This contains full spoilers for the 2018 Halloween.
In the original Halloween II there was an elaborate, soap opera-y reason for Michael Myers to come after Laurie Strode yet again – she was his secret sister, and just as he had killed Judith, he wanted to kill Laurie. This kind of explanation was needed to franchise the characters; if you were going to have Laurie and Michael face off again and again you needed to have a reason. As John McClane once wondered, “How can the same shit happen to the same guy twice?” The answer, for decades, was that Michael Myers cared deeply about Laurie.
What Halloween 2018 asks is… what if he didn’t? What if Michael Myers did not care about Laurie Strode at all, but rather Laurie Strode cared so much about Michael Myers that she couldn’t let him go, couldn’t leave him behind, and as such she ends up in the middle of his 40th anniversary prison break, once again being stalked by The Shape who, in other circumstances, would have been happy to just keep killing strangers.
Continue reading “HALLOWEEN 2018: The Shape Of Trauma”
I play Call of Duty online multiplayer. Maybe more than I should; perhaps any COD online is too much, as the game is the opposite of what I am trying to cultivate in my mind. No, this isn’t a military violence thing, rather it’s an acknowledgment that shooters like this are twitch-based games. They are about reflexes and reactions, and I am trying to train my mind to respond more slowly, not more quickly. I think they make me kind of jumpy and amped up in a not-great way.
Maybe I’ll kick the habit, but in the meantime I was playing this morning and noticed some serious dukkha happening in the game. Not to me, although I do notice my own suffering sometimes when the game isn’t going my way. No, I saw it in another guy who was ranting and raving about the other players, whom he was calling the kind of slurs that I as a straight white man cannot repeat.
Continue reading “Suffering And Acceptance In Video Games (aka CALL OF DUKKHA)”
Lately non-genre publications/sites have been covering genre films, largely because that’s where the clicks lie. You get all the mainstream mags and the generic film blogs covering movies that were once the sole province of Fangoria or Starlog, and sometimes you end up with writers who don’t know a lot about genre doing the coverage. Add to that hot take/problematic culture and you end up with something along the lines of what Little White Lies published recently, “How Halloween stoked our fears and misunderstanding of mental illness” by Frazer Macdonald.
The piece is well-intentioned – it takes to task how horror movies use mental illness as a shortcut to making a villain/killer scary – but it’s applied incorrectly. Very incorrectly. See, Michael Myers isn’t mentally ill. There’s nothing “wrong” with him, nothing to be “fixed” or healed. And that is what makes him scary.
Continue reading “Michael Myers Is Not Mentally Ill”
You may have seen the announcement about Jon Favreau’s live action Star Wars show, The Mandalorian. Set after the events of Return of the Jedi but before The Force Awakens, The Mandalorian will follow a gunfighter in a familiar armor as he travels the Outer Rim of the galaxy. You might look at the first image released and mutter, “What a bullshit attempt to capitalize on the popularity of Boba Fett,” and I get where you’re coming from. You’re coming from the POV of someone who hasn’t watched Clone Wars or Rebels.
Continue reading “Why THE MANDALORIAN Will Probably Be Awesome”
In September of 1975, just weeks apart, there were two attempts on the life of President Gerald Ford. Neither was a success; the first would-be-assassin never even fired a shot, while the second’s shot went awry when a good samaritan intervened. But even so, these attempts were unique in the history of American political murder, as both assassins were women. And they were totally unconnected.*
Neither, by the way, had much of a beef with Gerald Ford personally. While John Wilkes Booth or Lee Harvey Oswald** held deep personal issues with their respective victims, Lynette “Squeaky” Fromme and Sara Jane Moore were coming at Ford because of his position, not because of his policies. Ford was a hapless president, the only president not elected at all – he had been appointed Vice President by Richard Nixon after Spiro Agnew resigned, and he had ascended to the Oval Office when Nixon bugged out – and he was more of a blip in our history than anything else.
Continue reading “The Women Who Tried To Kill The President”
Marvel set up their cinematic universe in phases. The first phase was leading up to The Avengers; the financing deal the then-fledgling studio got would allow them to make The Avengers pretty much no matter what, although they had contingency plans in case the solo movies bombed (there had been talk of releasing the movie as an Iron Man sequel, for instance).
Since then the phases have been largely delineated by the Avengers movies, with the solo films swirling around and leading into the next team-up movie. It has, to put it mildly, worked. The planning has not been impeccable, but it has been strong enough so far to overcome director changes and the vagaries of public interest.
The DCEU (DC Extended Universe, what the fans call the DC Comics Movieverse) has not been so lucky. The DCEU has seemed like a cinematic encapsulation of the phrase “Man plans, God laughs.” Looking to compete with the MCU, DC’s parent company Warner Bros in 2014 announced an ambitious slate of superhero films… and the wheels started falling off almost immediately. Two of the films from that slate – Justice League, Part Two and Cyborg, are functionally gone. Another, The Flash, is supposedly happening, but has been plagued with the kind of director turnover that can only be attributable to the production office being built on a cursed burial ground. Batman v Superman: Dawn of Justice was savaged by critics and came up short at the box office. Justice League was destroyed by critics and audiences, and was essentially a bomb, not only failing to crack the gold standard one billion dollars worldwide, but actually earning less than every previous DCEU film.
Continue reading “The End Of The DCEU Phase Zero”
If I were rich, I would be happy.
This thought came to me more than once this week while cleaning up trash and swabbing out toilets at my day job. But once I confronted the thought it melted away; two years ago today I was making about 400% more money and was about 200% unhappier. I wasn’t even that much more comfortable, to be honest. Somehow I managed to spend all of that extra money and had basically nothing to show for it.
“Money can’t buy you happiness” feels, when you’re poor, like one of the nastiest lies that rich people feed to you. It sounds like a maxim designed to keep you down, to make you stay satisfied with your wretched lot in life, to keep you from encroaching on their hallowed halls of aristocracy.
Continue reading “Elon Musk Is On A One-Man Mission To Prove Money Doesn’t Make You Happy”
With the passing of Burt Reynolds another age of Hollywood comes to an end. I had the chance to see Reynolds in person earlier this year, at the Egyptian Theater during a double feature of his masterpieces Smokey and the Bandit and Hooper, and at 82 he had the same kind of charm and warmth that made him such a great movie star.
But there was something else to Reynolds that separated him from other stars of his period, and other stars that came before him. You see, Burt Reynolds was my friend. No, I never met him. I never exchanged messages or phone calls with him. I’m not even sure I ever attended the same event that he did, at least until that night at the Egyptian. But he was my friend nonetheless, and that was the quality that made him so endearing to a whole generation.
Continue reading “Burt Reynolds Was My Friend”
This contains spoilers for Blindspotting.
There’s an optical illusion at the center of Blindspotting, the famous image of a vase that, when viewed with the right perspective, becomes two faces. This optical illusion becomes the driving thematic element of the film, and I think it also becomes the meta thematic element of the film – how you look at Blindspotting, what your perspective is, will dictate what you see in Blindspotting.
For some it will be the gentrification that permeates every block in modern Oakland, transforming the city in which Collin (Daveed Diggs) and Miles (Rafael Casal) grew up, transforming it around them storefront by storefront. For some it will be the constant threat of police violence that hangs over Collin, a black man just trying to walk down his own street, haunted by seeing another black man gunned down while fleeing the cops. For others it will be the ways Miles desperately grabs for identity as he drowns in a sea of anger and resentment, a white man growing up in a black culture in which he can never truly participate, and yet apart from the white gentrifiers invading his community.
Continue reading “BLINDSPOTTING: Being A Felon, A Human, An Optical Illusion”
Here’s the great yin and yang of our time: DC’s movies are terrible, while their TV shows tend to be rather delightful. Marvel makes the best movies, but their TV shows lean towards the very bad. Weirdly the only place where this dichotomy is broken is when it comes to animated DC movies – they are actually really great, better than the live action DC movies and stake out their own weird space in the superhero universe.
Lego Batman was a blast, and I think was one of the better Batman movies ever made. It really got to the heart of the character, while also poking a lot of fun at the character. And now Teen Titans Go! To The Movies has arrived and is a better DC Universe movie than any of the live action DC Universe movies, and it accomplishes that while being wildly irreverent and disrespectful… but in a truly loving way.
Continue reading “TEEN TITANS GO! TO THE MOVIES: Disrespecting DC, And It Works”