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Everybody knows that Star Trek II: The Wrath of Khan is the best in the franchise. And everybody loves the fun and silly vibe of Star Trek IV: The Voyage Home. But Star Trek III: The Search for Spock, released 35 years ago this week, is stuck in this terrible underappreciated place, the movie that paved the way for the concept “the odd numbered ones are bad,” and is almost totally dismissed. But it shouldn’t be! Search for Spock is great, if flawed, and it works remarkably well as a reaction to the darkness that defines Khan.
One part heist film, one part men-on-a-mission movie, one part sweeping epic romance, Search for Spock is the most intimate Star Trek movie ever made. The scale of these films kept reducing; Star Trek: The Motion Picture includes a 2001-riffing journey through psychedelic imagery, while Khan brings the story down to a beef between two old enemies centered around a planet-destroying superweapon. But Search for Spock goes even smaller, because there are only personal stakes here. In TMP V’ger threatened Earth, while in Khanthe Genesis Device was a threat to all life in the galaxy. But by the time we get to Spock, we learn the Genesis Device doesn’t really work. Yes, it’s a powerful destructive force, but in the world of Trek it’s not clear how important that is or isn’t (couldn’t the Klingons destroy a planet from orbit anyway if they wanted to?). No, what’s at stake in Spock is Spock himself, and he doesn’t hold some key to stopping a threat or the answer to a riddle that must be solved; he is being saved simply because he is Spock, and he is loved.
Continue reading “Now On Patreon: Love Beyond Death: STAR TREK III: THE SEARCH FOR SPOCK”
This contains spoilers for John Wick: Chapter 3 – Parabellum.
What does a John Wick movie owe us? Action, for sure, and John Wick: Chapter 3 – Parabellum, gives us that in spades. It is some of the most accomplished hand-to-hand fighting action we’ve ever seen in an American film; I’ve seen it compared to the work in The Raid, which is high praise and – while I wouldn’t quite go that far – indicates just how excellent the fight choreography is in this film.
But I think a John Wick movie owes us more. What has made this franchise so successful – the third film is the biggest earner yet – is the strange combination of ass-kicking, weirdo world building and a deep emotional core that motivated it all. The first John Wick was a sleeper hit not because Keanu Reeves was a star – the film came out in one of the occasional valleys in Reeves’ mainstream popularity – but rather because we cared about what happened. It took a standard revenge plot and made it special by making it about a dead dog. We’ve seen revenge fantasies driven by dead wives and children, but there was something so tender about the dead dog that we all fell head over heels for John Wick, the assassin who really just wanted out of the game.
Continue reading “JOHN WICK 3: Is John Wick The Bad Guy?”
This piece is two years old; I wrote it in February 2017 and posted it on Facebook. Today is the 20th anniversary of the release of Star Wars Episode I: The Phantom Menace, and I wanted to commemorate it but didn’t have the forethought to sit down and watch the movie again. But this piece, which represents my latest revisit of the film, feels pretty spot-on to me still two years later. I’ve gone back to the Prequels again and again, hoping each time the changes in me have changed the way I see the movies. This has not been the case. In fact, this post came after I bought the Prequels on Blu as an attempt to revisit them in full in a spiritual/Buddhist light. I never made it past Attack of the Clones.
Note: I have made minor edits to this for clarity and grammar, but not for content. This piece is maybe more jargon-y than I would write today, but maybe that’s a problem with me today. I reference a thing I wrote about Yoda’s fear/anger/hate/suffering bit that I have not published on this site; maybe I will at some point. Finally, this was written before The Last Jedi, which I think has a top tier John Williams score.
I just finished the book The Dharma of Star Wars, which finds parallels and examples of Buddhist teachings in the Force and the Jedi, and it really impressed me. Much of the book’s content related to events from the Prequel Trilogy, and it made me wonder if these films – which I had maligned for so long – were actually brilliant Trojan horses smuggling dharma into the minds of impressionable Western children. The book’s pretty good in general – out of all the Buddhist stuff I’ve read/listened to in the last few months it’s the work that moved my understanding of ‘no self’ furthest. So I decided to give the Prequels another shot, with a Buddhist perspective.
Continue reading “STAR WARS EPISODE I: THE PHANTOM MENACE Is Still A Miss 20 Years Later”
We have the technology to create anything on the screen, and we keep using that technology to create realistic things. JJ Abrams helped usher in an era of monsters that are based on real biology, that look like they could really exist, which has led to a glut of boring and samey looking CGI monsters. The Transformers movies gave us robots that had every single gear, piston and rivet that would be needed to change from a humanoid to a vehicle, and that meant incomprehensibly complicated designs that had no personality. And even going beyond CGI, our superhero movies have these depressingly low-imagination tendency of keeping the characters in tactical outfits, basically less colorful and less wild versions of their iconic comic book costumes.
Realism is the disease. Detective Pikachu is the cure.
Continue reading “POKEMON: DETECTIVE PIKACHU Is The Most Aesthetically Important Blockbuster Of The Century”
This has always been what Game of Thrones is. Last night’s episode has torn the internet asunder, but I feel like it was only fulfilling the premise of the entire series; if anything last night’s episode is proof that the show has strayed too far from George RR Martin’s cynical worldview in the past season or two, lulling us into a fantasy football version of ‘who will take the throne?’ But the story has always been suspicious of anyone who wants the throne, and has always shown that those who vie for it, even for the best of reasons, are eventually monsters.
What you have to keep in mind is that A Song Of Ice And Fire, the book series from which Game of Thrones is adapted, is George RR Martin’s answer to Lord of the Rings. Martin is a huge fan of Tolkien, but he started this series as a critique of the Manichaean good vs evil concepts that LOTR baked into pretty much all high fantasy afterwards. More than that, he took issue with the idea of ‘Happily ever after.’ Don’t just believe me on this, here is Martin himself, talking to Rolling Stone:
Continue reading “This Has Always Been What GAME OF THRONES Is”
This contains spoilers for Avengers Endgame.
When is a movie not movie? This isn’t some kind of riddle, but rather an attempt to figure out how to approach a film like Avengers Endgame, which feels not quite like a motion picture as we define them and more like an event. It’s an experience first and foremost, a movie second… and I wonder how much that matters. How much does it matter that the ending works more as fan service than as logic? How much does it matter that the movie completely betrays Steve Rogers’ character to get to a teary-eyed smile at the end?
Thinking about Endgame I find myself thinking about It’s A Mad, Mad, Mad World, the epic blockbuster comedy from Stanley Kramer. It’s stuffed to the gills with superstars, and it was originally bladder-shatteringly long (197 minutes! A comedy!). In terms of things like ‘plot’ and ‘structure’ it isn’t strong, but it makes up for all of that with the charm of Milton Berle and Buddy Hackett and Ethel Merman and Phil Silver. It features a stunning parade of cameos, including Jack Benny, ZaSu Pitts and Buster Keaton It’s not nuanced or subtle, and it’s hugeness and broadness is part of the point; it’s a big screen comedy released at a time when the movies were feeling TV nipping at their heels.
It’s all really familiar.
Continue reading “AVENGERS ENDGAME: More Event Than Movie”
“I’m a reverse paranoid. I believe the world is conspiring to make me happy.”
– Moondog, The Beach Bum
This review contains full spoilers for The Beach Bum.
That a new Harmony Korine movie should be morally disagreeable, juvenile and more than occasionally offensive is no surprise. That it should it be joyfully wise, subversively kind and the single most anti-materialistic work of a moment in time steeped in bourgeois socialism is actually very surprising, and The Beach Bum is perhaps one of the most wonderfully and uniquely meaningful movies of the moment, which is also a profound surprise.
Continue reading “Now On Patreon: THE BEACH BUM Takes Us On The Road Of Excess”
There are great moments of heroism and personal sacrifice in the history of Star Trek, moments that illustrate the best of humanity in the worst of situations. From Kirk allowing Edith Keeler to die in order to save history, Picard holding firm that there are four lights, or Spock quietly getting out of his chair and heading to engineering at the end of Wrath of Khan, these moments are some of the most beloved in the almost 700 hours of Trek canon.
Not every Trek gets a moment as good as these, but last week Star Trek Discovery got its own – and it was a moment that I think ranks high in the pantheon of great Trek. If you’ve been watching the show this season it might come as no surprise that the moment centers around Christopher Pike, new captain of the Disco, who has been such a wonderful and invigorating addition to the show that fans have taken to Change.org to start petitions demanding actor Anson Mount get his own spinoff series.
See, Pike would need a spinoff, he can’t stay on the show, since he’s a character deeply embedded in Star Trek lore, and his future is well-known to fans. It’s a dark one.
Continue reading “Last Week’s DISCO Gave Us An All-Time Great STAR TREK Moment”
Being a hero is a choice, one that’s never too late to make and that never has to be made alone. That trinity of concepts is the beautiful and emotional throughline that holds together the light, breezy and fun Shazam!, taking this superheroic riff on Big and elevating it to a place that resonates on the same emotional and thematic frequency as Donner’s Superman, a movie as focused on the small humanity of heroism as the big superhumanity of it.
Based on one of the least cool DC characters, a character who was ingested into that universe in a business deal but who has never quite found his place in the pantheon (not for lack of trying or lack of quality comics), Shazam!opts to embrace everything that makes its source material so out of step. It’s a family movie, a funny movie, a loving movie, a hopeful movie, a movie whose hero earnestly says “Holy moly” a couple of times. Most of all it’s a kid’s movie, just as Shazam (or Captain Marvel as he seemingly cannot be legally called in this film) is a kid’s hero. And I don’t mean that in a dismissive or condescending way, but rather that the character represents the positive peak of the wish-fulfillment possibilities of the superhero genre.
Continue reading “SHAZAM! Earns The Exclamation Point”
This review contains complete spoilers for Us.
When Get Out got to the Coagula my heart sank. The movie had been doing so well and then it got to this explanation for the underlying mind-switching and I was deeply concerned. You can really kill the magic of a story by going here, and too often filmmakers don’t understand that we don’t actually care how the magical stuff in a movie happens, we just want to be assured there is a reason.
Thankfully, Jordan Peele kept Get Out moving at such a clip – and kept the Coagula so weird and so aesthetically connected to the film’s themes – that it was only a bump in the road. The movie didn’t get bogged down in the Coagula, and I didn’t walk out with the logistics of the Coagula itching at my brain.
I wish I could say the same about Us.
Continue reading “US: Face Your Jungian Shadow… And A Bad Ending”