So sang Zero Mostel in Fiddler on the Roof, and his cry also echoes across the plains of Wakanda in Black Panther, a movie so rich with complex themes that pulling out one or two of them for discussion is daunting and feels like a disservice to the whole. But the tension between tradition and modernity is one of the driving forces behind the film, and in the space between these two forces is where director Ryan Coogler finds a way to the future.
Continue reading “BLACK PANTHER: Tradition in Turmoil”
This is all spoilers.
Thor: Ragnarok is one of the most unusual blockbusters in recent years because it answers a question that has been haunting the edges of Hollywood’s latest round of overinflated, unasked for franchises: how do you finish out a trilogy of films about which nobody gives a single shit?
We can sit here and argue the relative merits of Thor and Thor: The Dark World all day long, but I think that we have to agree that these films are probably the least of all the Marvel Cinematic Universe works, and that out of all the MCU movies they’re the most like the sort of forced franchise that the public can’t really get worked up about (see the currently collapsing Dark Universe for an example of the forced franchise phenomenon reaching the end of its life cycle). Out of the initial wave of MCU characters, Thor had the most intriguing and offbeat source material, and yet it somehow never quite worked onscreen. Loki popped more than Thor or any of the Asgardian side characters. The movies made some money but never captured the popular imagination in a meaningful way; in comic book terms they’re the issues in a crossover event that you buy out of a weird materialistic sense of obligation.
Continue reading “Review: THOR RAGNAROK”
Marvel Cinematic Universe villain rankings, official. Best to worst, main villains only: