#just marvel and the occasional blockbusters

[saryasy]

the theater near me closed so now the closest one is at least two and a half hour away. should I take the journey to see Nosferatu or not

[denimbex1986]

'We often talk of comeback years, with actors returning to the scene after an extended hiatus or an unintended drop in bookings, but just as worthy of celebration are the cases of a quiet, exponential rise. Sometimes, a name reaches household status by way of an explosive debut, while other names slowly ecru credit after credit for commendable performances, until the subject of occasional recognizability becomes the frequent favorite. David Dastmalchian is the epitome of such a case.

He's had the biggest 2023 out of anyone, showing no signs of slowing down ahead. From the Marvel Cinematic Universe to the latest Christopher Nolan banger, Dastmalchian's year has stretched across just about every kind of scale and genre an actor could want, with parts in some of the year's biggest movies...

Christopher Nolan's 'Oppenheimer' Marks a Powerful Collaboration

While Dastmalchian won't be closing out the year with a reprisal in Dune: Part Two, considering his character's fatal demise in the first film, it's safe to say that he would have if his character lived on. One of his greatest strengths is his evident desirability, with filmmakers asking him for project after project. His portrayal of Piter de Vries, one of the sinister House Karkonnen's Mentats, was the third collaboration between Dastmalchian and director Denis Villeneuve. After first working together on 2013's menacing thriller Prisoners, the pair reunited for two incredible blockbuster follow-ups: Blade Runner 2049 and Dune: Part One.

This is a common occurrence in Dastmalchian's career and a key element of his well-earned success. Arguably the best example of this came this year with Oppenheimer, Dastmalchian's second Christopher Nolan film, arriving over a decade after their first outing together. Most people that have had their "I know that guy" moment over the past few years could likely trace that thought back to 2008's The Dark Knight, the crown jewel of Nolan's Batman trilogy and the first feature film of Dastmalchian's career...

Aside from The Dark Knight and the Ant-Man franchise, Dastmalchian played a pivotal role as Polka-Dot Man in James Gunn's The Suicide Squad in 2021 (collaborating with Gunn once again after working together on The Belko Experiment), and further adding to his gloriously bloated 2023, Dastmalchian had another superhero-centric entry with Batman: The Doom That Came to Gotham...

Dastmalchian, as you may have noticed, has a history of playing incredibly dark supporting roles, a track record that began with The Dark Knight...'

[flickverse2025]

Kraven the Hunter: A Savage Yet Sympathetic Antihero's Origin Story

Sony’s Kraven the Hunter, the latest entry in their Spider-Man Universe, roars into cinemas with unrelenting ferocity. Directed by J.C. Chandor and starring Aaron Taylor-Johnson, this visceral origin tale delves into the psyche of one of Marvel’s most iconic antiheroes. While not without its flaws, Kraven the Hunter successfully carves out its niche in the superhero genre by presenting a brutal yet deeply personal story. WATCH HERE

A Relentless Force of Nature

The film paints Sergei Kravinoff, aka Kraven, as a man caught between the wilderness and his humanity. Born into privilege yet thrust into brutality by his domineering father (played masterfully by Russell Crowe), Sergei’s journey is one of survival, rebellion, and self-discovery. Taylor-Johnson’s transformation into the titular hunter is breathtaking, both physically and emotionally. His portrayal captures Kraven’s primal instincts and tortured soul, delivering a performance that anchors the film.

The action sequences are a standout, reflecting Kraven's animalistic fighting style. Each battle is a choreographed ballet of chaos, with visceral brutality that sets it apart from standard superhero fare. These scenes also emphasize Kraven's connection to the natural world, making him more than just a hunter—he's a protector of the balance between humanity and nature.

Themes of Family and Legacy

At its core, Kraven the Hunter is a story about family—both the one we're born into and the one we choose. The father-son dynamic between Sergei and his father forms the emotional backbone of the narrative. Crowe’s commanding performance as Nikolai Kravinoff provides a compelling foil to Sergei, embodying the toxic ideals of dominance and control.

The inclusion of Kraven’s half-brother, Dmitri Smerdyakov (the future Chameleon), adds another layer of complexity. While Dmitri’s role is more of a tease for future films, their relationship hints at a deeper exploration of sibling rivalry and betrayal.

A Dark, Gritty Tone

Unlike the brightly colored, quip-filled blockbusters of the Marvel Cinematic Universe, Kraven the Hunter embraces a darker, grittier tone. The cinematography leans heavily on earthy, muted palettes, capturing the raw beauty of the wilderness. The film’s pacing allows for moments of quiet introspection, which give the audience a glimpse into Sergei’s inner turmoil.

However, this somber tone may not resonate with everyone. The script occasionally falters with uneven dialogue, and some secondary characters lack depth. While the film takes bold risks, not all of them land, leaving certain subplots feeling underdeveloped.

Villains and Future Setups

Kraven the Hunter introduces an intriguing antagonist in the form of Rhino, portrayed by Alessandro Nivola. The film reimagines Rhino's origin with a more grounded, menacing take, setting the stage for an epic showdown. Although Rhino’s screen time is limited, his presence looms large, promising more chaos in future installments.

Additionally, the film subtly nods to the broader Spider-Man Universe, leaving fans speculating about potential crossovers. While Spider-Man himself is absent, the implications of Kraven’s actions on the larger world are tantalizing.

Verdict

Kraven the Hunter isn’t your typical superhero movie—it’s raw, brutal, and unapologetically unique. While the film has its imperfections, it shines as a character-driven narrative that pushes the boundaries of what a comic book adaptation can be.

For those seeking a refreshing departure from formulaic superhero tropes, Kraven the Hunter offers a savage yet sympathetic portrayal of one of Marvel’s most enigmatic characters. It’s a bold step forward for Sony’s Spider-Man Universe, proving that even the most unconventional characters can lead the pack.

Rating: 7.5/10

Have you watched Kraven’s journey unfold? Share your thoughts in the comments! WATCH HERE

[animebw]

So I've been stewing a bit with the whole concept of "MCU Fatigue" after my disappointment with The Marvels, and I think I've come to a realization.

See, most people when they shit on the modern MCU act like they're been putting out tons of terrible stuff. But looking at their track record, that's not actually true. In fact, I'd argue that the majority of their Phase 4 and 5 output has still been above average. The only real misses I'd count are FATWS, Dr. Strange 2, The Marvels, and maybe What If if I was feeling particularly uncharitable (and I guess Secret Invasion, but the bad response kept me away from that one so I've never watched it myself). Other than that, Marvel's still putting out a lot of good stuff.

The problem is they're not putting out a lot of great stuff.

Like, we need to take a step back and realize just how fucking insane the MCU's track record used to be. They didn't just put out good movies on a regular basis that put every other franchise to shame, they regularly released some of the most iconic superhero blockbusters of all time. They cranked out all-time classics on such a consistent basis that at this point, at least half of the top 20 greatest superhero movies of all time list would be taken up by MCU projects, maybe more. That's how they built trust with the general audience; not just consistency, but the promise of greatness. People flocked to the MCU not just because there was a near guarantee of a well-made fun time at the cinema, but because that was a strong probability you were going to see something truly spectacular.

Seriously, just look at the studio's track record through Phase 2 and 3. Iron Man 3, Captain America 2 and 3, the first two Guardians movies, Thor Ragnorak, Black Panther, Infinity War and Endgame... you could argue that over half of their movie output from this period was unqualified home runs. And sure, maybe Thor 2 was a dud and Avengers 2 was disappointing, but it didn't matter because there was always the promise of another masterpiece waiting in the wings. People weathered the occasional misstep because they could trust the MCU to always find its way back to greatness.

But now consider: how many all-time bangers can you name from Phases 4 and 5?

Like, I can name a few. Wandavision, Black Panther 2, Guardians 3, Spider-Man 3, maybe Ms. Marvel if I pretend episode 5 doesn't exist (and I've heard Loki season 2 was also great, but that's another one I haven't seen yet). But the ratio of Big Deal Events to Just Another Marvel Thing has gotten much steeper. Between the movies and the Disney+ series, Marvel's cranking out more stuff than ever, but it hasn't been cranking out landmarks any faster than it used to. It's just shoving a lot more padding between the properties that really set the world on fire. And it's training the audience, unintentionally, to no longer associate the MCU with guaranteed smash successes every other weekend.

And I still like most of the MCU's current output! But I don't love it as much as some of its older stuff. Black Widow and Shang-Chi are good, but not quite great. Eternals I will defend to my dying breath, but it was destined for cult classic status. Love and Thunder I would argue is actually pretty fantastic, fuck you fight me, and Quantummania is fine, you guys, but I wouldn't die defending them the way I would, say, Iron Man 3. And as much as I enjoyed Hawkeye, Moon Knight and She-Hulk, you can only watch so much Pretty Good TV before it starts to feel like a chore.

This deluge of content hasn't resulted in tons of more Great Marvel Stuff. It's just resulted in tons of more Good, Okay, and Not That Great Actually Marvel Stuff. It's resulted in audiences feeling like you can't trust Marvel to regularly crank out classics that change the way you view superhero media. And it turns out, it gets a lot harder to justify spending so much time on such an overstuffed time-sink of a franchise when it can't guarantee you a steady stream of masterpieces on a regular basis.

Especially with so much more of it coming out now in such a painfully short timespan. Even in Marvel's busiest years, they used to max out at three movies per year and a couple spinoffs like the Netflix shows that you didn't need to watch to feel up to date. You went out to the movies a couple times a year and were basically guaranteed a good movie every time, and that was it. Now, though, with the Disney+ content, it feels like a constant battle to not fall behind, to keep up with tons of stuff you're just kind of enjoying to justify getting to the increasingly few nuggets of true gold. This stuff would need a track record just as good as the Phase 2/3 days to justify sitting through so much of it, and it just... doesn't. And the second you drop off from exhaustion, it's already roaring ahead and leaving you with too much to ever reasonably catch up on if you're not prepared for a couple days of heavy bingeing.

The shared universe model is fucking hard. Every studio's failed attempt to copy Marvel's playbook is a testament to that. The fact it even maintained its cultural domination as long as it did is nothing short of a miracle. Because it turns out, even being consistently good isn't enough to maintain the level of trust and engagement necessary for such a long haul. You need to be consistently excellent. You need audiences to come away from every other event singing your praises as the new gold standard of blockbuster cinema. And the second you can't maintain that standard anymore, all that goodwill slowly bleeds out as more and more people decide that the effort it takes to keep up with everything is no longer worth the reward.

Does the MCU recover from this? I don't know. At this point, what it needs to do more than anything is slow the fuck down instead of overloading audiences with too many shows and movies to keep up with. Maybe it's not the dominant cultural force anymore, but with a little patience and willingness to sacrifice quantity for quality, it can at least re-establish itself as a franchise worth sticking around for. Marvel used to be special; with a little luck, maybe it can be again.

[kylesvariouslistsandstuff]

Well this came as kind of a surprise to me. The live-action/CG hybrid picture IF - from writer-director-star John Krasinski - scored $35m (estimate) on its opening weekend...

For context, this is an original family film not based on any pre-existing source material... And a largely live-action one at that...

This beats out the post-outbreak likes of... ENCANTO ($27m) and ELEMENTAL ($29m), in addition to non-sequel PG pictures that also happen to be based on something, such as THE BAD GUYS ($23m) and MUTANT MAYHEM ($28m). That's also just great for a live-action family film... Those have been kinda rare over the last 10 or so years. You have your occasional LYLE LYLE CROCODILES, but it's not like the '90s and '00s where they were seemingly everywhere as much as the animated ones were.

What went right here? I couldn't tell ya, I wasn't sure how this thing was going to do. It must've just hit right for audiences at the right time, especially after blah pre-sales. While it has a bit of a hurdle to leap (its $110m+ budget), this indicates - along with an A CinemaScore - that this one's gonna be leggy. Despite GARFIELD, despite INSIDE OUT 2, etc. Maybe families were just starved for some something to see together for a while, as KUNG FU PANDA 4 came out in early March... Tie that to the premise and the celebrity cast, yeah... Uhhhh... Possible breakout here?

I've long been writing on here about how animated family films play a much different game at the box office, post-outbreak. Families tight on money are choosier, and for a more original picture or something adapted from untried source material, the odds of opening big just aren't that high anymore. They have to leg it out. ELEMENTAL had to do it, so did MIGRATION, THE BAD GUYS, etc.

IF must've had some kind of pull. I mean what do I know? I'm not the general public, I thought the picture just looked kinda there. A typical live-action kids' movie with cute CG creatures in it. That somehow out-opened "funny duck movie from the Minions/Mario studio", "Pixar's people-as-the-elements movie", and so many other not-sequel animated movies released in the recent years. I wonder if being a live-action movie?

I'd love to see those kinds of animated movies open a little bigger again, like they did during the '10s. When a new DreamWorks or Blue Sky could feasibly hit $40-45m with ease. A massive budget film like ELIO would sure need it.

Anyways, I wonder how it fares next weekend against THE GARFIELD MOVIE. My cinema held a special advance screening of it earlier today, and the auditorium was JAM-PACKED. Right down to the front row. I had predicted this one would open pretty well, but who knows... It might really break out. After all, it *is* Garfield. It may just win next weekend, even if FURIOSA is thought to be the one. Reminds me of when BIG HERO 6 opened the same weekend as INTERSTELLAR in fall 2014... Who would win? Nolan with a space epic and fresh off of his blockbuster DARK KNIGHT trilogy? Or the Disney animated Marvel movie with the marshmallow robot? BIG HERO 6 won by a few millions, won domestically, while Nolan soared worldwide.

Maybe that repeats for THE GARFIELD MOVIE and FURIOSA? After all, the latter is an adult sci-fi/action movie. MAD MAX: FURY ROAD opened - unadjusted - with $45m back in 2015. I reckon this equals that, at least. We've been starved for a movie set in the wasteland, so a 9 year wait could really help that open pretty big. I won't call this the next Barbenheimer, the Garfuriosa, as it's not uncommon to open these kinds of pictures next to each other. Like how DreamWorks opened TROLLS on the same day as DOCTOR STRANGE, both did pretty well. Or FERDINAND opening the same day as STAR WARS: THE LAST JEDI. Barbenheimer was its own unique situation for sure, given the subject matter of both films, given that OPPENHEIMER was a three-hour biopic... We're talking about a 5th movie in a decades-old sci-fi/post-apocalyptic franchise vs. a comic strip movie.

Anyways, summer movie season is probably here. Ready to watch how GARFIELD, INSIDE OUT 2, DESPICABLE ME 4, and the like all do.

[jsaunderswrites]

A personal (and probably wrong) ranking of the MonsterVerse

I decided to start the MonsterVerse last month after realising it's 10 years old and one of the only successful outcomes of the cinematic universe boom of the early 2010s. And so I marathoned everything in a couple of weeks. And now with the next movie coming out in March I decided to rank my opinions. And I get that everything I say is probably objectively wrong but that's how it is. I should mention I have no history with kaiju movies. I saw the 1998 Godzilla as a kid and once again as an adult. I thought it was a flawed but passable blockbuster, not the worst thing ever created. I would love if Zilla were added to the MonsterVerse but I get there are probably licensing issues in the way. And I remember being very positive about the 2005 King Kong and those leeches will haunt my nightmares forever.

N/A. The novelisations and TTRPG (2014-) I haven't read these. I understand the novels expand on the story of the movies by adding context and backstory. I might try these later.

7. All the comics (2014-) Just to get them out of the way, all the tie-in comics kinda suck. In the way all tie-ins tend to. Rushed inconsequential stories with no real depth. Skull Island: The Birth of Kong had a chance but was so focused on the Monarch mission that the titular event is relegated to a questionable vision by the villain. This doesn't cover Justice League vs. Godzilla v. Kong which I have not started.

6. Godzilla (2014) The movie starts pretty good, but with the death of Cranston's character we lose the most interesting viewpoint and are left with generic white-bread soldier guy, who is the least of all the protagonists in these movies. The movie even looks gorgeous at first and settles to just very good after they leave Japan. I am uncomfortable with how uncritical this movie was of the US military. Out of their depth sure, but good people trying their best. When Serizawa brings up Hiroshima, the film has so disconnected Godzilla from the horror of nuclear weapons that it feels like he's only protesting because of his family history. not connected to the themes in any way. ALSO they do the thing where they bring up a historical tragedy/atrocity but use an in-universe justification to make it less objectionable. So the Castle Bravo test was actually trying to destroy Godzilla. The occasional shot of dispassionate, uncaring destruction left in the wake of phenomenally uncaring monsters of unfathomable power are very effective, but they're too few. And at the end the MUTOs start caring about the regular soldiers. "I may currently be fighting Godzilla but some guy started a boat over there and I need to kill that for some reason!" And the fact they monster fights keep happening in locations that coincide with soldier guy's journey gets comical.

5. Godzilla vs. Kong (2021) Some fun fighting between giant ape and lizard. And I was happy to get King Ghidorah back because he was awesome in KotM. But his actual fight is not particularly long because we spend most of the movie on the journey to the hollow earth and then the second fight between Kong and Godzilla, leaving Ghidorah's return feeling too rushed. The actual human plots are very meh. The investigators team feel very Marvel studios goofy in a bad way. I have no love for conspiracy theorists anymore and the moment Bernie brings up fluoride he lost me. The expeditionary team are boring. I do not care beyond the little girl having a bond with Kong. That was sweet but everyone else is irrelevant to me. I would prefer just learning about the axe and Kong's people rather than focusing on this crossover. I did have a chuckle that both the star kaiju are characterized as massive alpha-bros who need to be the biggest dick in the room. But otherwise it's just some fun action with nothing much of substance.

4. Godzilla: King of the Monsters (2019) There is an ongoing problem in this whole franchise that is most present here: nature doesn't have inherent balance. So much is based around heroes and villains insisting we need to step back and allow nature to fix itself, because it has a plan and a will. But it doesn't. Nature cannot fix the damage we have done on its own. We need to actively undo what we've done to it. So the fact they keep insisting this and treating what amounts to new age religious faith as though it is any way scientific gets on my nerves. But otherwise this is a good one. Mark Russel is the best of the generic white guy main protagonists, his hatred for titans and insistence they're better all dead makes sense contrasted with everyone else's unfounded faith. But he also is willing to cooperate when it comes down to it. There are some gorgeous shots in here. King Ghidorah really sells the apocalyptic alien invader/literal actual Satan thing very well! I wanted more of him! I was interested in how they set up a universe of monsters with Mothra seemingly seeding something with her sacrifice and Rodan bowing to Godzilla but the movies so far seem to be ignoring them. Bring them back! Also I liked Dr. Stanton so I'm disappointed he was also dropped.

3. Skull Island (2023) I was surprised at how attached I got to the characters, especially with everyone actually turning out to be on the same side. There is a strong theme of family through all of these installments that can be interesting or not depending on the actual media. I don't think we're getting a season 2. It's Netflix. So in like 3 years one of the comics will mention how a bunch of people were rescued from the island in the 90s with no other context. And any continuation that doesn't end with a three way wedding between Sam, Irene and Cap is not canon.

2. Kong: Skull Island (2017) I know I'm against the majority rating this one here. But I love the anti-military theme. I like the way it looks, the sometimes psychedelic shots. Samuel L. Jackson sells the villain, the creatures are all awesome, none feel like filler creatures. I felt like Loki Bond and the anti-war reporter don't get arcs but their performances sell the characters very well. I would love if we could get them back, just do more with them. The stinger feels like a set up for a more behind the scenes look at Monarch. Speaking of...

1. Monarch: Legacy of Monsters (2023-2024) This was the best one. Great characters, story, visuals, the whole package! Every Godzilla appearance is better than all the movies. The theme of family drama is central here and strong. The drama is palpable! I hope we get a continuation, either a season 2 or bring these people back in the movies. Rather than Millie Bobby Brown again. It's strong enough to be enjoyable on its own but sadly I don't know how sensical it is without having seen the movies. I want a physical release now!

The future Now I am going to start trying other films. Shin Godzilla and Godzilla Minus One, rewatch King Kong 2005. Also I started Godzilla: The Series to see if it gets interesting. And also eventually Godzilla Singular Point. I'll eventually watch Godzilla x Kong: The New Empire when it comes out but whether in theaters or not I don't know yet.

[ogradyfilm]

Across the Spider-Verse and the Art of Purposeful Fan Service

[The following essay contains MAJOR SPOILERS; YOU HAVE BEEN WARNED!]

Modern blockbusters—especially those belonging to the increasingly ubiquitous superhero genre—have evolved into mega-budget Easter egg hunts. Users on Twitter, Tumblr, and other social media platforms dissect every new theatrical release frame-by-frame, searching for cameos, callbacks, and references to the source material. Often, these allusions are little more than gratuitous fan service. Occasionally, though, they exist for a thematic purpose, enriching the film’s overarching narrative.

Consider, for example, the intertextual dialogue between Spider-Man: Across the Spider-Verse and “The Night Gwen Stacy Died” (The Amazing Spider-Man #121-122).

The latter, a two-part comic book story written by Gerry Conway and drawn by Gil Kane and the late John Romita Sr., features the most heartbreaking sequence of images in Marvel’s entire mythos. It begins when the villainous Green Goblin flings an unconscious Gwen Stacy—the love of Peter Parker’s life—off of the George Washington Bridge. Acting quickly (indeed, perhaps a bit too hastily), the Wall-Crawler fires his web shooters, catching his girlfriend's leg an instant before she hits the water. The whiplash of the split-second rescue jolts her limp form—and above her neck, the issue’s letterer pens a bone-chilling sound effect:

“SNAP!”

When Spidey pulls her up to safety, he is horrified to discover what the reader already knows: Gwen Stacy is gone, her spine shattered by the force of her abrupt stop.

In Across the Spider-Verse, a super-powered variant of Gwen from an alternate reality explicitly mentions this tragedy in conversation with protagonist Miles Morales, implying that it is one of the multiverse’s pivotal “Canon Events,” akin to the murder of Uncle Ben:

In every other universe, Gwen Stacy falls for Spider-Man. And in every other universe, it doesn't end well.

These prophetic words eventually return to haunt Gwen during the movie’s climactic chase scene. Miles, attempting to evade a literal army of his fellow Spider-People, misjudges a leap and finds himself plummeting toward the futuristic cityscape below. Fortunately, a web snags him by the chest, halting his fall. Gwen clutches the other end of the line. She grins, relieved; while they’re on opposite sides of this particular conflict, she has no desire to see one of her few real friends harmed.

Miles, however, responds to her sympathetic smile with a cold scowl; after all, she betrayed him (albeit reluctantly) to the Spider-Society, so he is not in a forgiving mood. “Goodbye, Gwen,” he growls, seizing the strand of webbing with both hands and effortlessly ripping it in two:

“SNAP!”

And as Miles makes good his escape, Gwen Stacy figuratively dies. Disowned by her father, discarded by her allies, and abandoned by the person that she most wanted to protect, the aloof heroine has nothing left. Her habit of preemptively keeping her loved ones at arm's length in order to avoid the pain of loss has finally condemned her to loneliness, isolation, and solitude.

Even with the "traditional" roles reversed, their relationship was doomed—just as it was in the original version of the tale.

[thevindicativevordan]

Has Bendis ever adressed why he left DC? I noticed, that he barely mentions any of his DC work, even though he constantly posts something related to Marvel. Do you think it's possible they parted ways on bad terms?

To my knowledge no, he’s never outright stated why. Hazarding a guess I would say it’s a combination of:

Didio being one of his biggest backers, and Didio leaving being a big blow to support for Bendis within DC

Bendis not delivering the sales/reception DC was hoping for. Apparently his contract was very expensive and that was likely one of the first things WBD looked at to trim costs

Bendis getting fed up with the BTS drama at DC

Bendis realizing he’s not getting any younger and wanting to prioritize creator owned work the same way that Jason Aaron is doing

Bendis not getting a seat at the table with regards to DC adaptions, I’m positive one of the reasons they recruited him was to help with DC’s flailing films. Naomi flopping was likely a big disappointment for him, as was it getting dumped on the CW in the first place

Occasionally he does still post art from his Superman run on Instagram and I think he’s proud of it (rightfully so, whatever you think of his aging of Jon his Clark Kent was aces). Stuff from his Legion run gets shared too. Obviously his JL was just pure filler that I doubt he thinks much of, but what it comes down to is that what he’s going to be remembered for is his Marvel work. Miles Morales and Riri are in multimillion dollar blockbuster movies. His Ultimate Spider-Man run is as influential on Spider-Man adaptions as Lee/Dikto Amazing Spider-Man. The Illuminati were a team he created, even if Hickman was really the one to cement them in canon. Nothing he did at DC can match the sheer impact of Bendis’ industry-shaking Marvel work. That’s why he’s always asked about his Marvel stuff and why he’s always talking about it.

[britesparc]

Weekend Top Ten #680

Top Ten Things 2024

It's that time of year again – when, despite everyone already having done it a couple of weeks ago, I finally get around to ranking my favourite things of the year. I don’t go in for “Top Ten Films of 2024” or owt like that; rather, I just bundle together all of the various “cultural” or “entertainment”-related things into one big master list. It's sort of a review of the year, I guess. And I always leave it to the beginning of the new year, because I quite often leave stuff to the last minute. Like watching Transformers One on New Year’s Eve, for example.

So what was 2024 like? Well, in many ways it sucked. From the grand sweeping events – basically everything just getting worse politically and environmentally and maybe even socially – to the personal, it felt like a year defined by loss. I remain, as always, an optimistic sucker, but moments from the last year hit hard. At the same time, it behooves us to seek out the joy in the everyday; I’ve got two kids and a wife who all, from time to time, bring me joy (and occasionally coffee). We had a fantastic holiday this year, during which I went up a tower, down a sewer, and rode Big Thunder Mountain twice. See? Joy. Amidst everything.

At the same time, I'm still spectacularly unsuccessful when it comes to actually finishing or publishing my book, that I have been publicly and embarrassingly writing for about a million years. Maybe this is my year?

Something else that’s really good that doesn’t make it on this list is that we had a couple of tremendous trips to the theatre this year – Hamilton in February and Wicked in December. Neither of those are exactly new (although Hamilton had never visited Manchester before), which is why I didn’t necessarily think they were “of 2024”, but they were still excellent.

And as such, I am choosing to look back with fondness at the year gone by. Yes, stuff hurt, big and small. But there were at least two films and one game that I really, really enjoyed. And some other stuff too. Is most of it sort-of superhero-y? Mmmmaybe. I yam what I yam. Regardless, please do read on for my appraisal of the best stuff from 2024. Tune in next week – same Bat-time, same Bat-channel – for my predictions of what’ll be good in the coming twelvemonth.

TTFN!

Warriors Comes Out to Play: I’m a big Hamilton fan – a show I saw this year, wheee! –  but following up a beloved classic isn’t easy. Warriors isn’t Hamilton 2 – for a start it’s a concept album at the moment rather than a stage show – but it retains Miranda’s verve for lyrics as well as some unabashed emotionality. Gender flipping the 1979 movie allows for a ton of nuance and subtext – aided by a female voice (Eisa Davis co-writing with Lin-Manuel Miranda). The songs are great, the performances tremendous, the exploration of hip-hop history and New York culture fascinating, and overall it’s a more than worthy follow-up. When’s it coming to Manchester?

The MCU is Back, Baby: even I, a massive Marvel shill, has to acknowledge that regardless of how enjoyable the various MCU joints have been since Endgame, there’s definitely been an aura of weakness around this once all-conquering franchise. 2024, arguably, could be the year that Marvel swung back. Deadpool & Wolverine was a barnstorming, brilliant blockbuster, one of the year’s biggest; and Agatha All Along gave us one of the most interesting shows Marvel has yet produced, a tricksy puzzle box with a nice dose of progressive diversity. All in all, we go into 2025 – a huge MCU year – with much more optimism than there’s been for many a moon.

Happy Birthday Transformers: 2024 was the 40th anniversary of everyone’s favourite robots in disguise – and it was a pretty good year for the bots and the cons. A 40th birthday special event hit cinemas, allowing us to see 2024-vintage Peter Cullen and Frank Welker returning to their iconic roles as Optimus and Megatron; and Transformers One was a great, enjoyable origin story for the franchise. Also, I returned to TF Nation, had a terrific time, and saw some of the fantastic toys Hasbro has produced to mark the anniversary. All in all, a great birthday celebration.

X-Men ’97 Did Not Need to Be That Good: legacy sequels can be very hit and miss; returning to a beloved cartoon, made essentially for children thirty years ago, was a bit of a risk. I think we all hoped for a decent nostalgic fun ride. What we got was a dense, multi-layered, very mature, intensely tragic examination of beloved characters. Where the hell did this come from? Best show of the year. Astounding.

The Obtainer of Rare Antiquities: speaking of delightful surprises; a first-person Indiana Jones game from the guys who made the new Wolfenstein franchise. I mean, it looked fun enough, but nothing in the early trailers set the world on fire. And then, oh my god: a stunningly successful encapsulation of what makes Indy Indy, with stupendous world design and fantastically tactile, emergent open-world gameplay. I doubt anyone expected it to be game of the year, and yet here we are.

Blockbusters are Back, Baby: it’s been a funny time at the cinema since Covid. Last year there were quite a few films that surprisingly underperformed, from Marvel to Mission. This year there was a bevy of blockbuster hits, from record-breaking Inside Out 2 to the likes of Gladiator II, Wicked, and Moana 2. Overall, it feels like big crowd-pleasing films are here to stay; which is terrific in my book. But at the same time, let’s pour one out for some of the excellent films that didn’t quite find an audience, from The Fall Guy to Abigail to Transformers One. I mean, really, what were you lot playing at, not seeing The Fall Guy. It was bloody brilliant.

Quirky Games, Strategic Games, Oh My: before I talked about a great Indy game, but there were also some great indie games too (ho-ho). Lightyear Frontier fulfilled my Transformers-meets-Stardew fantasies; Little Kitty, Big City was a fab open-world-y adventure/puzzle-fest with a gorgeous aesthetic. But it was also a really good year for strategy games, from the remastered Age of Mythology to Manor Lords to Ara: History Untold. Gives me something to play this year seeing as how I don’t think I’ll be getting Civilization VII any time soon.

Great Comics that Begin with “U”: I’ve been out of the comics scene for the most part, for a number of years really; but I got really back into the monthly cycle thanks to Marvel (I was always more of a DC guy). But the new Ultimate Spider-Man – showing an older Peter Parker, married with kids – and the soft reboot of Uncanny X-Men are really arguing with each other over which is the best comic of the year. Thanks, Marvel, and all you lovely creatives!

Lower Decks Beamed Up: I was a bit cold on Star Trek: Lower Decks when it started, finding it coarse and a little mean. It softened, but also I grew into its rhythms; and this final season, whilst maybe not quite the heights of the series as a whole, was such an earnest love letter to all things Trek, it was beautiful to behold. The penultimate episode, with deep-cut references and fan service expertly interwoven into its plot, was like a great big sci-fi hug. I’m sorry to see it go.

The Doctor is Back, Baby: after the glory of the sixtieth anniversary specials, could Russel T. Davies’ first full season back at the helm of Who live up to expectations? Well, for the most part, yes; Ncuti Gatwa is fab in the role, and the quirky, fantastical, almost magical twist to the formula gave it a new edge and flavour after all these years. Looking forward to season two! Or fourteen, or fifty, or whatever it is.

[tokensbossh]

Tom Hanks Thinks Avengers Will Face Superhero Fatigue, But These Stars Disagree!

Superheroes may have captured the imagination of millions over the years, but are we finally nearing the end of the golden era? Tom Hanks, one of Hollywood’s most beloved actors, recently stirred up some thoughts on superhero fatigue, particularly when it comes to the Avengers franchise. While the cinematic world has seen remarkable success with Marvel and DC films, Hanks believes audiences might be growing weary of the high-octane, flashy spectacle, longing for more relatable, story-driven content. But despite his concerns, some of the biggest names in Hollywood are standing firm in their belief that superhero films are here to stay—and perhaps even thrive.

d222d (2) During a candid conversation on the Happy, Sad, Confused podcast, Tom Hanks opened up about the changing nature of superhero films. He recalled a time when these larger-than-life characters felt like reflections of ourselves—heroes who were both flawed and aspirational. "I think we’ve been down that road for 20 years," Hanks noted, pondering if the genre has explored its potential to the fullest. According to him, the audience is now looking for something deeper—films with a more grounded message and real themes. The era of escapist superhero fantasies, he suggests, may be over. But before we give up on capes and capers, there are those who still passionately defend the genre. Chris Hemsworth, who’s built his career on portraying the mighty Thor, strongly rejects the notion of superhero fatigue. Speaking out against critics, Hemsworth expressed his frustration with those who undermine superhero films as a whole. "Tell that to the billions who watch them," he said. For Hemsworth, the genre is more than just action and special effects—it's a space that has captured hearts globally. Despite occasional duds, the superhero genre’s broad appeal can't be ignored.

d222d (1) Marvel mastermind Kevin Feige is also unfazed by critics of superhero fatigue. In a podcast appearance, Feige compared the evolution of superhero films to the long-standing tradition of adapting novels into movies. With a rich library of source material spanning over 80 years, he believes the stories are far from exhausted. Marvel's wealth of characters, themes, and narratives ensures the genre remains fresh, even in an era of fast-paced cinematic change. Even Tom Holland, MCU's Spider-Man, sees superhero films as true works of art. While acknowledging the difference in scale between superhero blockbusters and Oscar-bait indie films, Holland believes that both can be celebrated for their craft. To him, superhero films share the same foundational storytelling elements as any other great movie. The fact that they come with larger budgets only makes them more spectacular—but not less meaningful. The Russo Brothers, who brought us the game-changing Avengers: Infinity War and Endgame, also weigh in on the matter. Anthony Russo dismisses the notion of "superhero fatigue" as nothing more than general fatigue. Just as the Western genre evolved over decades, superhero films are bound to reinvent themselves, growing and adapting to new times. And then there’s Joseph Quinn, the breakout star of Stranger Things who is now set to join the MCU. When asked about superhero fatigue, Quinn was quick to dismiss it. For him, superhero films are about the characters—about the human experience. It's not just about spectacle; it's about the emotional investment we have in the heroes. He believes that as long as the stories stay true to this, audiences will keep flocking to theaters. So, while Tom Hanks may see the winds of change blowing through the superhero world, these Hollywood heavyweights aren’t ready to throw in the towel just yet. Far from fading, the superhero genre seems poised to evolve, adapt, and continue delivering the larger-than-life stories fans crave. Whether you're a die-hard Marvel fan or a casual moviegoer, one thing's for sure—the superhero saga isn't going anywhere soon. Read the full article

[ponderingrandomthings]

This is quite a poignant movie by Zach Braff (writer and director).

Some moments stand out way more than the rest of the movie.

Trigger Warning: Although some scenes are quite uncomfortable to watch (drug usage, some brief sexuality bits, no nudity), there are many other parts of the movie that show some strength coming from the broken people (in spite of relapses).

The characters do occasionally make you think 'No, he shouldn't have said that to her, not when he knows she is struggling with such things'. (He is struggling with things too.)

And again (like the movie Parachute), the movie seems nice - without any dramatic/blockbuster ending, and still something flawed, realistic and hopeful.

[Just my take on the movie...]

Highlight for me (as in, I went back to that part to marvel at it): There is a scene where Florence Pugh's smile shows care/love for a person who put her down a while back (he was dealing with his own things - he's not in the scene). That was a deeply deeply beautiful, loving smile from her when that person was mentioned (last 15 minutes).

To show such care/love/understanding through a smile...

Wow > Very beautiful > All such people. (No, I don't/can't ask to be such a person myself. Too high a price to pay to transform to such a person...)

Cast:

Florence Pugh as Allison

Morgan Freeman as Daniel

Celeste O'Connor as Ryan

Molly Shannon as Diane

Chinaza Uche as Nathan

Zoe Lister-Jones as Simone

Nichelle Hines as Molly

Toby Onwumere as Jesse

Ignacio Diaz-Silverio as Quinn

Oli Green as Thomas

Alex Wolff as Mark

Brian Rojas as Diego

Ryann Redmond as Becka

Sydney Morton as Joelle

[anothersebastianblog]

Sooner or later he will do another blockbuster i am sure, just like Paul Rudd with ghostbusters// Another blockbuster is very good for him. Also he can still do Marvel occasionally while he has another blockbuster. It’s nice for him to have that paycheck as long as possible. I don't hate him staying in Marvel.

.

[sqinsights]

Facial Recognition Unveiled: A Tech Odyssey Through Pixels and Privacy Dramas

Greetings, cyber voyagers, privacy crusaders, and the aficionados of digital drama! Today, we’re embarking on an electrifying expedition into the captivating universe of facial recognition technology — a saga of bytes, pixels, and the occasional privacy plot twist. So, grab your virtual popcorn, and let’s unfold this technological epic, sans the robotic undertones.

Behind the Digital Drapes:

Ever wondered what unfolds behind the scenes of a facial recognition report? Picture a group of tech maestros engaged in a caffeine-fueled symphony of code, trying to decipher facial features without mistaking a keyboard for a mug. No grand unveilings or empowering anthems; just a bunch of tech enthusiasts decoding the matrix over coffee stains.

Digits and Delights:

Now, let’s dive into the numerical abyss without triggering collective snores. According to the tech soothsayers (not the mystical kind), the facial recognition market flaunted a dazzling USD 4.48 billion in 2021 and is poised to pirouette to USD 15.64 billion by 2030. That’s a growth rate of 14.9%, enough to make even a Wall Street tycoon raise an eyebrow.

Deciphering the Pixelated Symphony:

Tech Tango Unveiled:

In the realm of ones and zeros, technology performs a nuanced tango in two flavors — 2D and 3D facial recognition. Imagine them as the Fred Astaire and Ginger Rogers of the digital dance floor, twirling through pixels and capturing faces from every conceivable angle. But no need for a foxtrot — just a binary ballet that sets the tech stage on fire.

Component Chronicles:

When it comes to components, we’re not assembling IKEA furniture; we’re delving into the hardware, cameras, sensors, and displays that craft the facial recognition spectacle. Visualize them as the eccentric cast in a high-tech sitcom, each playing a crucial role in this pixel-perfect performance.

Navigating the Privacy Labyrinth:

Surveillance or Sassy-Veillance?

While facial recognition pirouettes into applications like access control and identity verification, it can’t escape the scrutinizing gaze of privacy concerns. Picture the tech-savvy Sherlock Holmes, meticulously examining each pixel for clues. Enter the regulatory frameworks, attempting to choreograph an ethical dance amidst the privacy pirouettes.

The Race of Regions:

In this global tech marathon, North America dons the leadership hat, embracing facial recognition like a Hollywood blockbuster. Meanwhile, the Asia-Pacific region sprints in, fueled by economic vigor and a hunger to ride the tech wave. It’s a digital dash where everyone’s vying for the spotlight, and the race is far from over.

For More Information: https://www.skyquestt.com/report/facial-recognition-market

The Facial Recognition Tech Gala:

Top Hat Players:

In this digital masquerade, a star-studded ensemble takes center stage — from NEC Corporation to Microsoft, each vying for the spotlight. In a recent twist, BigBear.ai declared a merger worth a staggering USD 70 million. Move over Hollywood, tech mergers are scripting the new-age blockbusters.

The Not-So-Hidden Gems:

Among the gems of this digital soiree are 3D facial recognition, facial analytics, and the trusty 2D facial recognition. Forget the red carpet; these technologies strut into healthcare, retail, and finance, proving that facial recognition isn’t just for high-security events — it’s the glam of everyday tech.

In Conclusion:

As we draw the curtain on our tech-inspired tango, one thing resonates — facial recognition is more than a matrix of pixels and algorithms; it’s a dance across the floor of privacy, ethics, and technological marvels. Whether you’re a tech enthusiast or a skeptical onlooker, the facial recognition drama is unfolding, and the tech tango continues its enigmatic cadence. Until next time, keep your pixels sharp and your virtual dance shoes at the ready!

About Us-

SkyQuest Technology Group is a Global Market Intelligence, Innovation Management & Commercialization organization that connects innovation to new markets, networks & collaborators for achieving Sustainable Development Goals.

Contact Us-

SkyQuest Technology Consulting Pvt. Ltd.

1 Apache Way,

Westford,

Massachusetts 01886

USA (+1) 617–230–0741

Email- info@skyquestt.com

Website: https://www.skyquestt.com

[enchantedquill-40]

"Shelter in Friendship: A Cicely Tale"

As the trio planned their expedition, Joel couldn't help but notice the gleam in Ed's eyes. It wasn't just the anticipation of a routine trip; for Ed, the city was an uncharted territory, a realm he had only glimpsed through stories and hearsay. The mention of Walmart and a mall triggered curiosity in Ed, who had never set foot in such commercial giants.

The day of the adventure arrived, and the trio set out on a road trip. Cicely's rustic charm slowly gave way to the sprawling cityscape. Ed, nestled between Joel and Chris in the car, couldn't contain his excitement. His gaze darted from one high-rise building to another, trying to absorb the urban landscape that unfolded before him.

Upon reaching the city, their first stop was Walmart. Ed's eyes widened as he stepped into the vast expanse of the supercenter. The bright lights, towering shelves, and endless variety of products overwhelmed him. For someone accustomed to the cozy confines of Cicely's stores, this retail behemoth was a sensory overload. Joel and Chris exchanged amused glances, savoring Ed's wide-eyed innocence.

Ed marveled at the assortment of goods, discovering items he never knew existed. The trio wandered through aisles, with Ed occasionally reaching out to touch unfamiliar products with childlike wonder. The bustling activity around them seemed like a symphony of city life, each person a note in the urban melody.

Next on the agenda was the mall—a labyrinth of shops, entertainment, and people. Ed had never witnessed such a concentration of consumer delights. As they strolled through the mall, Ed's steps mirrored the rhythm of a person treading on sacred ground. He absorbed the sights and sounds, occasionally stopping to peer into store windows or gaze at the carousel in the center.

Joel and Chris, accustomed to the city's hustle and bustle, found joy in Ed's unfiltered joy. In the midst of fluorescent-lit corridors and escalators, Ed's genuine appreciation for the unfamiliar transformed the mundane into a spectacle.

As the day unfolded, the trio not only stocked up on supplies but also forged memories that would linger in the corridors of their friendship. The city, with its towering structures and commercial wonders, became a canvas for the unique bond shared by Joel, Chris, and the ever-innocent Ed. And as they retraced their route back to Cicely, it was evident that this escapade had added a new chapter to their small-town tales.

In the heart of Cicely, where quirky friendships thrived, Joel found himself on a mission to procure medical supplies for the clinic. As he browsed through the city options, he noticed a Blockbuster nearby. An idea struck him, realizing that Chris and Ed could explore the iconic video rental store while he attended to the medical needs.

Joel, with a twinkle in his eye, informed Chris about the nearby Blockbuster. Recognizing the opportunity to introduce Ed to the wonders of VHS tapes, Chris eagerly agreed to take him there. The prospect of Ed navigating the aisles filled with movie treasures brought a smile to both Joel and Chris.

As Joel attended to the clinic's needs, Chris and Ed stepped into the world of Blockbuster. The vibrant blue and yellow signage greeted them, and Ed's eyes widened at the shelves lined with VHS tapes. The hum of the fluorescent lights and the scent of popcorn created an atmosphere of cinematic nostalgia.

Chris guided Ed through the aisles, sharing anecdotes about the bygone era of VHS rentals. Ed, a stranger to this cinematic ritual, marveled at the array of movie titles. His fingers traced the spines of the VHS cases, each one a portal to a different world.

With Chris's guidance, Ed carefully selected a few VHS tapes, his choices reflecting a mix of genres and eras. The anticipation in Ed's eyes mirrored that of a child in a candy store. As they approached the checkout counter, the friendly Blockbuster employee, a curator of cinematic memories, shared a few recommendations based on Ed's selections.

Meanwhile, Joel completed his task at the clinic and joined Chris and Ed at Blockbuster. The trio, armed with medical supplies and a bag of VHS tapes, made their way back to Cicely. The Blockbuster excursion had become a delightful detour, weaving a cinematic thread into the fabric of their day.

Back in Cicely, Ed proudly showed his newfound treasures to Joel and Chris. The VHS tapes became not just entertainment but tangible tokens of an unexpected adventure. As they settled into the familiar rhythm of their small-town lives, the memories of Blockbuster and medical missions blended seamlessly, adding another layer to the tapestry of friendship in Cicely. As Ed turned 18, life took an unexpected turn. Asked to leave the only room he had at the boarding house, he found himself navigating the harsh reality of life on the streets. Despite facing adversity, Ed carried the weight of his situation silently, never revealing the challenges he encountered.

In the midst of this struggle, Ed continued to persevere, taking on odd jobs to make ends meet. The camaraderie with Joel and Chris remained a sanctuary, providing a respite from the hardships he faced. Even when he injured his arm, the pain etched across his face, Ed chose not to burden Joel with his troubles.

Joel, however, keenly observed the subtle signs of Ed's struggle. Sensing his friend's pain, Joel's concern grew, but he respected Ed's silent resilience. Their friendship became a beacon of support, offering a refuge for Ed in the midst of life's storms.

One day, as Ed grappled with the physical toll of his injuries, Joel's empathy overcame his restraint. In a quiet moment, Joel gently broached the subject, expressing his care and willingness to help. It was then that Ed, touched by the genuine concern, allowed a glimpse into his world, sharing the challenges he faced on the streets.

Joel, with unwavering compassion, extended a helping hand. Together, they navigated the complexities of Ed's circumstances, finding practical solutions and a renewed sense of camaraderie. Through this shared journey, the bond between Joel and Ed deepened, proving that true friendship can weather the storms of life, even when faced with the harsh realities of the streets.

As Joel noticed the silent struggle etched across Ed's face, concern grew within him. Sensing his friend's pain, he couldn't remain a passive observer. In a quiet moment, Joel gently broached the subject, expressing his care and willingness to help.

Ed, however, held back, assuring Joel, "You don't have to worry about me. I got a tent. I'm okay." Despite the pain in his eyes, Ed was determined to bear the weight of his situation alone.

Joel, not easily swayed, persisted, "Ed, please let me help. I've got an extra room. It's okay, really. You don't have to go through this alone." Joel's genuine concern emanated from a place of friendship and compassion.

Ed, torn between pride and the desire for solace, hesitated. "I'm sorry I bother you and Chris," he mumbled, a hint of vulnerability breaking through.

"No bother at all, Ed. We're friends," Joel affirmed, the sincerity in his voice cutting through the shadows. "You don't have to apologize for needing help. We've got your back."

Over time, Joel's persistence and genuine care began to soften Ed's resolve. Slowly, he allowed himself to accept the support offered by a true friend. The spare room became more than shelter; it symbolized the warmth of friendship and the strength found in vulnerability.

As Ed settled into the room, a weight lifted from his shoulders. The trio, Joel, Chris, and Ed, became an even tighter-knit family, proving that in the face of adversity, true friends stand together. Through shared struggles and open hearts, they forged a bond that transcended the challenges of life on the streets, creating a haven of support in the heart of Cicely.

[ajoytobeheld]

X Men: First Ass

June 6th, 2011

Worst Poster Eva

WARNING  THERE WILL BE SPOILERS:

A Rant about X Men: First Class

First the Self Deprecation: I am terrible at writing reviews, my film critic vocabulary is limited and ill informed, my describing words normally reduced to wild gesticulation in person and my biased opinion is at the forefront of most critiques I have, BUT with that in mind I know objectively that X Men: First Class is not a good film. Yes, the film has got pretty complimentary reviews, but (and I am not being purposefully contrary here) it will not stand the test of time as a good superhero movie. It is no “Spiderman 2″ nor “X Men 2″ nor “Batman Begins”, and you can argue that it was not striving for that, it is simply a forgettable summer blockbuster, but then so was Thor, and for all it’s gleaming faults and ridiculous pomposity that felt like a hell of a lot more fun. With X Men: First Class I expected a lot more; for starters it has the Singer films as a bench mark (as well as a production credit), some of the most interesting characters in the Marvel Universe and the team that made (Vaughn and Goldman) the superb Kick Ass.

What it delivered was a by the numbers flat movie which at best is mildly entertained and at worst a homage to Austin Powers. The ingredients of  team who had done a superb comic book adaptation before+some very good character actors should =  really really great film instead of something kind of blah.

Empire pretty much sums it up with “the whole thing smacks or rush and compromise.”

For starters there are far far too many characters. There is not enough time to develop them sufficiently, many are pointless and I found their choices and decisions in the film not entirely convincing. Fassbender is at least given a fighting chance in the first third and his origins story is by far most interesting, but after he joins Xavier he is reduced to a few expositionary lines and occasionally gurning into the distance. His switching between sides seems contrived and superficial, and I only felt like he was conflicted or even interesting when he was trying to kill all those mean Nazi’s.

Some characters are introduced pointlessly (Lenny Kravitz’s daughter) and are disposed of quickly (Darwin), and a brief montage sequence serves only to fast forward them from confused and lonely to fighting fit superheros without us really knowing who any of them are, but contradictoraily that also seems like the funnest part of the film. I thought the most interesting character was Jennifer Lawerence’s Mystique who gets more of an arc then others, and I have to applaud Mcavoy for trying his hardest with what he had but overall I cared little for anyone. The friendship between Erik and Xavier is forged too easily despite their opposing principles and it does not have the same amount of feeling or gravitas that was established in just one scene in X2 (Stewart and McKellen in the plastic prison playing chess)

January Jones can’t act. I didn’t want to know this, I love Mad Men, I think she is great as Betty Draper, but in this she is a dull uncharismatic shadow of a actress who does little other then wear white bikinis and sprout corny lines, not her fault, but even Rose Byrne brings some personality to a woefully underwritten role.

The script is full of great sound bites for trailers (they looked good didn’t they) but other then that there is little that goes beyond exposition and necessary lines to make us believe this person is sad or this person is evil. There were some hideous cheeseballs in there mainly from Kevin Bacon’s evil baddie spiels, and his character felt like a parody of a bond villan. Beasts transition from Hoult to furbull is brushed over to keep the plot moving, but it makes no sense for someone who hates their mutations to be so accepting of such a change in their entire appearance, but again, it felt like another thing crammed in to get these characters from A to B.

It was kind of dull. The explanation for Bacon’s nuclear war plans felt like a secondary thought, the cameo, in jokes and asides felt crowbarred and as subtle as a brick in face (James McAvoy mentions going bald twice, because you know Patrick Stewart is bald and that OMG) and everything zipped along at such a fast pace that tonally it was kind of all over the place.

I could go on, but i wont because thats not fair on you. If you are completely opposed to me, think I was and am expecting too much from what essentially is a silly film about people in costumes then go and watch “Kick Ass”, go and watch “X Men 2″. Or go and watch Wolverine, because that makes every film seem amazing by comparison.

Ellen x

[gothicprep]

did they ever change the simpson's cars? they've gone from extremely common decade-ish old beaters to so ancient they'd stand out on the road almost as much as an Edsel. the modern equivalent would be like ~2000s oblong cars. like a dodge intrepid and a ford escort wagon.

I'll never stop being fascinated by the anachronism of Late Simpsons. so many iconic/archetypical elements of the characters that are fixed in a certain time and place, and they try to change them but can't really change them too much, so you end up with a weird temporal mutant. the simpsons began in 1989, roughly concurrent with the fall of the berlin wall and the 'end of history', so it seems oddly appropriate it'd become symbolic of this deathless atemporal eternal past-present, changing but not changing, decaying but deathless, a zombie.

the simpsons are supposed to be very working class, not terribly well off, but people now pay a small fortune to buy a house of comparable size and quality, and not in or near a major city. and they often need help from affluent relatives getting there in the first place.

a variety show hosted by a clown, bart's banana board, homer's unionized industry job, the autocrat sole-owner industrialist, the stay-at-home housewife, the show was in some ways already anachronistic from the jump, the world it depicted already slipping away. the characters’ core traits, those things that can be exaggerated and smoothed down and, well "Flanderized", are still inextricable from their context. the simpsons were a caricature, but a relatable one, to a family in 1990.

but do any of the characters, their core malleable but inalienable traits, their whole dynamic, make any sense as a family of millennials raising zoomer kids? does Homer make sense as a guy born in 1986 who grew up with PlayStation, Nickolodeon, and AngelFire webpages? This isn't a criticism of the show. “New Simpsons Bad” is an observation so far beyond banal. but the fact that it persists like this just pricks at my brain. nothing about it makes any sense. I don't even know who's watching it. It's a thing out of time lurching on under pure inertia.

i remember occasionally reading those old newspaper comic strips as a kid, and though I couldn't describe it, I'd pick up on their crude form of this same sense. beetle bailey and the family circus made about as much sense in 1998 as the simpsons does today. although not as weird, because these were just artifacts for older people. they didn't really change that much or try to. the simpsons is constantly on a quixotic quest to make itself contemporary. if in simpsons-world, the 90s simply never ended, it'd be less jarring.

I wish I could put a name or more precise description to this concept/feeling, the thing that is always changing but never changes, the always present future-past, this breakdown of historical progression, context and continuity, that I think so dominates contemporary media. either in the awful megalithic form of marvel movies (cartoon characters from our's and our parent's childhoods recast into every variation of 80s-90s blockbuster formulae), constant remakes and reboots, live-action disney cartoons, and other acts of cultural necromancy.

the simpsons has done multiple episodes imagining their futures, adult bart and lisa, elderly homer and marge, and yet we've arrived at those futures and bart is still 10 and lisa is still 8. comic book characters have this same problem, but comic books are more niche (we'll see what the movies do), and the cartoons reboot themselves every generation... but the comics maintain a nominal continuity. or at least, attempt to, and it's bizarre. there's an old joke about superhero comics, that the only character that stays dead is uncle ben. nobody dies, nobody gets old, nothing changes, batman gets meaner, or nicer, gets a new batmobile, a touch screen batphone, whatever, but he never stops being batman.

I think it speaks to some problem with letting go. being so overawed by the present/near-past as to not be able to imagine any break with it. we can't let things die, or let them grow and evolve so much they become unrecognizable (and thus dead). they become stunted mutants. on some level, for whatever set of reasons, I think we've come to accept the belief that we can't ever really do better than this. that to toss away these rotten and decrepit things is to lose something irreplaceable, not make room for something greater.

anyway, I let this go on long enough as it is. didn't mean to post a bunch, it's just the thought train leaving the station without breaks. ah well. anyway share your thoughts, or post what cars you think modern simpsons should drive.