As the headline indicates, this will mention the ending of The Irishman, but it won’t be too specific. It will, however, touch on the general events and tone of the end of the film as context .
Yesterday I was talking to a guy who isn’t a movie guy. He’s a working class guy, likes to spend time at the gym, keeps himself busy. He doesn’t make a lot of time for movies or TV, but the holiday weekend being what it is – his family lives out of town – he found himself watching The Irishman on Netflix.
He didn’t watch it in one go. Even when he had nothing else happening he couldn’t sit still for the whole three and a half hours, so he watched it in chunks over a few days. And in the middle of the chunks he got news that his father was dying. His father was living alone and he had fallen, and he had laid in a puddle of his own vomit for two days. Now he was in hospice and dying.
This guy didn’t tell me his whole relationship with his father, but he didn’t have to. It was on his face. It wasn’t an easy relationship.
So this guy watches the end of The Irishman, puts on the last hour and figures he’ll get his mind off things. Except… well, if you’ve seen The Irishman you know it didn’t get his mind off things. Exact opposite, in fact.
Continue reading “The Ending Of THE IRISHMAN”
Maybe Tony Stark died at the exact right moment. Maybe the spring of 2019 was the last time it was safe out there for a billionaire, and if he had survived into the current Democratic primary, which has made billionaires as much a target as President Trump, he would have come to understand Harvey Dent’s famous quote in The Dark Knight.
It’s almost hard to remember a time when Iron Man was a C-list superhero, but he was. He was essentially a runner-up, a superhero whose best known storyline was the one where he was too much of a drunk to keep being a superhero. But the vagaries of Hollywood are what they are, and Marvel Studios ended up with only the rights to their B and C-list heroes, and so they made an Iron Man movie. The rest, as they say, is history.
But it’s a weird history, one warped by the fact that Tony Stark is the founding member of the Marvel Cinematic Universe. That doesn’t reflect his status in the comics (or at least it didn’t, until recently) and it has led to a strange and unforeseen – and, I think, largely unacknowledged – imbalance in the MCU. One that, now that Tony is dead, can finally be corrected.
Continue reading “Now That Tony Stark Is Dead, Maybe the MCU Can Get Progressive”
Yesterday the internet was aflame with the news that, in the wake of the ultra-successful Spider-Man: Far From Home, Disney and Sony would be parting ways on the Spider-Man character. It’s pretty big news in terms of modern blockbuster filmmaking, but it didn’t feel too surprising to me.
After all, Venom‘s success was the worst thing that could happen to Spider-Man – it convinced Sony it knew how to make these movies.
Continue reading “About All The Spider-Man Mishigoss”
Nobody puts on an announcement like Marvel Studios; since the death of Steve Jobs Kevin Feige has become the number one “standing on a stage and announcing thing” guy in the world, and this year’s slew of reveals at San Diego Comic-Con was no different. Feige laid out Phase Four of the Marvel Cinematic Universe, although I don’t love this – we only got two years worth of releases, and no climaxing team-up as we have had in the previous three Phases.
If Phase Four is just a bunch of movies, what even is a Phase anymore? I certainly would like this cleared up, because one of the things that has been great about the MCU to date is that each Phase has felt like a chapter, and they have all been leading up to something. Unless the Doctor Strange or Thor movies are some sort of culmination film, we’re dealing with a little wayward Phase here. An intermediary phase. Intermezzo Phase. And it could be Intermezzo because it lost the big player it was counting on Guardians of the Galaxy Volume 3.
Continue reading “Intermezzo Phase: A Look At Marvel’s Phase Four”
This review contains full spoilers for Spider-Man: Far From Home as well as Avengers Endgame.
We have to get a couple of things out of the way here. First: Tom Holland is the definitive Peter Parker; if the character gets retired from the movies in favor of Miles Morales after this particular run, that will be a good thing, as the idea of someone trying to compete with what Holland has accomplished in his five (!) outings at Peter is impossible to imagine. Second: Spider-Man: Far From Home is a miracle beginning to end, tasked with being the epilogue to Avengers: Endgame as well as a satisfying Spidey movie, and it pulls both off with absolute finesse.
I’ll be honest with you: Captain Marvel and Endgame had me kind of bummed about the MCU. CM was just not that good (is it okay to say that now?), and it became the first Marvel movie I didn’t see twice in theaters (yes, I saw Thor: The Dark World twice in theaters, like a crazy person). But it wasn’t the last! I still haven’t seen Endgame a second time, despite the rerelease. It’s not that Endgame is bad, it’s just that it’s not really a movie; maybe when I can watch Infinity War and Endgame back to back I’ll feel like I’m getting a full experience, but Endgame is mostly a series of callbacks in search of a narrative, and it’s full of Marvel superheroes behaving in ways I fundamentally dislike.
It seemed that perhaps, at 45, I had finally aged out of these spandex punch-ups. Maybe I had finally ascended to real adulthood, where my three jobs and my bills were more important than the minutiae of decades worth of comic book lore. Had I become a real adult?
Continue reading “SPIDER-MAN: FAR FROM HOME Saves The MCU”
This contains spoilers for Avengers Endgame.
There is a delicate, unspoken balance that must exist in a superhero universe. For a superhero story to work, the world in which the superheroes live must resemble our own – with the exception that it has superheroes. The impacts of superheroes can be explored… to a point, after which the whole house of cards tumbles down.
The balance is precarious. Go too far in one direction and you find the audience asking why Tony Stark doesn’t solve the energy crisis or global warming, or why Shuri and the Wakandans don’t cure cancer. Yes, characters can go into space, but we can’t have a colony on the Moon. Go too far and the science fictional world of superheroes – a world one day in the future – becomes a world that is gradually unrecognizable, that is fully futuristic science fiction.
Avengers Endgame creates just such a world, and beyond simply ignoring it I don’t know how future films in the Marvel Cinematic Universe will deal with it.
Continue reading “How AVENGERS ENDGAME Changes The MCU Forever”
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”
At some point in Captain Marvel it dawned on me: this movie is set in the 90s. Maybe it was when Carol Danvers stood in front of a wall plastered with posters for Smashing Pumpkins, Bush and PJ Harvey. Maybe it was when she wore a Nine Inch Nails shirt and Nick Fury told her the grunge look was good on her. Maybe it was when every song that played in the movie was a well-worn 90s track. Maybe it was when everybody sat around comically waiting for a CD-ROM to load. Maybe it was when Carol looked up info on Alta Vista. Maybe it was when the movie had a close-up of a record player playing Nevermind.
The movie’s brutal reliance on 90s references could be just an irritating tic, but I think it actually gets at the fundamental problem that lies under the surface of Captain Marvel – this is a movie more constructed than crafted, and those needle drops feel like part of the construction, a knowing attempt to get in on the ‘90s kid’ generation and their desire to have their own childhood chewed up and spit back into their faces. Big parts of this movie feel inorganic and airdropped in, and those big parts are especially frustrating because Captain Marvel is peppered with small moments of absolutely organic beauty and charm.
Continue reading “CAPTAIN MARVEL Never Quite Takes Off”
Entertainment history is going to look back at this time period as an era defined by longform serialized storytelling, with instalment-based stories conquering just about every narrative medium. Eventually this will end, not because serialized longform storytelling is bad but because all things fade away and change. Charles Dickens was telling stories in an environment like this one, just before the novel conquered all. And yet now the chapter has conquered the novel.
And yet when we look back at this period it’s going to be clear that there were two true standouts, two works that loom over all the others. Entertainment historians will argue about whether or not this period began with The Sopranos or with the interconnected nature of comic books, or with the endless storylines of soap operas, but I believe there will be a moment where it all peaked and that will be obvious. The two longform stories that dominate all others, and that define this very era, are Game of Thrones and the Marvel Cinematic Universe, and neither will be replicable. Enjoy this moment while it lasts, because we’re at the summit.
Continue reading “An Era Ends: GAME OF THRONES and The MCU As The Last Giants”
We used to have record albums (the old man yelled at the cloud). LPs, they were called, for long play. When bands made LPs they did something called sequencing, which was putting their songs in a specific order intended to bring the listener for a journey. You weren’t supposed to skip around the LP, and there was no way to shuffle the songs, so you would drop the needle at the beginning and listen through until the end. It feels archaic today, the idea of sitting down and listening to an album in full (and getting up to flip it over in the middle!), so archaic that it has become retrohip, and even Hot Topic sells vinyl LPs. But I think that with the heyday of the LP and the heyday of albums behind us, we have also lost the heyday of sequencing.
Good sequencing would build over the course of an album side, getting up to a crescendo of intensity and pace, and then perhaps pulling it back for a sonic palate cleanser. Think about Rubber Soul, by The Beatles (UK version) – side one ends with Michelle, with its French cabaret feel, and side two opens with a blast of zany country as Ringo sings What Goes On. That creates the space needed for the band to go in a totally different direction with Girl, which has a Greek folk sound. By putting the Ringo country song in between these two European love songs The Beatles create an experience for us that transcends the individual songs.
In 2018 Marvel Studios has accomplished a major feat of cinematic sequencing. Opening the year with Black Panther they got us revved up, excited, triumphant. Then came Avengers: Infinity War, which ends on one of the all-time down notes (for post-Beneath the Planet of the Apes blockbusters, anyway). But that isn’t the finale – the album isn’t over – and so they’ve wisely programmed Ant-Man and the Wasp right afterwards, giving us a small breather, a little bit of space before leaping back into the fray next year.
Continue reading “ANT-MAN AND THE WASP: Come On, Get Happy”