THOR Rereview

“How quaint.”

This is the thought that kept going through my head while revisiting Thor on this runup to Infinity War. Back in 2011 I hated this movie, thought it was just simply the worst of the worst and a huge, boring misstep for Marvel Studios. Today I look at it and see that it’s a movie developed in a world where comic book movies hadn’t yet entered their modern age, and the film has echoes of a landscape where David Hasselhoff played Nick Fury and where superheroes and their enemies usually had their final battle in a warehouse, or on docks, or on a bridge. Marvel knew how to make more grounded characters like Iron Man or more familiar characters like the Hulk work, but Asgardian gods? Space cities? Magic and high weirdness? They weren’t quite ready to commit just yet. Looking back from the post-Thor: Ragnarok vantage point how can we say anything but “How quaint”?

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ANNIHILATION: The Dependent Origination Of Terror

Full spoilers for Annihilation follow.

Studies have found male DNA in the brains of women who bore male children. Cells from the fetus made their way into the mother’s body and then became a part of the mother; it’s called microchimerism. It’s not clear if that sharing of cells does anything to the mother, but this fact lays bare the intense mutability of our existence as solid beings.

Annihilation finds terror in that concept. Loosely based on the first book in a scifi trilogy, Annihilation is Alex Garland’s unique and personal vision of a world unmoored from certainty and stability, both emotionally and physically. It’s a world where love, trust and flesh itself can be molded and changed… often without our permission, or without our conscious understanding of the causes that led to these effects.

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