Ben Solo is going to get redeemed. You can count on it, at least if JJ Abrams understands even the smallest thing about the moral universe that George Lucas created in the first six Star Wars films. Redemption is as baked into the DNA of Star Wars as lightsabers and space battles, and to swerve away from that in the supposed final chapter of the Skywalker saga would be far more shocking than killing off all the characters at the end of Rogue One. Whether that redemption involves a love scene with Rey remains to be seen (don’t count on it), but by the end of the film Kylo Ren will have returned to being Ben Solo, and he will have found redemption.Continue reading “Kylo Ren vs Cancel Culture”
Today’s big news is that JJ Abrams and his Bad Robot will be leaving Paramount to set up shop at Warner Media in a very lucrative deal that will see JJ producing movies, TV and games for WB. It’s a big move, and it’s part of WB’s recent signings intended to try and safeguard some talent from being tied up at Disney forever and ever.
The word is that Warner Bros wants JJ to create original, new franchises, and that’s admirable, but I’m not sure he’s the guy. Let’s put it this way: he’s never done that. He’s created/produced some successful TV series, and I think he’ll probably do more of that with Warner, but he’s not launched a new movie franchise yet.Continue reading “Is JJ Abrams Coming to Rescue the DC Movieverse?”
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”
There was this party at Comic-Con one year where I got absolutely hammered and I cornered JJ Abrams. This was when it had been announced that Star Trek Into Darkness was happening, but we knew nothing else about the movie. I had enjoyed the first Abrams Trek, although I thought it was a mess; one of my least favorite things about it was Nero. I thought the character was hollow and empty and violated one of the main tenets of good Trek.
Good Trek, I slurred to poor JJ that night, doesn’t have a villain. It may have an antagonist, but it doesn’t have a villain. This is hard to argue because everybody’s favorite Trek thing is Wrath of Khan, a movie featuring one of the great screen villains. But I would argue that movies like Star Trek: The Motion Picture and Star Trek IV: The Voyage Home, neither of which has a villain, are the most Trek-y movies of them all.
I need to learn the most valuable lesson about writing TV criticism: don’t do it until the season is over. Maybe wait until the whole darn show is over. Again and again I’ve gotten really excited about a show and recommended it, only to see the show sink into a morass as soon as I’ve pledged allegiance. My timing is bad.
The latest show to fit into this pattern? Hulu’s Castle Rock, which had an extraordinary first act. I was really smitten with the show, and at the beginning it seemed to be setting up an exciting world and great characters, tying lightly into the Stephen King megaverse but mostly getting the King flavor absolutely right. So what the hell happened?
The only way Castle Rock could be more Stephen King-y would be if the lead character were a novelist. In fact, there are no novelists yet introduced on the show, a huge oversight if you ask me. Maine, as I understand from King’s work, is thick with novelists. You can’t run into an ancient curse or a terrifying entity without finding a novelist somehow tied up in the whole thing.
I don’t love writing about TV shows while they’re still airing – they could shit the bed at any moment! – but it feels important for me to tell you that Castle Rock is, three episodes in, quite good. And it’s quite good in a way that feels unique to the King ouvre; this is a show that gets what the experience of reading King is, and unlike almost ALL the adaptations ever attempted of the Master, it captures that experience. Again, Castle Rock could absolutely fall apart this week, but the first three episodes lay such a solid foundation that I could believe the show might be able to recover from a serious episode four stumble.