olkewicz and Kate Trefry strike a perfect balance between knowing dark humour and knife-edged terror, as well as weaving an intriguingly complex narrative web that pulls the viewer in but never loses them to overcomplication. The design, meanwhile, is evocative, the cinematography (from Stanger Things’ Caleb Heymann) is daring and magnificently moody, and the killers and other supernatural elements of the film are handled with skill through largely physical effects. This is definitely not a standard, by-the-numbers slasher property, paying strong homage to the sub-genre’s rules but frequently subverting them with expert skill, and it’s as much fun as it is frightening. Give us some more like this please, Netflix!

4. THE SPARKS BROTHERS – those who’ve been following my reviews for a while will known that while I do sometimes shout about documentary films, they tend to show up in my runners-up lists – it’s a great rarity for one to land in one of my top tens. This lovingly crafted deep-dive homage to cult band Sparks, from self-confessed rabid fanboy Edgar Wright (Shaun of the Dead, Hot Fuzz, Scott Pilgrim), is something VERY SPECIAL INDEED, then … there’s a vague possibility some of you may have heard the name before, and many of you will know at least one or two of their biggest hits without knowing it was them (their greatest hit of all time, This Town Ain’t Big Enough for the Both of Us, immediately springs to mind), but unless you’re REALLY serious about music it’s quite likely you have no idea who they are, namely two brothers from California, Russell and Ronald Mael, who formed a very sophisticated pop-rock band in the late 60s and then never really went away, having moments of fame but mostly working away in the background and influencing some of the greatest bands and musical artists that followed them, even if many never even knew where that influence originally came from. Wright’s film is an engrossing joy from start to finish (despite clocking in at two hours and twenty minutes), following their eclectic career from obscure inception as Halfnelson, through their first real big break with third album Kimono My Place, subsequent success and then fall from popularity in the mid-70s, through several subsequent revitalisations, all the way up to the present day with their long-awaited cinematic breakthrough, revolutionary musical feature Annette – throughout Wright keeps the tone light and the pace breezy, allowing a strong and endearing sense of irreverence to rule the day as fans, friends and the brothers themselves offer up fun anecdotes and wax lyrical about what is frequently a larger-than-life tragicomic soap opera, utilising fun, crappy animation and idiosyncratic stock footage inserts alongside talking-head interviews that were made with a decidedly tongue-in-cheek style – Mike Myers good-naturedly rants about how we can see his “damned mole” while 80s New Romantic icons Nick Rhodes and John Taylor, while shot together, are each individually labelled as “Duran”. Ron and Russ themselves, meanwhile, are clearly having huge fun, gently ribbing each other and dropping some fun deadpan zingers throughout proceedings, easily playing to the band’s strong, idiosyncratic sense of hyper-intelligent humour, while the aforementioned celebrity talking-heads are just three amongst a whole wealth of famous faces that may surprise you – there’s even an appearance by Neil Gaiman, guys! Altogether this is 2+ hours of bright and breezy fun chock full of great music and fascinating information, and even hardcore Sparks fans are likely to learn more than a little over the course of the film, while for those who have never heard of Sparks before it’s a FANTASTIC introduction to one of the greatest ever bands that you’ve never heard of. With luck there might even be more than a few new fans before the year is out …

3. GUNPOWDER MILKSHAKE – Netflix’ BEST offering of the summer was this surprise hit from Israeli writer-director Navot Papushado (Rabies, Big Bad Wolves), a heavily stylised black comedy action thriller that passes the Bechdel Test with FLYING COLOURS. Playing like a female-centric John Wick, it follows ice-cold, on-top-of-her-game assassin Sam (Karen Gillan) as her latest assignment has some unfortunate side effects, leading her to take on a reparation job to retrieve some missing cash for the local branch of the Irish Mob. The only catch is that a group of thugs have kidnapped the original thief’s little girl, 12 year-old Emily (My Spy’s Chloe Coleman), and Sam, in an uncharacteristic moment of sympathy, decides to intervene, only for the money to be accidentally destroyed in the process. Now she’s got the Mob and her own employers coming after her, and she not only has to save her own skin but also Emily’s, leading her to seek help from the one person she thought she might never see again – her mother, Scarlet (Lena Headey), a master assassin in her own right who’s been hiding from the Mob herself for years. The plot may be simple but at times also a little over-the-top, but the film is never anything less than a pure, unadulterated pleasure, populated with fascinating, living and breathing characters of real complexity and nuance, while the script (co-written by relative newcomer Ehud Lavski) is tightly-reined and bursting with zingers. Most importantly, though, Papushado really delivers on the action front – these are some of the best set-pieces I’ve seen this year, Gillan, her co-stars and the various stunt-performers acquitting themselves admirably in a series of spectacular fights, gun battles and a particularly imaginative car chase that would be the envy of many larger, more expensive productions. Gillan and Coleman have a sweet, awkward chemistry, the MCU star particularly impressing in a subtly nuanced performance that also plays beautifully against Headey’s own tightly controlled turn, while there is awesome support from Angela Bassett, Michelle Yeoh and Carla Gugino as Sam’s adoptive aunts Anna May, Florence and Madeleine, a trio of “librarians” who run a fine side-line in illicit weaponry and are capable of unleashing some spectacular violence of their own; the film’s antagonists, on the other hand, are exclusively masculine – the mighty Ralph Inneson is quietly ruthless as Irish boss Jim McAlester, while The Terror’s Adam Nagaitis is considerably more mercurial as his mad dog nephew Virgil, and Paul Giamatti is the stately calm at the centre of the storm as Sam’s employer Nathan, the closest thing she has to a father. There’s so much to enjoy in this movie, not just the wonderful characters and amazing action but also the singularly engrossing and idiosyncratic style, deeply affecting themes of the bonds of found family and the healing power of forgiveness, and a rewarding through-line of strong women triumphing against the brutalities of toxic masculinity. I love this film, and I invite you to try it out, cuz I’m sure you will too.

2. THE SUICIDE SQUAD – the most fun I’ve had at the cinema so far this year is the long-awaited (thanks a bunch, COVID) redress of another frustrating imbalance from the decidedly hit and miss DCEU superhero franchise, in which Guardians of the Galaxy writer-director James Gunn has finally delivered a PROPER Suicide Squad movie after David Ayer’s painfully compromised first stab at the property back in 2016. That movie was enjoyable enough and had some great moments, but ultimately it was a clunky mess, and while some of the characters were done (quite) well, others were painfully botched, even ruined entirely. Thankfully Warner Bros. clearly learned their lesson, giving Gunn free reign to do whatever he wanted, and the end result is about as close to perfect as the DCEU has come to date. Once again the peerless Viola Davis plays US government official Amanda Waller, head of ARGUS and the undisputable most evil bitch in all the DC Universe, who presides over the metahuman prisoners of the notorious supermax Belle Reve Prison, cherry-picking inmates for her pet project Taskforce X, the titular Suicide Squad sent out to handle the kind of jobs nobody else wants, in exchange for years off their sentences but controlled by explosive implants injected into the base of their skulls. Their latest mission sees another motley crew of D-bags dispatched to the fictional South African island nation of Corto Maltese to infiltrate Jotunheim, a former Nazi facility in which a dangerous extra-terrestrial entity that’s being developed into a fearful bioweapon, with orders to destroy the project in order to keep it out of the hands of a hostile anti-American regime which has taken control of the island through a violent coup. Where the first Squad felt like a clumsily-arranged selection of stereotypes with a few genuinely promising characters unsuccessfully moulded into a decidedly forced found family, this new batch are convincingly organic – they may be dysfunctional and they’re all almost universally definitely BAD GUYS, but they WORK, the relationship dynamics that form between them feeling genuinely earned. Gunn has already proven himself a master of putting a bunch of A-holes together and forging them into band of “heroes”, and he’s certainly pulled the job off again here, dredging the bottom of the DC Rogues Gallery for its most ridiculous Z-listers and somehow managing to make them compelling. Sure, returning Squad-member Harley Quinn (the incomparable Margot Robbie, magnificent as ever) has already become a fully-realised character thanks to Birds of Prey, so there wasn’t much heavy-lifting to be done here, but Gunn genuinely seems to GET the character, so our favourite pixie-esque Agent of Chaos is an unbridled and thoroughly unpredictable joy here, while fellow veteran Colonel Rick Flagg (a particularly muscular and thoroughly game Joel Kinnaman) has this time received a much needed makeover, Gunn promoting him from being the first film’s sketchily-drawn “Captain Exposition” and turning him into a fully-ledged, well-thought-out human being with all the requisite baggage, including a newfound sense of humour; the newcomers, meanwhile, are a thoroughly fascinating bunch – reluctant “leader” Bloodsport/Robert DuBois (a typically robust and playful Idris Elba), unapologetic douchebag Peacemaker/Christopher Smith (probably the best performance I’ve EVER seen John Cena deliver), and socially awkward and seriously hard-done-by nerd (and by far the most idiotic DC villain of all time) the Polka-Dot Man/Abner Krill (a genuinely heart-breaking hangdog performance from Ant-Man’s David Dastmalchian); meanwhile there’s a fine trio of villainous turns from the film’s resident Big Bads, with Juan Diego Botta (Good Behaviour) and Joaquin Cosio (Quantum of Solace, Narcos: Mexico) making strong impressions as newly-installed dictator Silvio Luna and his corrupt right hand-man General Suarez, although both are EASILY eclipsed by the typically brilliant Peter Capaldi as louche and quietly deranged supervillain The Thinker/Gaius Greives (although the film’s ULTIMATE threat turns out to be something a whole lot bigger and more exotic). The film is ROUNDLY STOLEN, however, by a truly adorable double act (or TRIPLE act, if you want to get technical) – Daniella Melchior makes her breakthrough here in fine style as sweet, principled and kind-hearted narcoleptic second-generation supervillain Ratcatcher II/Cleo Cazo, who has the weird ability to control rats (and who has a pet rat named Sebastian who frequently steals scenes all on his own), while a particular fan-favourite B-lister makes his big screen debut here in the form of King Shark/Nanaue, a barely sentient anthropomorphic Great White “shark god” with an insatiable appetite for flesh and a naturally quizzical nature who was brilliantly mo-capped by Steve Agee (The Sarah Silverman Project, who also plays Waller’s hyperactive assistant John Economos) but then artfully completed with an ingenious vocal turn from Sylvester Stallone. James Gunn has crafted an absolute MASTERPIECE here, EASILY the best film he’s made to date, a riotous cavalcade of exquisitely observed and perfectly delivered dark humour and expertly wrangled narrative chaos that has great fun playing with the narrative flow, injects countless spot-on in-jokes and irreverent but utterly essential throwaway sight-gags, and totally endears us to this glorious gang of utter morons right from the start (in which Gunn delivers what has to be one of the most skilful deep-fakes in cinematic history). Sure, there’s also plenty of action, and it’s executed with the kind of consummate skill we’ve now come to expect from Gunn (the absolute highlight is a wonderfully bonkers sequence in which Harley expertly rescues herself from captivity), but like everything else it’s predominantly played for laughs, and there’s no getting away from the fact that this film is an absolute RIOT. By far the funniest thing I’ve seen so far this year, and if I’m honest this is the best of the DCEU offerings to date, too (for me, only the exceptional Birds of Prey can compare) – if Warner Bros. have any sense they’ll give Gunn more to do VERY SOON …

1. A QUIET PLACE, PART II – while UK cinemas finally reopened in early May, I was determined that my first trip back to the Big Screen for 2021 was gonna be something SPECIAL, and indeed I already knew what that was going to be. Thankfully I was not disappointed by my choice – 2018’s A Quiet Place was MY VERY FAVOURITE horror movie of the 2010s, an undeniable masterclass in suspense and sustained screen terror wrapped around a refreshingly original killer concept, and I was among the many fans hoping we’d see more in the future, especially after the film’s teasingly open ending. Against the odds (or perhaps not), writer-director/co-star John Krasinski has pulled off the seemingly impossible task of not only following up that high-wire act, but genuinely EQUALLING it in levels of quality – picking up RIGHT where the first film left off (at least after an AMAZING scene-setting opening in which we’re treated to the events of Day 1 of the downfall of humanity), rejoining the remnants of the Abbott family as they’re forced by circumstances to up-sticks from their idyllic farmhouse home and strike out into the outside world once more, painfully aware at all times that they must maintain perfect silence to avoid the ravenous attentions of the lethal blind alien beasties that now sit at the top of the food chain. Circumstances quickly become dire, however, and embattled mother Evelyn (Emily Blunt) is forced to ally herself with estranged family friend Emmett (Cillian Murphy), now a haunted, desperate vagrant eking out a perilous existence in an abandoned factory, in order to safeguard the future of her children Regan (Millicent Simmonds), Marcus (Noah Jupe) and their newborn baby brother. Regan, however, discovers evidence of more survivors, and with her newfound weapon against the aliens she recklessly decides to set off on her own in the hopes of aiding them before it’s too late … it may only be his second major blockbuster as a director, but Krasinski has once again proven he’s a true heavyweight talent, effortlessly carving out fresh ground in this already magnificently well-realised dystopian universe while also playing magnificently to the established strengths of what came before, delivering another peerless thrill-ride of unbearable tension and knuckle-whitening terror. The central principle of utilising sound at a very strict premium is once again strictly adhered to here, available sources of dialogue once again exploited with consummate skill while sound design and score (another moody triumph from Marco Beltrami) again become THE MOST IMPORTANT aspects of the whole production. The ruined world is once again realised beautifully throughout, most notably in the nightmarish environment of a wrecked commuter train, and Krasinski cranks up the tension before unleashing it in merciless explosions in a selection of harrowing encounters which guaranteed to leave viewers in a puddle of sweat. The director mostly stays behind the camera this time round, but he does (obviously) put in an appearance in the opening flashback as the late Lee Abbott, making a potent impression which leaves a haunting absence that’s keenly felt throughout the remainder of the film, while Blunt continues to display mother lion ferocity as she fights to keep her children safe and Jupe plays crippling fear magnificently but is now starting to show a hidden spine of steel as Marcus finally starts to find his courage; the film once again belongs, however, to Simmonds, the young deaf actress once and for all proving she’s a genuine star in the making as she invests Regan with fierce wilfulness and stubborn determination that remains unshakeable even in the face of unspeakable horrors, and the relationship she develops with Emmett, reluctant as it may be, provides a strong new emotional focus for the story, Murphy bringing an attractive wounded humanity to his role as a man who’s lost anything and is being forced to learn to care for something again. This is another triumph of the genre AND the artform in general, a masterpiece of atmosphere, performance and storytelling which builds magnificently on the skilful foundations laid by the first film, as well as setting things up perfectly for a third instalment which is all but certain to follow. I definitely can’t wait.

#movies 2021 #werewolves within #werewolves within movie #the tomorrow war #army of the dead #Black Widow #black widow movie #black widow mcu #wrath of man #fear street #fear street trilogy #fear street movies #The Sparks Brothers #gunpowder milkshake #the suicide squad #a quiet place part ii #a quiet place part 2 #awesome sauce

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nautilusopus · 4 years ago

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Why do you hate the remake? The ending?

AMONG MANY MANY MANY MANY MANY MANY OTHER THINGS

AHEM:

the ending

the way everyone’s character is botched

this goes triple for poor cloud and tifa because they literally aren’t allowed to have either meaningful character interactions or character development because they CAN’T because this is the first five hours of the game stretched into 40 hours so we can’t get into nibelheim yet because we have to “save” it

the fact that this is the first five hours stretched into 40 hours and thus is largely padding

the handling of sector 7, where we go from watching actual people we care about die to seeing literally zero people die at all and also we evacuated the slums so it’s cool

especially egregious considering the game made us do so many stupid sidequests in the (way too clean and sunny) slums to get attached to these npcs only to kill literally zero of them

they still kill barret though so they don’t have to have him fight jenova with everyone else because he’s not a REAL character, let’s get him out of the serious moments. except they can’t kill barret so he’s back immediately due to time bullshit, great

on a related note, the complete and utter lack of any real stakes

the way aeris has fucking future knowledge

the way the vii universe, due to the addition of Fate, now has the judas problem. if the planet can literally fucking control fate why didn’t it just keep jenova from landing? why didn’t it keep shinra from becoming a thing? the only answer is that jenova and shinra are intended to do the things they do and thus are actually under the planet’s control and are not accountable for their actions

the fact that this is sephiroth’s motivation now or something, instead of the actual personality he used to have where he acted as a foil to cloud with his inability to accept unpleasant truths about himself and instead creating a grand narrative for himself where he has not been victimised by unfair and unglamorous circumstances and responded to this by making bad choices

the fact that fate is now a concept in this game at all and how completely and utterly fucking insulting that is and how much of a disservice it is to everything the original stood for on a fundamental level. a game that was literally about how there is no inherent meaning in some grand scheme, and that on a cosmic scale we are insignificant and the planet doesn’t give two shits if we live or die, so therefore we must create our own meaning, small and irrelevant to vast forces like the inevitability of pain and death as they are, and that the meaning we create with other small and insignificant human beings is nonetheless something with value, and that in fact it is harmful to try and pretend there is some vast cosmic significance to your actions and that there doesn’t have to be because your life having value to you is enough, especially in the face of something as absurd as the inevitability of death and pain, now has fucking fate in it. actually, cloud DOES matter on a vast cosmic scale! everyone’s deaths do! and in fact those deaths are unnatural and you’re going to prevent them! hooray!

this is yet another narrative, following in the footsteps of harry potter and the new star wars trilogy, that pretends to be about a nobody going on to defy odds anyway only to turn around and say actually lol no they were special the whole time.

cloud’s handling in general even outside of that. aforementioned lack of development aside, he’s simultaneously way too chilly and way too casual with everyone, with the most meaningful interactions he gets to have being shallow fucking flirting with tifa and him walking around making put upon faces with aeris

the fandom thirst over literal sex traffickers

the fact that this was marketed as a remake when it is AT BEST a series reboot that relies on you having played the og to understand what the fuck is going on half the time

* the utter lack of reading comprehension among the fans that still somehow think they’re going to get other “iconic og moments” remade. did you fuckers miss the ending somehow? about how we’re doing none of that actually? about how they’re going to Defy Fate? you aren’t getting those moments. period. the entire fucking game and ending is literally about that. about how we’re going to Prevent All The Bad Things

the fact that the above was done because they clearly started out trying to actually remake the gam, realised they bit off more than they could chew, and then went LOL NO PROMISES at the last minute with some kingdom hearts bullshit that would let them wiggle out of any long term plot commitments at any time (and also shoehorn zack in because of fucking course he’s here too)

pacing pacing pacing. aside from the atrocious padding problems, you’ve also got sephiroth showing up and mugging the camera every three minutes, because he has to, because this is the first five hours of the game so they need to cram him in there anyway regardless of what it does to the story or no one will buy their stupid game. also they drop the “cloud was never in soldier lol” WAAAAAAAAAAAAAAAAAAAY too fucking early, jesus christ. good to know any kind of subtlety is just out the fucking window entirely now

what they did to poor sephiroth, easily the worst handled character in this whole mess. sephiroth sweetie i’m so sorry holy shit

whatever the fuck they were doing with cait sith

taking a big old fucking dump on any themes and meaning the original had in general which i won’t get into too much because it would take forever but you can read more about that here

how they handled shinra and avalanche, or rather how they didn’t handle it and made everything as black and white as possible

jessie’s thirst is extremely annoying and i’m over it

the fact that the fanbase keeps trying to simultaneously go “no it’s only the first chapter of course there’s no explanations” in response to pacing criticisms while also trying to go “no no they had to make it feel like a full game” in response to massive fucking story changes that only served to bloat the pacing

because they can’t bring up nibelheim yet, in this forty hour game (but still have time to go Zack Is Alive Now Also There Is Fate) tifa has no motivation or personality or connection to cloud and barret to speak of. also where the fuck is her anger, holy shit. she regrets joining avalanche? she isn’t

the fact that the fanbase is not only fine with all these changes, changes which again are being made directly in the name of profit to the detriment of good storytelling, but also are even pushing this as the “intended, fleshed out” version of the story they always wanted to tell but couldn’t

bad soundtrack, fight me

midgar and especially the slums look boring

the turks are good now uwu

no Trail of Blood sequence. again, pacing issues. this was meant to be your introduction to sephiroth to set the tone and establish how dangerous he was and how he was the REAL bad guy, but because we’ve seen him every three seconds at this point the whole sequence got cut and it was one of the best sequences there was

the fact that the interviews repeatedly indicate to me that they don’t seem to understand that not every goddamn irrelevant detail needs an explanation (a problem they seem to have carried over from crisis core so that’s great) but that they don’t seem to care about things that DO need explanations and that zero genuine thought was put into the worldbuilding

the way barret’s treated as a joke by the narrative when he’s literally fucking correct

the obsession with Realism (TM) to the point where it creates more tone problems than it solves at times (cloud can fucking fly in cutscenes but can’t hop over a two foot fence)

LET CLOUD BE A DOOFUS YOU COWARDS

about the only character that made it out with their personality intact was aeris and even she’s gone and had her motivations scuttled so it doesn’t matter, yaaaaaaaaay

i can’t fucking believe the remake has made me AVOID fics with jessie biggs and wedge in them. before it was a marker of quality. look what you’ve done.

cloud has an apartment now instead of living with avalanche in the basement. this is also done in the name of Realism but also kind of sucks away the charm imo and makes it that much harder to buy any of these assholes as found family

the timeline of all of this no longer taking place over like three weeks is once again a result of pacing issues. i’m sure this won’t bite us in the ass at all.

god remember when we thought roche was gonna be the worst addition? simpler times

also roche

and yeah the whole ass ending, complete with homage to the ending of ffvii period with the weird doctor who brain tunnel that makes no fucking sense to be here and is only gonna confuse people who don’t know this is supposed to be a callback, and even if it was why is it here, you can’t just fucking copy/paste Famous Moments with none of the emotional beats or writing to back them up or lead into them, context MATTERS did you fuckers learn nothing from the travesty of hollow writing that was ffxv and especially prompto?

the fact that people are looking at this fucking travesty and just assuming the og is like this too and not bothering to play it either because they loved the remake (for some reason???) or because they hated it and now wouldn’t play the og if their life depended on it, which breaks my heart most of all. “the original is still there!!!” is a meaningless overture if people refuse to engage critically with it on any level at all, which as we’ve outlined is absolutely what is happening. this is what people meant when we said the remake would erase the og, and on multiple levels, whether it’s people assuming the og was always meant to be like this, or seeing no reason to play it, or once again failing to recognise what the remake very loudly screams in your face it’s doing and assuming that of course we’re getting a vii remake with all those moments we care about, this is what has been happening.

i can’t even fucking imagine what the northern crater scene is gonna look like now, IF we get one at all. and that’s a big fucking if

i know i’ve missed a lot of them but i hope this helps

#asks #man fuck the remake #Anonymous

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iaintyourbro · 4 years ago

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Hi! So I read the "Why I think Clerith doesn't work" post. It's a behemoth of an exchange but I'm glad I went through it! So much sense, insight and lovely politeness everywhere! It's a bit off on tangent but my takeaway is that FF7 would stay the same whether Clerith was romantic or platonic, but if Cloti wasn't romantic, the plot suffers big time. Like to the point that it would lose sense. Cloud not loving Tifa the way he does doesn't flow with the tapestry. 1/

That's not to say that Clerith relationship is unimportant but I guess to me it just drives the point further that it could only be Tifa for Cloud. OG Soldier!Cloud may or may not have had romantic feelings for Aerith and if he did, it indeed won't diminish his love for Tifa in any way. But those feelings are fake; Remake Aerith herself says this, OG Cloud himself comes to realize this. Those possible romantic feelings don't hold much substance (if any at all) post-Lifestream sequence. 2/7

It would be almost impossible for Cloud to think of Aerith romantically once he regains his true self because of Tifa and Zack. This development directly negates every moment he may have previously thought of as romantic. This development overwrites Soldier!Cloud's possible romantic interpretations as nothing more than being a decent person and a good friend. All of this tells me that to take Clerith romantically as a plot point would require some extra elbow grease 3/7

that you won't naturally find in the tapestry. To do so soundly, we would need something else that the devs didn't give us. That's not to say that Clerith being romantic is twisting canon to be what it's not, but rather it doesn't matter in the big picture. The story stands on solid ground as it does if they're platonic, and because Cloud's true love already exists in Tifa and they are ultimately endgame, then there's no need for Clerith to be romantic. 4/7

This is what I mean when I say Clerith romance would need something else, some extra elbow grease; it COULD be there but it's ultimately needless. Which in turn leads me to believe that the romantic possibility between them in OG was indeed put there purely for drama's sake and shock value. Some fans ran with that possibility mindlessly but that’s a different discussion. Bottom line is I think Clerith could either be romantic or platonic and it won't affect the plot all that much, 5/7

because the feeling that Cloud is left with as regards to Aerith is crushing guilt (which he thankfully works through in ACC and we can only assume he remembers her fondly as time goes on) while the feeling Cloud has for Tifa is abiding love, which drives his actions in the plot throughout the whole Compilation. /end LOL sorry this take is way too long but I so loved the whole exchange and it really tickled my last 2 brain cells. Thank you for that!! Stay safe and well ❤ 6/7

Uh, “why clerith doesn’t work” with the long ass ask here lol I’m so sorry to do this to you. But correcting/clarifyingone of stuff I said: Cloud and Tifa being “ultimately endgame”, I meant that they are endgame by the devs’ design. Them ending up together was intentional and not just because Aerith happened to die (just as her death was also intentional and by design). 😬 7/7 (?) lol

Hello Anon! You sent me in quite a thing, so let’s get to it! First, I’m glad you got to read through all of that. I think those types of discussions are really amazing especially when people do stay polite and do actually take other opinions into consideration.

I agree with you - Clerith being romantic or not doesn’t really matter overall to the plot. I think the problem that comes up is how extremist CAs deal with the whole thing. Some are okay with Cloud dying to be with Aerith. Some are okay with trashing Tifa - who is like the most important person in the world to Cloud, you find out - to diminish her character. They twist, erase, and lie about canon and story. That’s where shit gets nasty. But no, it wouldn’t matter plot wise either way.

Also I’m putting pictures in this post because they’re pretty. (The one below cracks me up.)

The relationship of those two is important. I think Aerith’s resolution is poorly interpreted because all of her lines aren’t taken in to consideration. The line “Don’t fall in love with me.” It’s bold. It insinuates something. It makes an assumption. It’s the follow up that’s more important to me... “Even if you think you have... it’s not real.” Boom. That is where it is - if you stop listening at the “L” word, this will be lost on you. This is used to foreshadow Cloud’s persona problem AND to say - the point of Aerith being seen as a romantic interest in OG was to show even more of the illusion that Cloud was under. Do I think they needed to make it romantic - no. I really don’t see it as very romantic in OG, but a lot of people disagree with me and that’s okay. Replaying it as an adult, I saw nothing substantial between those two. Early in OG, though, there’s nothing early on between him and Tifa either. Remake, uh... clearly changed that with Tifa.

Regarding Zack and Real!Cloud’s feelings for Tifa: I cannot think that Cloud would be like “well he’s dead so...” No. True!Cloud also has been pining over Tifa for years. His entire subconscious is filled with Tifa, Tifa, Tifa. They’ve translated this underlying feeling in Remake for SOLDIER!Cloud and how he acts around and reacts to Tifa. It’s like Real!Cloud isn’t gonna let him screw up too bad...

Most of the posts you see saying that Clerith is canon or Clerith was heavy in Remake ignore a lot of other scenes. I’ve seen all three resolution scenes. Multiple times. They’re all important. A lot of extreme shippers will not watch the scene with “the other chick” in them because it’s easier to sit in denial of it. Tifa’s resolution is the most intimate. She hugs him and he hugs her back. This is a huge development thing for Cloud. It also was confirmed that real Cloud was like “my turn” when she did that...

Barret’s resolution scene even has a Cloti moment in it regarding Al and his flowers, which is one of the most unexpected and hilarious reactions I saw out of Cloud. Barret’s resolution also covers some history on Avalanche and he gets to talk about the crew. You hear names that you can go back and see on the darts leaderboard on your next playthrough.

Aerith references the Highwind scene (above). The Highwind scene is the one everybody talks about when it comes to Cloud and Tifa. That and the Lifestream (I prefer the Lifestream, but Remake may... uh... make me change my mind... cuz horny jail and all that).

The one thing they did that was, to me, a huge difference from OG was push the romance envelope. So you get scenes like the train tunnel roll, that’s dripping with sexual tension. You get the scene in Tifa’s apartment if you do all of the quests (everybody should be doing ALL of the quests for ALL Chapters), you get another Cloti scene that’s tense. They have a lot of tense, slam in your face moments that I don’t know how people ignore.

If you look at some of these moments and have no clue what this scene is or what this game is about, you’re gonna have thoughts on what’s going on here. I have thoughts and I know what happens. This is one of those “pheewwww” scenes.

None of this was in OG - they kept the romance between Cloud and Tifa pretty much so subtle you’d have to squint to see the few times it happens before the end of Disc 2. The first time Cloud really comes out and says anything, it’s this:

If you ignore Tifa and think Aerith is all there is to see, this line will come out of left field. It still somewhat feels like its out of left field considering how light Cloti is before this point, but it’s like “I don’t care what anybody else thinks of me except you.” I do remember this slamming me in the face like “where’d this come from” and that’s when the illusion starts to spiral out of control. This works perfectly on your first playthrough and then enhances your second playthrough so you can see how many weird things you can point out to foreshadow what’s going on.

Also... Cloud’s illusionary world in the first half of the game is a major plot point that can’t be ignored. Ignoring it means you stopped playing the game before you get to this point. The player starts to feel anxious like something is wrong. You start to question everything, and then you do get resolution to this later on, and I love the way they did it.

But if you want to say Tifa isn’t a love interest, you need to throw the above scene out. Why would he care so much?

Or this. You would need to ignore the Lifestream. All of it. 90% of it is about Tifa. The other parts are about Zack and Sephiroth. But Tifa’s in that section of his mind too, because she almost dies.

FFVII is not a romance game. Especially not the OG. However love or romance is what drove Cloud to try to join SOLDIER, what drove Cloud to completely go ballistic when his mom is killed, his town burned down, and then he comes across an almost lifeless Tifa.

And then... Sephiroth somehow survives this. A Buster Sword going through his skinny ass... walks out and Cloud goes after him again.

Personally, my favorite rendition of the Cloud stabbing Sephiroth scene is Crisis Core because of the music, the way he walks in the room, and then boom.

If they do a mashup of the two: Have him walk in the room, just showing his legs, (and it feels so fucking arrogant the way he does it ughhh) have dramatic music playing, BUT have Sephiroth turn just at the last second like he does in OG so he sees it’s a grunt right away, and then have Cloud say the above line, which they removed from CC for some reason.

You should watch this scene and feel feelings like I do about the way he walks in there

Okay, anyway...

If Sephiroth had walked out of the reactor, he most likely would have run in to Zangan and killed him. My guess is, he would have found a way to recover from his massive would. Zangan wouldn’t have been able to get to Tifa and them, but you could say Cloud could have taken Tifa... but would he have left Zack? So many what ifs... but the point is, he legit goes nuts when he thinks Tifa is dead.

And so Sephiroth tries this again in Remake:

And Cloud also starts to go ballistic until he sees Barret and freezes. So Sephiroth is like “alright I just need him to break not start trying to murder me yet.”

Cloud is upset when Aerith dies. He blames himself. Hell, he almost killed her himself twice in OG. Of course he feels like shit. Of course he feels guilty. He feels she went to confront Sephiroth on her own because of what he did. But he doesn’t really do much after this. They resolve to go after Sephiroth, but he’s able to get through the Jenova fight, “bury” Aerith and go back to get some sleep at one of the abandoned homes.

When he thinks Tifa dies in Nibelheim, he gets stabbed through the fucking chest and somehow, this grunt kid, picks a 6′1″ dude up by just using sheer rage and willpower and throws him into the depths of the reactor. Like holy shit, what kind of feeling do you need to do that? And Cloud ultimately probably saved a lot of people early on doing that.

Cloti was endgame from the moment OG starts. You really don’t know it, though, for a long time. You also don’t fully grasp it the first time you play the game. If you replay it, you’ll see some subtle references to this, such as Cloud getting jealous in Costa del Sol if Tifa is talking to Johnny, Tifa holding Cloud when he sees Jenova in the Shinra building, the flashback he has of her during the second bombing mission, but that’s not enough to say “it’s obvious from the beginning.”

The story’s intent was to have them be endgame. The point of Aerith was to show more of the illusion (for Cloud). Aerith overall is the most important character plot wise. However, it doesn’t matter either way if people did or didn’t see romance between the Cloud and Aerith. The story plays out the same. What you can’t deny is Tifa’s importance to Cloud overall and how the story plays out...

In closing, though, there is NOTHING saying a person can’t like Clerith. Absolutely nothing. They just can’t claim it’s endgame or canon. It never was. The illusion was supposed to be broken. You were supposed to move on from her death. That was that - whether he romantically had feelings for her or not.

But Canon doesn’t mean best. If you don’t like a canon couple, nothing wrong with a fanon couple. People write some good shit for fanon. You just can’t attack, butcher, twist, lie, and bully to push your rhetoric as canon.

Thanks for sending the ask/comments in. I think it’s a great addition to the discussion!

#cloti #cloud x tifa #tifa lockhart #cloud strife #ff7r #ffviir spoilers #ff7r spoilers #final fantasy 7 remake

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cxhnow · 5 years ago

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THE KIDS ARE MORE THAN ALRIGHT: CHLOE AND HALLE ARE KILLING IT

At only 21 and 20 years old respectively, Chloe and Halle, the sister singing duo signed to Beyoncé’s Parkwood Entertainment, have an almost preternatural poise and polish. You see it in on-camera interviews, their big smiles never breaking, or when they’re singing the National Anthem at the Super Bowl, their harmonies as sweeping and pristine as harmonies can be. Even in the homemade YouTube covers which made them Internet-famous as adolescents — a cover of Beyoncé’s “Pretty Hurts” (a song, interestingly enough, about the demands on young women to be flawless) caught the attention of Queen B and got them signed in 2015 in the first place — they have a peaceful and almost uncannily seasoned presence.

This seeming perfection has made them into major role models to young fans, and one of them into a future megastar fronting the massive Disney machine, as the younger Halle takes the lead role of Ariel in the live-action remake of The Little Mermaid expected out in 2021. They’ve had real world ambitions for the entirety of their teen years, starting their YouTube channel when Chloe was 13 and Halle 11, criss-crossing the country multiple times as the opening act for their mentor Bey, and dabbling in acting, with roles on Kenya Barris’ sitcom Grown-ish.

But beyond the sheen they’ve developed, it’s nice to hear, on a quarantine Zoom call one Friday morning, that they are more steadfastly committed — even dogged — about their craft than they are the presentation. They write, arrange, and produce much of their own music in their home studio in Los Angeles. While their sophomore album, Ungodly Hour, features guestwork by super-producers Scott Storch and Mike WiLL Made-It, the sisters executive produced the whole thing, and still brought unfinished collaborative tracks home from sessions to tighten them up in their own way, on their own computer software.

Though their debut, The Kids Are Alright — an unlikely but satisfying cross between SZA and Björk — hinted at this artistry, Ungodly Hour is the true breakthrough. It’s a grown-up album in a number of ways, with lyrics about hook-ups, break-ups, and mess-ups. But it’s also just undeniably and straightforwardly cool. In the choreography-heavy video for the excellent “Do It,” their astonishing maturity begins to look more like bravado. They mine sounds from late-’90s R&B, recalling forebears like Aaliyah, Destiny’s Child, TLC, and Blaque, but have come up with something refreshing and personal. There are no lags on Ungodly Hour, no saccharine ballads or misplaced attempts at massive over-the-top pop — just easily enjoyable bops with silky harmonies and relatable themes. That’s an achievement for an artist of any age.

In conversation, they are, yes, incredibly composed, but also engaged and interested in talking about a range of subjects, from 808s and Atlanta to politics and pain. Here, the two sisters offer a little glimpse into their lives — and how they got to be so on top of everything to begin with.

Note: This interview occurred after the death of George Floyd but before demonstrations surrounding the killing fully heated up across the country, and the sisters have since delayed the release of the album from the original June 5 to this Friday, June 12. At the bottom of this Q&A, we’ve included some questions and answers the two responded to by email this week concerning moving the release date and their solidarity with the protestors.

Have you been quarantining together?

Halle: We are quarantining together in Los Angeles. We’re in our family home, so it’s really nice to all be together.

Chloe: I think, you know, with any family being in close spaces, you all have to relearn each other. You can’t, like, escape and go to your own corner.

H: We’re learning more every single day in quarantine what not to do [laughs]. We know the trigger points for both of us. We both love to get our feelings out, so once we do that, I think it’s good.

Let’s get into the album: In the past, your music has had an innocence about it, but this album is pretty grown.

C: You know, with anything in life, we never like to force it. Halle just turned 20. I’ll be 22 in July. Naturally, the music will just grow with that. We’re sharing our experiences, sharing what we’re going through, whether it’s heartbreak or falling in love or our insecurities — what makes us tick. People only really know us as, like, little sweet angels and all of that. And everyone is multi-layered.

“Busy Boy” is about a guy who sleeps around and sends you unsolicited late night photos of, well, a very particular body part of his. Are lines like this born from real life?

H: Absolutely. All the songs on the album are pulled from real-life experiences, real-life relationships. And for “Busy Boy,” everyone can relate to knowing this guy who is just so hot, he is just A+ everywhere. But everyone knows him as a player. They know he jumps around from girl to girl. It was funny to talk about that because in our little girl group [of friends], sometimes we do find that one dude who has tried to talk to all of us. And we laugh about it and we kiki about it.

Are you able to find time to date and have fun, and do what young people do?

H: Of course!

C: You know, we explore. We date around. We’re learning as we experience life. And it helps stimulate the lyrics.

There’s a lot of tense back and forth between the sexes on the album, and I wonder if you thought of it as a kind of break-up album.

C: It’s that back and forth because that’s how it was in our lives at the time when we were creating this album. You know, my sister and I, we’re at that age where you’re learning yourself through relationships, learning how people work. Even though Halle and I are a year and a half apart, we were going through the same thing at the same time when we were writing. We were heartbroken and putting that into the music. But we also wanted to come from a point where we don’t have to be these weak girls crying over it, but instead take our power back.

H: Love is a huge theme of the album. But also feeling alone, and the rawness. These were all themes that we hadn’t really talked about before in music. Our deepest, deepest feelings. The title, Ungodly Hour, stemmed from everything that happens during those hours, you know, in the middle of the night when you’re about to go to sleep. You’re thinking of all your insecurities — your mind is swimming. You’re thinking of lustful things, you’re thinking of heartbreak.

C: It feels conversational because when we were writing it, we were simply having a conversation. My sister and I tell each other everything when it comes to these things. And as we’re sitting down, explaining, “I’m pissed because of this,” or, “I’m happy because of this,” we would just write it into the music.

You worked with the 2000s producer Scott Storch on “Do It,” and there’s almost a nostalgic feel for that time in R&B and pop.

C: He’s really a legend, and just seeing him on the keys when we had multiple sessions together, we were always left in awe. Production-wise, I’ve always been inspired by experimental sounds and the weirder side of music. But while we were making this album, I really started falling more and more in love with ’90s music and early 2000s production; listening to a lot of Kelis. We wanted this album to feel fun and flirty, but also grunge, in a way, and a little dark and mysterious and sexy. And I really feel like ’90s production with beautiful melodies on top truly embodied that. [‘90s producers] weren’t afraid to experiment.

How do you balance creative freedom and experimentation with what I imagine to be a lot of pressure to make a hit?

H: We were feeling a little bit, like, “So where do we go from here? What do we do now?” We were a little bit stuck at the beginning, because we were hearing from the label about doing songs a bit more commercial. Whenever we are given direction, it always throws us off. Whenever somebody tells us what to do, we don’t like it. At the beginning, we were making songs that didn’t really sound like us. And we realized we were trying to please everyone else.

So then we were like, You know what? Scratch that. Let’s go back to the beginning. Let’s remember why we’re doing this. Let’s make the sounds that make us happy. Let’s go back to doing those experimental things that have made us so happy all the time. With these sessions with [Ariana Grande songwriter] Victoria [Monet] and Scott [Scorch], we can also add a bop or two in there and find a beautiful way to do it without sacrificing our musical integrity. We never want to feel like we’re selling out.

You taught yourselves how to produce, arrange, write, and record your music at a very young age, but now that there is this bigger spotlight, is it important to still create in that more organic way?

C: Absolutely. Yeah. If we didn’t keep that, I don’t think we would even have finished this album. We love creating at home so much. You know, [our first album] The Kids Are Alright, we created the whole thing in our living room. [For this album], we converted the garage and carpeted it up and made it into our little studio here. We always prefer home and working on our laptop and arranging all the weird harmonies together and recording each other.

We worked with so many amazing producers and songwriters on this album, but at the end of every session, we would take the stems, and we would revamp them up and really add, like, our sauce to the songs afterward so it really felt like us. But also, half the album is strictly just us and our production and writing as well. We executive produced it. That’s the only way to do it. If it starts to feel forced or bad, we walk away.

What programs do you use to produce on your laptop?

C: I’m a huge Logic Pro girl. When we do live shows, I use Ableton, but when we’re recording each other and I’m making the tracks, it’s all on Logic.

You’re known for your harmonies, and you also produce all your own vocals. How do you think about the resonance and affect and power of your voices? What are you aiming for with a vocal?

H: There’s something really special about singing with your sibling, or singing with somebody who has the same blood as you. The Clark Sisters are one of our favorites, and every time we listen to their harmonies, it just takes us to another world. And I don’t know what it is, but every time I sing with my sister, I do feel like it’s a power, like it’s something special that’s happening when the two of us are singing together. It’s different than when I’m just singing alone.

C: We know how to fit and blend with each other. Usually I’ll take like more of the lower notes, and Halle will take a lot more of the higher ones. For me, ever since I was a little girl, I loved Destiny’s Child and Toni Braxton and Nina Simone. Our family would always play Erykah Badu and Jill Scott around the house. So I have grown up loving soulful tones. As I got older, being a female producer, I was really inspired by other female producers, like Grimes and Imogen Heap and Merrill Garbus of Tune-Yards, and I really started appreciating and loving alternative music, where they use different experimental sounds. More recently, I was listening to a lot of Kelis and Missy [Elliott] and Timbaland production, and Aaliyah and all of that. All of my inspirations… I love how it’s in contrast with my sister. Because, you know — and she’ll tell you this — she is a huge jazzhead. She loves jazz melodies. And when the two worlds come together, it kind of creates us.

You mentioned Erykah Badu and Jill Scott as influences, so I gotta ask — what’d you think of the Erykah and Jill Verzuz on Instagram?

H: We loved it so much. We put it on our TV and watched the whole thing.

Who do you think won?

H: They both won. You know, you could sing those songs every single day and never get tired of them. We want our music to live on like those songs live on.

You both have childhood roots in Atlanta, which has become essentially the musical epicenter of America in the last 20 years. Does that influence your sound?

C: Oh my gosh, yeah. Atlanta music is so incredible. We’ve always been so inspired by OutKast. Ciara. Donald Glover.

H: Janelle Monáe.

C: It’s so much soul and rhythm and bounce. And I think that’s why I love big drums and 808 so much. We are true Atlanta girls at heart. And I think that also comes into why we’re really kind. It’s just southern hospitality.

You’re signed to Beyoncé’s management company, Parkwood, and I’m curious what kind of creative notes or advice she gives you when you’re working on an album.

C: She allows us to grow and flourish on our own. And, you know, as we’ve been finding our sound through the past five years, she’s just kind of sat back in the wings and let us do what we want to do. When we feel like we got the music to a special place, we always want her input. It’s Beyoncé! She has the experience, she’s incredibly talented, and she has such good instincts.

With her notes, a lot of the time, we’re on the same page. Whether it’s about what she hears in the layers of the production, if she thinks the production should change on one part, or how we sang a certain word or something, she’ll always recommend, but it’s up to us whether we want to do it or not. She allows us to do what we want to do, musically.

When we sent this album to her, she didn’t have any notes. Halle and I were like, whoa. She must really, really like it. And she could give us as many notes as she wants! She’s Queen Bey.

Halle, you’re about to be Ariel in the live-action version of ‘The Little Mermaid’ for Disney. What is it like wearing the mermaid tail?

H: [Laughs] Well, I can’t really .. [laughs] … that was a good try [laughs]. I can’t really tell you about that [ed. note: Disney is notorious for strictly enforcing a code of silence about a future production]. But it’s really cool being able to play one of my favorite characters from my favorite Disney movie. And show other little black girls that, yes, you can be Ariel too. That the part is not just for anyone who does not look like us. We can do it too.

There was a really dumb conservative backlash when Disney announced it was casting a black woman in the role.

H: Yeah, well, I don’t really pay attention to that stuff. People are hurting right now, so a lot of the times people take their hurt out on you. And you can’t do anything about that. We just gotta move forward in love and light and say a prayer for them, you know?

On one very serious note, you posted a cover on Instagram that blended the hymnals “We Shall Overcome” and “Lift Every Voice and Sing” as a tribute to George Floyd. I’m wondering how you’re viewing what’s happening in America right now?

H: [That] week was very difficult for us. Just that video of George — I couldn’t watch it. This keeps happening to our people. When I see George, I think of my father, and I think of my little brother, and I think of them just wanting to live and to not be killed just for living their lives. I don’t think we will ever understand why it keeps happening. I don’t think we could ever wrap our heads around it.

So we just thought, What can we do? What can we do to make ourselves feel better? What can we do to make everyone feel better? And we decided to sing those two songs that have been sung for many, many years. It made us feel a little better, but it didn’t take it all away. It’s crazy that this keeps repeating itself. [That] whole week was kind of wonky for us.

When I see you two on camera and in interviews, I’m struck by how poised you both are, from such a young age. You present yourself almost perfectly. But I wonder if that ever feels like pressure? You’ve had to be really mature since before most kids ever really do.

H: It’s not a persona. It’s not something that we turn on and we turn off. It’s just the way that our parents raised us. Sometimes, we do get compliments, like, “Oh my gosh. You guys are always so happy and positive. You guys are angels!” And, you know, that’s one side of it, of course. I know some people put us on a pedestal. And I think that what hones us in on continuing to just be positive beings and lights is the way we grew up, our parents constantly reminding us that all of these things don’t matter. All of these grand things don’t matter.

But there’s also the other layers of us that people don’t see when we’re not in the spotlight. We do overthink. We do have insecurities just like everybody else. And that’s what with this album in particular we wanted people to get through their heads. Like, hello, we are just like you. At times, yes, it does get overwhelming. But that’s just a part of life. And that’s more fuel for inspiration for us to write.

As previously noted, the original interview occurred before demonstrations surrounding the killing of George Floyd reached full steam. Here, the two sisters followed up by email more recently in a joint statement to address changing the release date of the album in light of the uprising and how they are participating in protest.

Originally you were meant to release the album on June 5, but now it is coming out this Friday, June 12. How’d you come to that decision?

These past two weeks have definitely felt like an emergency call to justice that is much needed. It was important for us to push our album and bring awareness to everything else that’s been going on. We didn’t want this moment to be about us, but rather about getting justice for our brothers and sisters and making a change.

What are you feeling in heart and mind about what we’re witnessing?

Honestly, it has been very, very difficult for us this past week. Having to witness someone’s life being taken away just because of the color of their skin is just traumatic. Even though these days have been hard, we are thankful that people are now seeing what has been happening for a while. And we are grateful that the world is finally doing something about it! Seeing these protests happening all around the country and world truly makes us hopeful that a change is coming. We are so much stronger than we think and so powerful when we come together.

It’s your generation that’s in no small part fueling this movement — how does it make you feel to see people in your age group activated in this way?

It makes us so proud to see our peers standing up for what’s right. We are the future and deserve to be in a world that protects us, rather than harm us. We deserve to live a life not in fear.

How are you two approaching contributing to the protests — what do you find effective?

We are doing everything we can to speak up for what’s right: signing and posting petitions online, donating, etc. We will not let anyone silence us. We have also been singing a lot more, trying to use our voices as healing for the world right now. Music always tends to be the best therapy.

Where are you turning for information, solace, discussion, leadership, and creativity in a moment like this?

Social media has definitely been one of our main sources. We’ve been seeing and sharing content from our peers who are actually out there protesting on the frontlines and experiencing firsthand. We can now view videos and photos and form our own opinions, instead of being swayed by mainstream media. There’s a lot of stuff that’s not being shown on the news, that we may find on Twitter or Instagram. Because of social media and technology, more light is finally being shed on the injustices being done to our people. It’s helping change our world for the better!

Though it’s an invigorating moment in a lot of ways, it’s also a difficult one, and I’ve been hearing from people that they’re excited to be protesting but also feeling anxious and not sleeping well. How do you keep your mental and physical health up while staying activated around the movement?

As much as it’s our main source of information, we also take frequent breaks from social media. We will delete the various apps from our phones and almost block out the world, in a way. And when we really begin to feel hopeless, prayer and mediation has been so beneficial during these times. As well as working out, to clear our heads and let out any built-up frustration.

Do you have recommendations for your young fans of readings, songs, or movies that they can watch to further educate themselves on racial justice?

The movie American Son shows firsthand what it feels like for a mother to lose her son to police brutality. The book The Water Dancer reminds us of how our ancestors overcame slavery and found freedom through the pain. And even though Marvin Gaye’s What’s Going On album was released in the 1970s, it’s still so relevant to what’s going on now in the year 2020.

[Photos were retouched by High Snobiety to make the girls appear lighter. I have included two of the original versions where they are unretouched.]

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that-shamrock-vibe · 4 years ago

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Movie Review: Mulan (2020, Spoilers)

Spoiler Warning: I am posting this review the week following the movie’s release on Disney+ worldwide, so if you haven’t yet seen the 2020 live-action Mulan do not read on until you have.

General Reaction:

I had a very hard time deciding what I thought about this movie. I firstly had time to wait to see the movie as I didn’t watch it on Disney+ on the Friday it was released but instead got to see it for free the following Sunday night. But in that time all the reviews were coming out and while some of them were positive, a lot of them were negative.

I guess my feelings can be categorised into three pillars just as the oath sworn by the imperial army...loyal, brave and true, the first pillar is loyalty as in my thoughts on the original animated Mulan and how this movie holds up.

I will say, had I not seen the original I would probably just like this live-action remake fine enough but because I have not only seen the original 1996 animated version but have a strong connection to that version with it being the first movie I ever saw in theatres but also one of my favoured soundtracks of all Disney movies growing up, it’s difficult as we are literally comparing new for old.

That being said, a lot of what made the original so good for me has been completely gutted in this version. No Mushu, Cri-Kee or even Little Brother. It would be so easy to simply have a Shar Pei or a Shih Tzu roaming around Mulan’s home because they already had a spider taking the place of Cri-Kee in that matchmaker scene but no...we get the horse who isn’t even called Khan in this movie because the main villain’s surname is instead Khan rather than Shan Yu like the original, and a phoenix that...despite all the exposition and my movie trivia knowledge of what a phoenix can do...simply just flies around almost like one of those box kites and acts more like a drone than an ancestral family protector.

Also the grandmother from the original, who I loved because Disney has a habit of doing these elderly cooky women traditionally for comedy but also with some heart, is omitted from this version and instead seemingly replaced with a younger sister for Mulan. Now it’s not like the grandmother was integral to the original story other than giving Cri-Kee to Mulan and without Cri-Kee there is no need for her but if you’re going to replace her replace her with something interesting...this sister does absolutely nothing.

As for the songs, Everyone knew right from the off that this wouldn’t be a musical and so all those great songs from that soundtrack that I said at the time was one of my favourite Disney soundtracks were obviously out...but the way in which the score incorporated the main song “Reflection” is something we’ve already heard in the trailers and used very well played out here, then also two of the other songs “I’ll Make a Man Out of You” and “A Girl Worth Fighting For”, while not scored are referenced as lines from the songs are spoken by the Imperial Army soldiers at times.

Then speaking of ditching characters, Shang who is the main male lead of the 1998 animated Mulan is here split into two different characters. The commander of the Imperial Army played by Donnie Yen and then a soldier recruit in said army who acts as Mulan’s love interest...I think. I get the fact that these were the two sides of Shang’s character in the original...with the addition of dealing with the murder of his father...but it would have made more sense maybe to have the commander be “Shang’s” father rather than literally having Shang A and Shang B.

But while other fan-favourites were omitted, one new addition stole the show for me and that was Gong Li as Xian Lung aka The Witch as she’s referred to throughout in this movie. I thought the addition of magic to this adaptation was an interesting take because the original stands out for not relying so heavily on the fairytale aspects. I mean yes we have a talking dragon and ghostly ancestors, who also aren’t in this movie but are referenced a lot and responsible for the box kite phoenix, but the movie didn’t need magic per-say...here it is almost like the secret sauce for how the major players thrive.

This brings me onto my second pillar, brave...as in this movie takes some big old swings in the dark to not only try and stand out from the original but also be mature. Going back to the magic angle, chi is a massive part of this movie and it seems to be that if you’re an important fighter, you have it man or woman.

The only issue with that being the 1998 animated version of Mulan, despite being Disney, was one of the more grounded Renaissance movies as it didn’t rely heavily on the fantasy angle other than the talking dragon and ancestors.

So when you flip that around and tell me that not only does Mulan effectively have superpowers but also there is a major antagonist in this movie who can not only shapeshift but perform matrix-style Wire-Fu action which she somehow teaches the Rouran army, then it loses what made the original version special in that it didn’t rely so heavily on those fantastical elements.

That being said, despite a major problem with other Disney Live-Action remakes like The Lion King being that they rely too heavily on the source material, this remake is practically a different movie to the original 1998 version.

However, while a lot of the beats of the first half of this movie, and even the second half are met such as the Matchmaker scene, joining the Imperial Army, the avalanche battle and the Emperor being captured, the true emotional moments of the animated movie are completely gone.

That incredibly powerful scene after Mulan and her father argue and she is next seen crying at the Great Stone Dragon statue while watching her ailing father before deciding she must take his place and cuts her hair, disguises herself and leaves home in the middle of the night in the rain...here replaced with Mulan wielding her father’s sword, next she’s in the armor, then she’s travelling to the army camp...no powerful music, no visible emotion at how she comes to the resolve of leaving her family, nothing.

Even though there are no songs sung in this movie, the scene “Reflection” is originally sung in makes the song one of my favourite Disney Princess songs because of the fact it lyrically and visibly shows Mulan’s inner torment at being the outsider within her family and longing to be able to truly express herself. Here you have any resemblance of that scene taken out and instead go straight from the Matchmaker scene to the Imperial Army drafting scene.

As for the comedy, I understand the original animated version was more of a comedy-action movie as opposed to this one which is action-drama, but I don’t think I laughed once while watching this movie.

Yes, the original had Eddie Murphy as Mushu and that’s taken out here, but it also had the likeable funny trio of soldiers in the army. Here there are 5 of them, Shang-lite included, Yao and Chien-Po I think try to be despite not spending enough time on any of them to know who is who. There’s this newish character called Cricket who is supposed to be the substitute for Cri-Kee...but is a recruit in the Imperial Army instead of an insect and I had to look up to make sure it wasn’t Ned from the Spider-Man movies because they look so similar and try to force comedy despite not being particularly funny. Even the river shower scene from the original which was rather funny due to Mulan trying to hide the fact she’s a woman from the three guys, here it’s just Mulan and Shang-lite (Chen Honghui) and is played off more as some weird and awkward romance scene.

It is truly brave of Disney to try and appeal more to China than to Western audiences who loved the original movie and the comedy etc and this brings me on to the third pillar which is True, as in Disney trying to be true to China, it’s culture and respecting Mulan as a legend of China rather than a Disney Princess.

That being said, we definitely got more Chinese culture in this version than the original. Obviously you see a lot of China in the animated movie as the Imperial Army moves around a lot like they do here, but it’s never quite as cinematic as it is here. The 2020 live-action Mulan demands the attention of the big screen because for me watching it on my laptop, you can tell a lot of the establishing shots and landscape scenes were intended to be viewed on the silver screen.

Particularly the shots of people running up and down that vast staircase leading up to the Emperor’s palace, just imagining that in theatres impresses me.

Even shots like when you see wide views with either the phoenix or the witch in bird form soaring across the sky, you can tell it was meant to be viewed first on the big screen just to get that feeling of wonder because on a smaller screen it isn’t that impressive.

However, on the subject of “True” I do not understand how in-keeping with the original Chinese legend involved Chi being utilized as some sort of superpower equivelent to Avatar: The Last Airbender whereas in the original animated Disney version, which should really be the one emphasising the fantasy element, you’re either a good fighter or, in Mulan’s case for that movie, you’re not and have to train.

I understand how legends and mythologies can include fantastical elements because that’s what makes them as such, but if Disney want to tell me that in this movie Mulan is practically Wonder Woman because that’s how she is said to be in the legend then where the hell was that in the 1998 animated version because that Mulan is classed officially as a Disney Princess despite not being royalty or marrying royalty and having this type of power would at least qualify her to stand alongside the likes of Pocahontas and Moana.

Getting off the rant and moving to a compliment for a moment, I did appreciate the movie staying true to Chinese fashion because that really puzzled me about the original movie, how every man, woman and child effectively looked like they were wearing the same robes just in a different colour with maybe some different styling depending on if they were royalty or officials in some way.

But here, the Emperor definitely looked regal, the Witch looked regal but in that nomadic styling which was true to her character, and even though all the soldiers were wearing the same uniform, they all had something different enough about it.

Characters:

Alright so I’ve gone on enough generally, now I’m going to be more specific in terms of character, but because most of these characters aren’t fleshed out enough to warrant their own section, I’m listing who I feel are my three stand-out characters and then grouping the rest.

Mulan:

Obviously the movie is about Mulan so I have to start with her, and despite all the negative stuff which to be perfectly honest with you doesn’t overly concern me in regards to how Yifei Liu has been so adamantly in support of the Hong Kong Police drama, I’m judging her solely on how she plays the character here.

She was okay.

I mean this in the best way possible but, in a similar way to last year’s The Lion King remake, Yifei Liu was practically stone-faced the entirety of this movie. Good things happened, no expression, bad things happened, no expression, sad things happened, no expression. Especially when she was pretending to be a guy in the army camp it felt like her acting choice was “If Mulan was to show expression, it may give the game up”, it was just so rigid it made it hard to like her.

Speaking of her “undercover guise”, I know the original movie was animated and therefore the animators can get away with slightly altering the look of the character to make it believable and voices can even be changed as evidenced here with Jet Li...but I did not believe for a single second that Mulan could actually pass as a guy looking like how she looked. She didn’t cut her hair, her clothes weren’t particularly masculine, barely changed her voice and aside from having that leather brace/corsit to hide her chest there was no evidence as to how an entire army camp could not tell the second they saw her...maybe with the exception of Chen but I’ll get to that when I get to him.

Also, I touched on the Chi power thing beforehand, why was she was born with it? Why was it so powerful in her from an early age? None of this was explained, they hammered home the dangers of her having such strong Chi and that was also personified beautifully with Xian Lang aka The Witch as a kind of Ghost of Christmas Future visage, but the reason the original animated version worked so well was because she was flawed, clumsy and awkward yet also caring, strong-willed and outspoken. Really all they did here was take away all of those qualities that made her...you know...human and added the Chi power thing from the start so she didn’t have to learn to fight, she didn’t have to make this massive sacrifice as you know she’s probably going to prevail and again it made her unlikeable because there was no growth or real character development.

All except for the very end when the Emperor offers her a position on the royal guard rather than as an adviser like he does originally, and she rejects it here like she did then as well...but then she is asked again maybe two days later and we don’t get an answer but she probably says yes.

It’s quite clear they’re trying to tee up a sequel by the end of this movie, but there is so much negativity both to the movie and specifically the leading actress that I really don’t see this happening.

If a sequel was to happen it would most likely be Mulan’s struggles with being a female member in the emperor’s guard or even leading the team, but we saw her do that for the second half of this movie.

Literally the halfway point in this movie after a confrontation with Xian Lang, when Mulan’s father narrates how Mulan’s lie died but she herself lived and so she then decided to appear in front of the Imperial Army as a woman despite the obvious consequences I found stupid.

In the original it’s a mistake that she’s found out, it’s towards the end of the movie and she has to fight just for acceptance. Here she pretty much states the obvious in what she knows the villains are doing, suddenly she’s leading the fecking army...despite being told that if she shows her face again she will die...no death but just a promotion.

Finally while talking about Mulan, I can’t really not talk about that fantastic Ming-Na Wen cameo at the end of the movie. It was so great, I had heard prior to seeing the movie that she was going to be in it and so my eyes were peeled throughout the movie.

I love Ming-Na Wen and I do think she is one of very few to hit a Disney trifecta with being a Disney Princess, an MCU hero of sorts and a Star Wars character, though having recently finally seen The Mandalorian I have to say her part was exaggerated a bit considering the one episode she’s in.

It never dawned on me until it was brought up that I even needed Ming-Na to appear in this movie but having seen her I have to say I would be disappointed if she didn;t. Originally I would have suggested she maybe play Mulan’s mother as a type of passing on the torch, but the very fact that her one line and duty in the movie is to introduce Mulan to the emperor it does seem to have the same effect.

Xian Lang:

As I say, the Witch was my favourite character in this movie. Everything about her from when I first saw her in the trailers just worked for me. Her look was stunning, Gong-Li’s acting was on point, her story despite being a secondary antagonist based on the villain’s pet bird from the original movie was very compelling. The parallels between Mulan and Xian Lang were fascinating to see particularly with Xian Lang being a potential future cautionary tale for Mulan.

The first major scene when we see her use her powers was my favourite scene in the movie. I love a great power-set piece and we got to see a lot of the different fascets of Xian Lang’s power. From that gorgeous blend of coloured powders to act as a smokescreen for her shapeshifting, the weapon manifestation, using her sleeves as whips. It all worked so well and Mulan wasn’t even in the scene.

That being said, my next favourite scene is that confrontation between her and Mulan where Xian Lang is trying to get Mulan to admit who she is but she’s insistent on stating she’s her male name, so Xian Lang says “then you will die a lie” and knocks her into a rock which Mulan’s father then narrates “Mulan’s lie did die but Mulan lived”, it’s such powerful stuff and I wish the rest of the movie was as clever as that.

The Emperor:

The only other character I can really single out is Jet Li’s Emperor of China. I’m not a massive Jet Li fan, but I have seen him in a couple other movies and to my knowledge always in non-English speaking roles. However, I have also seen him in interviews so know the voice he has...this wasn’t it.

It was really distracting all the way through this movie because he looked regal, everything around him looked regal and powerful, but then he spoke and I was sat there pondering “Why is that not his voice?”. I mean I know how Hollywood likes to dub voices if the actors they hire don’t fit the roles vocally but do physically, but doing this not only to Jet Li who is one of the more famous Asian actors in Hollywood but any Asian actor in an entirely Asian cast does seem like a huge step backwards in representation particularly after Aladdin.

It reminded me a lot of Ray Park who is one of my favourite underrated actors. In some roles you see him and hear his voice like Toad in the first X-Men movie, however famously you only see him physically as Darth Maul in the Star Wars movies but have his voice dubbed by other actors.

All that aside, the actual character was a lot more fleshed out than in the original movie. I mean all you really need to know about him is that he’s the Emperor of China but here, because he’s Jet Li apparently in body only, he also has some kick-ass martial arts scenes.

Although, similar to the TV series Arrow, I do not understand how magic allows people to catch arrows fired at them, yet somehow Jet Li does and to be fair redirects it in a rather bad-ass way with Mulan doing a flip kick sending it straight into the chest of the main villain guy.

Hua Family:

As for Mulan’s family, I thought they were okay. Again I got more emotional from the original movie and I did miss the grandmother this time around and do not understand how the younger sister was a worthy substitute, but the actual parents were at least acted well.

It was great seeing Constance Wu in a dramatic role after seeing her in Freaky Friday, Tzi Ma was a surprisingly central role this time around as Mulan’s father with a lot more drama put on his character, in the original version you know Fa Zhou is injured from war so when he’s drafted again you can guess he may not survive. Here, Constance Wu states “Be brave for he won’t return this time”.

Imperial Army:

I didn’t like any of these guys, we spend little time getting to know any of them as individuals, maybe with the exception of Donnie Yen’s general character. Having said that, Chen either had to know that Mulan was a girl or simply be attracted to Mulan as a boy. But there were so many looks and so many times where you could tell that he knew but maybe wanted to protect her so didn’t let on.

Rourans:

I didn’t like the Huns in the original movie but at least they had individuality about them, the Rourans had nothing. Jason Scott Lee was obviously the Shan Yu of this movie but he did not have the intimidation factor that he had and really didn’t have a lot else to him.

The one plus about the Rourans is they seemed to take lessons from the Dothraki in Game of Thrones in how to not only ride into battle but battle while riding. It was very cool visually.

Recommendation:

By the time this review posts if you haven’t seen the movie yet you may not be inclined to and I don’t know if this review is really a promotion for it, but when someone asked me for my recommendation I did say it’s worth at least one viewing.

However, I would not pay the excess fee for it. I watched it for free and I feel $30 or however much it is here in the U.K. would feel a bit of a rip off despite the fact Disney+ allows for multiple users and so multiple viewings.

Overall I rate the movie a 6/10, it’s visually gorgeous, Gong-Li is the best thing about the movie and it is interesting to see what is different between versions. I just wouldn’t rank it up there as one of the best Disney Live-Action remakes, too much doesn’t make sense.

So that’s my review of Disney’s Live-Action Mulan, what did you guys think? Post your comments and check out more Disney Movie Reviews as well as other Movie Reviews and posts.

#disney #disney live-action #mulan #mulan 2020 #gong li #liu yifei #jet li #xian lang #li shang #mushu #shan yu

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jeremys-blogs · 4 years ago

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Shin and King: Godzilla’s Two Halves

My time as a fan of the Godzilla franchise goes way back, to some of my earliest memories. I recall watching reruns of the old Hanna Barbera cartoon with my younger brother, and from then on I was hooked. I saw the 1997 film in theatres, as well as the subsequent spin-off animated show, and virtually every other piece of Godzilla media that I've stumbled across, be it VHS copies of the classic Japanese films or even newer films, I've attempted to see. Bottom line, I love the guy, and as such you can bet I was hyped as Hell for the recent King of the Monsters film by Legendary. And sure enough, the movie didn't disappoint me. As someone who grew up hoping there would one day be an all-out monster mash of a film with the G-Man and all his classic fellow kaiju, it was a dream come true. And with Godzilla vs Kong on the horizon, it looks as though my childhood fantasies of seeing these larger-than-life characters in exactly the way I'd always imagined them to be isn't going to be ending anytime soon. However, while big spectacles are all well and good, we mustn't forget that this kind of exciting portrayal isn't how the big guy started out, as his origins are, to be frank, pretty sobering.

Because of course this most famous of kaiju was created not to excite youngsters with epic battles against other monsters, but as a grim and serous allegory for the horrors of nuclear power gone wrong. And of course who better to make such an allegory than the nation who, for now at least, are the only ones to have ever been on the receiving end of it? But, as you can probably expect of such a dark origin, that kind of depressing idea doesn't exactly put bums in seats, even as highly-regarded as it was, which is likely why so few of it's sequels and remakes have ever touched on it. Those latter films, while certainly more entertaining and popular, have never managed to really capture just how terrifying Godzilla is supposed to be. That is, until 2016, when Toho Studios released Shin Godzilla. This film, essentially a modern remake of the original, brings Godzilla back to his roots in making him a symbol of a horror the Japanese people have personally experienced, those being the Fukushima nuclear disaster and the 2011 Tohoku earthquake and tsunami. Like the original, Shin Godzilla is a powerful and serious film, making it abundantly clear just how bad things got for the people who had to deal with the tragedies this monster represents.

However, even though I greatly respect Shin and consider it among the best Godzilla films I've ever seen, something interesting occurred to me as I was watching it. Because while it's true that it does a fantastic job of recreating everything that made the original movie great, as well as ably putting a modern spin on it, there's no getting around the fact that the majority of Godzilla films are worlds apart from the grim and gritty ancestor they all shared. That's not to say either type of film is bad by any stretch, but Shin is, sadly, not going to win many fans among those whose only interest in Godzilla comes from him being a hero who helps humanity defend itself against other kaiju. For those fans, it's pretty clear that the American film, King of the Monsters, is much more their cup of tea. And as stated previously, I adore that film. In fact, I'd consider it my personal favourite film of 2019. And thus we get to the main point I wanted to talk about. Shin and King are polar opposites in their respective tones and goals, yet both of them are made out of a love of Godzilla, the only contention being the kinds of Godzilla films they have a love for.

Take these two films together, back-to-back, and what you're essentially left with is a perfect capsule of the Godzilla franchise as a whole, and more importantly, a good look at the two sides this character has shown during his sixty-year-plus history. On one hand we have Shin, which honours the origins of the character by making him a danger to the world as a whole, with humanity just barely scraping by a victory against the destructive terror that he symbolizes. And on the other, we have King, which puts Godzilla in the role of a heroic saviour. Still dangerous and destructive, sure, but nevertheless on our side against a greater danger than himself. Evil and good, destruction and salvation, villain and hero. Godzilla has, over his exceptionally long film and TV career, has been all of these things and more. He's been a face for the terrible things wrought by humanity's own hand that we must overcome, and he's been a defender against a variety of other and more malevolent forces. Shin and king together are Godzilla, in his entirety, and all he weight and spectacle and meaning that come with him. And when you look back, no other movie monster has ever managed to have that kind of narrative weight behind him, even though there are likely many other household creature names out there.

It almost seems nonsensical when you stop and think about it, doesn't it? That a single character can have such wildly different interpretations yet still be thought of as the same person. And it's especially impressive when you consider that there's hardly any other characters in fiction that you could do this with. If one were to, for instance, take the Emperor from Star Wars and turn him into a goodie, or take Gandalf from Lord of the Rings and make him into a baddie, people would rightly call you out on that choice because it would go against everything that their characters are and what role they're supposed to serve in their story. But Godzilla? With him you can have a champion of humanity, an abomination wrought by people's misuse of scientific power, or anything in-between and nobody would bat an eye. It's a versatility that most likely contributes to why the character has remained as popular as he has over the decades. Because with this kind of varied characterization there's literally no end to the kinds of stories you can tell with him. In many way's he's like the modern pop culture equivalent of a fantasy dragon. A beast who, over countless retellings of stories has a whole world of meaning and importance behind it.

But of course, as with any long-running franchise, there are the points of contention between different fans. To those who prefer the original Godzilla (and subsequently the films that try hardest to emulate it, like Shin) the more numerous movies that depict Godzilla as a kaiju-fighting antihero are often scoffed at, regarded as "not real Godzilla films" because they lack the seriousness that the character was originally conceived with. On the flipside, we have those who find great enjoyment with the other films, arguing that while they may not have the great and weighty allegory behind them they're still fun movies that have kept the name Godzilla popular throughout the latter half of the 20th century and beyond. Go to extremes and those same people will even say that, since those types of stories make up the bulk of Godzilla's appearances, that this should be considered the canonical interpretation of what a Godzilla film should be, with the serious original more of a case of early-installment weirdness. Needless to say, this viewpoint has not sat well with those who consider the original film as gospel to be help up on a plinth. Bottom line, there has been division between fans of this kaiju over whether the smarter or more fun outings are the objectively better versions, and like any audience dispute, its not likely to be an argument that'll end anytime soon.

But, speaking as someone who has had his fair share of experience with fandoms, this kind of division is something I just can't help but shrug my shoulders at. There's room in the world for multiple types of incarnation of the same character after all, and there's no reason to be at odds with one another over our film preferences, even though we may feel strongly over what truly counts as a better film. As for me personally, my love of both Shin and King should make it pretty clear by now that I absolutely adore both faces this character has had. Both the villain and the hero. Shin is a truly engaging and horrifying movie that had me glued to my seat from start to finish, and was rightly deserving of it's place as the winner of Best Picture of the Japanese Academy. King of the Monsters, by contrast, is just pure entertainment, bringing me a massive smile whenever the title character or one of his equally-famous fellow kaiju appeared on-screen. I said before that this was the kind of monster movie I'd always hoped for as a kid, and it didn't disappoint. Both films are tremendous regardless of what it is you're looking for, and both of them do brilliantly at holding up and honouring the legacy of cinema's most iconic giant beastie, and all the history that comes with him 🥰

#essay #writing #my stuff #godzilla #gojira #shin godzilla #king of the monsters #godzilla king of the monsters #kotm #monsterverse #godzilla kotm

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