I’ve never liked the phrase “so bad, it’s good” when it comes to movies, even though I’ve used it myself. The truth is it can occasionally be the perfect description for a movie that is enjoyable not in spite of its badness but because of it. But I don’t subscribe to the notion of film quality as something quantitative that can be numerically measured, even though we all give grades to movies. I especially don’t think that there’s some hypothetical badness line where once you cross it a movie suddenly becomes good again. There are plenty of bad movies that I genuinely like, but also plenty of “equally” bad movies that are just torture to watch with no possibility of enjoyment whatsoever. But beyond this philosophical disagreement with the idea of a “so bad, it’s good” movie, I’m not a fan of movies that intentionally strive to be terrible with the hopes of crossing that imaginary barrier into the “so bad, it’s good” realm. The Sharknado series comes to mind, which works very hard to be bad in order to try to capture an audience that might be out there looking for the next sublime failure. That sort of thing holds no interest to me. “So bad, it’s good” movies are ultimately a very personal thing, just like all movies are. What I might love in an awful movie someone else might find insufferable, and simply having a bad story, bad acting, bad writing, or bad directing isn’t necessarily going to make something likable. Making a great, bad movie is much more difficult than that, but it also requires a very subjective reaction. So when I say that Geostorm is dumb, loud, clumsy, and ridiculous, know that it’s an objectively poor film. But when I also say that watching it was one of the most enjoyable experiences I’ve had in a movie theater in many years, know also that I enjoyed it both because of its badness and because of my own personal preferences when it comes to bad entertainment.
Everyone has their pop culture blind spots. Some people have never seen Star Wars or read Harry Potter or watched an episode of Seinfeld. (All of those are unforgivable and if they apply to you I demand that you take immediate steps to rectify the situation!… Just kidding… sort of.) One of mine is Agatha Christie. I have never read any of her books nor seen any of the film or TV adaptations of her works in their entirety (I have seen part of Witness for the Prosecution). In fact, the most exposure I’ve had to Agatha Christie is that episode of Doctor Who in which the Doctor and Donna Noble solve a mystery with Christie’s help and end up fighting a giant wasp. But her legacy of tightly-constructed mysteries, brilliant detectives, compelling characters, and her sprawling influence on books, film, and TV for the last hundred years or so is simply inescapable, and I know that some of my very favorite works owe her a huge debt. So it was that I went into the new version of Murder on the Orient Express without any Christie-related baggage, lacking any devotion to a previous adaptation of the story or to the original source novel. In the end I found it to be fully enjoyable, with a compelling mystery highlighted by a fantastic cast who are clearly having a great time, set against a sumptuous and lavish backdrop, all solidly anchored by director and leading man Kenneth Branagh.
Thor: Ragnarok is a blast. It’s Thor’s best solo outing thus far, and one of the most fun Marvel movies yet. It may not be the most emotional movie in the MCU, nor does it pack the biggest punch despite the two heavy hitters Thor and Hulk leading the way, but it’s stylish, hilarious, and unique. Ragnarok may have been one of the Marvel “Phase 3” films I was looking forward to the least, but it has rapidly become one of my favorites and I can’t wait to see it again. Overall, I’d give it a solid A-, but instead of writing a normal review I’m instead going to give you 5 Things from Thor: Ragnarok that made a difference to me, good or bad. I might work this format into future reviews, or try to use it to take care of some of my review backlog. In this case, I’ve got 4 Things I liked about Thor: Ragnarok and 1 Thing I didn’t like. Read on, and let me know if you agree with any of my picks, or what you liked or disliked about the God of Thunder’s latest adventure.
I really enjoyed Baby Driver. Edgar Wright delivered a tightly crafted, exquisitely choreographed thrill ride of a movie, with a killer soundtrack and some of the best action sequences of the year. I loved the eccentric characters, the chemistry between Ansel Elgort’s Baby and Lily James’ Debora in particular, although at times it felt like it was trying a little too hard to be a Tarantino film, particularly with bits of the dialogue. I’m still amazed by the intricacy of the filming and post production work required to make each moment of the film move in rhythm with whatever song happens to be playing on Baby’s iPod. Baby Driver was a solid A film for me, and I look forward to seeing it again as I know I’ll pick up on many details I missed the first time.
However, I find myself still hung up on Baby Driver’s ending. (Spoilers below, obviously!) Continue reading
What do you think? Should I do more videos like this? Got any suggestions for a better name for the videos? Should I try to post a wider variety of content in the hopes of making myself post more frequently? Have I written too much about Pirates of the Caribbean? Did you enjoy Dead Men Tell No Tales? Let me know in the comments!
It’s been a long time since we had a good Spider-Man movie, 13 long years in fact. Since Spider-Man 2 back in 2004, a masterpiece of the superhero genre that still stands up as one of the best of all time, we’ve had several attempts to keep the web-slinger going. Spider-Man 3 was a complete mess, overloaded with villains and led by a far-too-old Tobey Maguire, not to mention the horrific emo dance sequence, while the Amazing Spider-Man pair of films tried too hard to update the series for “modern sensibilities” (whatever that means) and the results were uninspired and extremely dull. I’d come to believe that as long as Sony still held the rights to the wall-crawler, one of my favorite comic book heroes, we’d be doomed to mediocre reboot after mediocre reboot, never again having a Spider-Man movie worthy of the name.
So imagine my surprise when a deal was reached between Sony and Marvel/Disney and Spider-Man wound up being one of the best parts of Captain America: Civil War. And now here we are, with Tom Holland’s first full outing in the famous red and blue spider suit, and the results are pretty impressive. Spider-Man: Homecoming is naturally the best Spider-Man movie in 13 years, although that’s really not saying much. It’s a lot of fun, one of the funniest movies in the Marvel Cinematic Universe, and it gets a lot of things right. It’s not perhaps the home run one might be hoping for, but it’s solidly in the top half of MCU films, getting a lot about the character of Peter Parker right, while managing to tie in cleverly with the larger universe of films. Oh, and Tony Stark is in it, getting a little redemption after his last outing in Civil War.
I almost never root for a movie to fail with critics or at the box office. Hundreds of people work on movies, and regardless of my personal tastes or filmmaking trends I would like to see come to an end I wouldn’t wish failure on all of the artists involved in creating a film. On the other hand, I occasionally find myself rooting for a film to succeed, sometimes even in spite of my own feelings about the film itself, because that film’s success might have a positive impact on the film industry or the world as a whole. And so, I find myself absolutely thrilled with Wonder Woman’s reception, both its strong showing at the box office and it’s nearly universal praise among critics and audiences. The feminist in me knows what it means for a studio to release a big budget superhero film with a female director and have it be such a smash hit, and the film fan in me loves that the DC Universe has finally found some heart and joy after their recent misfires. Having said all of that, while I may be wholeheartedly cheering for Wonder Woman, and while I think it is an excellent film, it didn’t resonate with me as fully as I had hoped.
Some Mild Spoilers Below
Note: I’m changing the way I write movie reviews. Longtime readers have probably noticed that I haven’t written nearly as much here on the site as I used to. There are a host of reasons for that, not the least of which is the fact that my wife and I are expecting a baby later this month. I’d like to get back to writing more often, and one of the ways I want to do that is to be a little less structured in what I write. I’ve always felt a need to adhere to a certain formula with my movie reviews, but I’ve realized that I’ve grown a bit weary of the routine. I always have many thoughts about movies I see, but I’m more likely to share those thoughts if I allow myself to be freer. So in my reviews from now on I’m not going to feel the need to talk about aspects of the film that don’t interest me. I’m not going to go out of my way to recap the plot, point out all of the major cast members, or comment on aspects of the production that didn’t provoke a reaction. Also, since I’m a lot slower to write reviews than I used to be, I’m not going to shy away from some minor spoilers. Anything major I want to talk about will still go below a spoiler warning, but I’m going to assume that major spoilerphobes will have seen the film by the time I get around to writing about it. I may also post reviews in a wider variety of lengths, letting myself ramble on when I have more to say but not forcing myself to write more than I want. Hopefully this will all allow for more frequent updates and a more pleasant and interesting reading experience. As always, thanks for reading!
There’s no logical reason for Logan to be as good as it is. Wolverine’s two previous solo outings have varied from mediocre and disappointing to flat-out horrible, and the most recent X-Men movies haven’t been substantially better. It’s been 14 years since the last movie in this disjointed series which I wholeheartedly loved, X2, which still stands as one of my favorite superhero films. Honestly at this point I would be more than happy to see the series die, to give these characters a much needed rest. Logan marks the 9th film in the X-Franchise (not counting Deadpool), and at this point there should be very little left to say about these characters. I know that Hollywood is a business, and FOX will continue exploiting this familiar territory for the brand recognition alone, but they’ve retread the same ground over and over again with nothing new to contribute so often that I’ve grown weary of the entire endeavor. I didn’t even really want to see Logan, I was wary of being burned again after The Wolverine started with such promise and ended up so disappointing. So when I say that Logan is a genuinely good film, and it even has moments of greatness, understand that while this is coming from a place of low expectations I’m not judging merely judging this on a curve. Logan is a fitting companion to the original X-Men films, good enough to almost make it worth slogging through some of the more recent movies in order to reach this point, and far better than it has any right to be.
In my youth I read every Star Wars novel I could get my hands on. I was obsessed with the Expanded Universe and the opportunity it represented to give me more of my beloved trilogy of films, at least until such time as George Lucas saw fit to give us those long-promised extra episodes. I loved reading about the continuing adventures of Luke, Leia, Han, Chewie, Lando, R2, 3PO, and the rest, their children, and the extended Skywalker family’s attempts to bring peace to that galaxy far, far away. But my favorite books often didn’t involve the saga’s familiar bands of heroes and villains at all, instead focusing on a minor character from the films or telling the story of a previously unexplored event or location in the world of the movies. When Disney bought Lucasfilm and the rights to Star Wars, they sadly but wisely did away with the Expanded Universe, relegating it to the Star Wars Legends label and removing it from the official canon in order to clear the way for The Force Awakens. It made lots of sense, as it would have been impossible to work the new films around the intricate and even sometimes contradictory narrative that had been created by the countless books, but it was hard to see these stories that I’d (mostly) loved stripped of their official status and turned into a tantalizing “what if” outlining an alternate take on the Star Wars mythology. Despite the Star Wars universe losing a good deal of depth and color without the EU, Disney now finds itself with new avenues of storytelling open to it, and the opportunity to flesh out the saga in a more cohesive way. It’s already started this process with a new series of books that weave in and out of the films and TV series that make up the new official Star Wars canon, but their newest and biggest push to once again plumb those unexplored depths has arrived in the form of Rogue One: A Star Wars Story. It’s a bold move, giving audiences a big screen event film with Star Wars in the title, yet featuring almost none of the saga’s main characters, placing it alongside the series’ other 7 live-action films as an equal, yet not advancing the main story of the Skywalker family, requiring a little work and understanding from viewers as to how it relates to its cinematic brethren, all while hoping to launch a new method of Star Wars storytelling as well as a new way to capitalize on the popularity of Star Wars. In the end, Rogue One is a success, telling an exciting and compelling story that enriches the universe without distracting from the ongoing main saga, and I can’t help but feel like it’s the cinematic equivalent of those novels I loved as a kid, which explored moments, issues, and characters that would never be worthy of inclusion alongside the Skywalkers, but which nevertheless contributed to those iconic stories by bringing the surrounding world to life. Continue reading
Harry Potter is back in Fantastic Beasts and Where to Find Them! No, wait, this isn’t The Cursed Child, though it is filled all of your favorite Harry Potter characters! Ok, maybe not, but you might recognize a few names here or there. But it is set in the beloved world of J.K. Rowling’s Harry Potter series! Well alright, it’s actually set in the 1920s in New York, filled with unfamiliar magical slang and completely foreign to both our protagonist and to viewers. Still, this is the Harry Potter spinoff that everyone has yearned for since the series concluded! No, it’s not? So why should anyone care about Fantastic Beasts and Where to Find Them, when it seemingly lacks everything that audiences grew to love about the Harry Potter saga? For starters, it’s an exciting, dark, fun, funny, emotional, and immensely creative film set in a rich and fascinating world that is strong enough to stand on its own. It deepens and broadens the Harry Potter universe, showing us previously unexplored aspects, locations, and eras of the wizarding world providing new insights and a greater context for the events that shaped the life of the Boy Who Lived. And it kicks off a five film series in a way that’s far more topical, political, relevant, and just more interesting than any of the Harry Potter films that came before (matching the tone of the later books much more closely than the movies). And most importantly to me at least, this is the story that J.K. Rowling wanted to tell, that she thought would be the most compelling way to expand and explore the universe she created. As far as I’m concerned she was right, and I can’t wait to see more.