Thor: Ragnarok revitalised the character after a lacklustre second instalment thanks to it's humour and willingness to embrace the absurdity found in the comics - grand space opera, weird creatures from the stars, and a sense of humour throughout. Thor: Love and Thunder pushes that just a little too far. The movie is essentially Thor's story filtered through the perspective of beloved supporting character Korg, but this is the movie's flaw. No sincere moment is allowed to stand without being undercut by a quip, a sight gag, a silly interruption. There's no emotional solid ground, so you can never become fully invested in the story. The cast is great, the characters are interesting, the setting is compelling, the concepts are intriguing, but the story's unwillingness to allow a moment of seriousness makes even the funny parts less enjoyable. It's not a bad movie, I had fun while I was watching, but you can tell that it could have been much better.
Reviews
9 Reviews
The Sandman
(2022– )
Longtime fan, very pleased
17 August 2022
Neil Gaiman has been fielding and rejecting offers to adapt his wonderful comic series "The Sandman" for three decades. This series exists solely because he found a creative team and cast that he felt could do it justice. As a fan of that comic since day one, I must say - I'm glad he did. I won't pretend it's some unparalleled masterpiece, but it is a worthy adaption of the source material and a well above average show on it's own merits.
The series follows Morpheus, a.k.a. Dream of the Endless, the anthropomorphic personification of the very concept of dreams. He is captured and imprisoned by humans for 100 years, during which nightmares and dreams escape his realm and wreak havoc on the waking world. Once free, he must find his stolen tools of power and bring his errant subjects home.
Along the way he deals with the impact he has had on human lives, encounters his past sins, ends old conflicts and sows the seeds of new ones.
Tom Sturridge is wonderful as Dream, in all his gothic melancholy. Gwendoline Christie is gorgeously sinister as Lucifer, a being of seductive danger and thirst for power. Kirby Howell-Baptiste embodies the paradoxical humanity of Dream's oldest sister Death, and Mason Alexander Park is about as perfect an adaption of the gender-defying menace Desire as I could have imagined. Donna Preston makes for a different Despair than the source material, but I expect they tested and realised the nudity and tusk teeth would get in the way of properly conveying the essence of the scenes. That kind of choice is found in other parts of the series, where changes have been made to excise many DC superheroes and villains in order to ground the series a little more while preserving the heart of the story and it's characters.
I devoured the entire series in two days, as if Desire Themself had got their claws into me. I can't wait for the next season.
The series follows Morpheus, a.k.a. Dream of the Endless, the anthropomorphic personification of the very concept of dreams. He is captured and imprisoned by humans for 100 years, during which nightmares and dreams escape his realm and wreak havoc on the waking world. Once free, he must find his stolen tools of power and bring his errant subjects home.
Along the way he deals with the impact he has had on human lives, encounters his past sins, ends old conflicts and sows the seeds of new ones.
Tom Sturridge is wonderful as Dream, in all his gothic melancholy. Gwendoline Christie is gorgeously sinister as Lucifer, a being of seductive danger and thirst for power. Kirby Howell-Baptiste embodies the paradoxical humanity of Dream's oldest sister Death, and Mason Alexander Park is about as perfect an adaption of the gender-defying menace Desire as I could have imagined. Donna Preston makes for a different Despair than the source material, but I expect they tested and realised the nudity and tusk teeth would get in the way of properly conveying the essence of the scenes. That kind of choice is found in other parts of the series, where changes have been made to excise many DC superheroes and villains in order to ground the series a little more while preserving the heart of the story and it's characters.
I devoured the entire series in two days, as if Desire Themself had got their claws into me. I can't wait for the next season.
The Endgame
(2022)
Two episodes in: Decent waste of time so far
8 March 2022
I'm not expecting high art from an NBC serial, I just want to feel like I'm okay with losing the hour it took to watch. So far I'm okay with The Endgame. A Russian crime boss who seems to be looking for revenge but might be working for a higher cause, leading a straight-arrow cop down a path of discovery. Corruption uncovered, vendettas fulfilled. It certainly does remind me of early Blacklist, with a little early Revenge thrown in.
I only hope they don't make the mistakes those two shows made, such as constantly stretching out the mystery until it's no longer interesting, or throwing in nonsensical twists just to keep things going. Let the story progress, let it grow and go where it needs - even if it leads to an end. They have good leads and a lot of potential. Fingers crossed.
I only hope they don't make the mistakes those two shows made, such as constantly stretching out the mystery until it's no longer interesting, or throwing in nonsensical twists just to keep things going. Let the story progress, let it grow and go where it needs - even if it leads to an end. They have good leads and a lot of potential. Fingers crossed.
One of the best MCU entries so far
13 November 2021
Warning: Spoilers
Xu Wenwu might just be Marvel's best villain. He has done unforgivable things, but motives are entirely sympathetic. The movie does a great job of showing him as a human being and not just some agent of evil. Part of that is the writing, but a huge chunk of the credit goes to Tony Leung's performance.
All of the performances are top-notch. Despite taking place in such a heightened reality, they all feel very grounded and human. The friendship and love between Shang-Chi and Katy in particular feels completely natural, especially in those scenes at her home in San Francisco.
Hong Kong action films have a reputation for a kind of creativity that a lot of Hollywood films lack. Traditionally a Hollywood fight scene could change it's setting, or the people in it, and you wouldn't notice a difference, because they're planned without taking the character or environment into account. In Hong Kong action they use the character's clothes, everyday objects, parts of the environment, so that particular fight could only have taken place with those particular characters in those particular environments. Hollywood's gotten better at it over the years, and Shang-Chi is a wonderful example. You couldn't transplant that bus fight between Shang-Chi and Razorfist onto a dock, or swap out Razorfist for Bushwacker. They also go all-in on the balletic Wuxia style fight choreography, with water and leaves and other elements of the environment flowing along with the fighter's movements.
Like all MCU films, it drags a bit in the tail end with it's very long battle filled with CGi performances. The use of large empty arenas - the gate platform, the lake, the sky - makes it feel a little less grounded, and a little more Hollywood than the other battle scenes. It would have been nice for them to have some more distinct features for the characters to interact with - statuary like the story wall shown earlier in the film, for example. An especially wasted opportunity for the parts of the battle taking place in the village, which was full of architecture and decoration that could have been put to creative use. But there's still enough quality fight choreography to keep you interested.
There's also a couple of fun post-credits sequences - I was already all-in on any Shang-Chi sequels, but these were wonderful teasers for what may be coming.
All of the performances are top-notch. Despite taking place in such a heightened reality, they all feel very grounded and human. The friendship and love between Shang-Chi and Katy in particular feels completely natural, especially in those scenes at her home in San Francisco.
Hong Kong action films have a reputation for a kind of creativity that a lot of Hollywood films lack. Traditionally a Hollywood fight scene could change it's setting, or the people in it, and you wouldn't notice a difference, because they're planned without taking the character or environment into account. In Hong Kong action they use the character's clothes, everyday objects, parts of the environment, so that particular fight could only have taken place with those particular characters in those particular environments. Hollywood's gotten better at it over the years, and Shang-Chi is a wonderful example. You couldn't transplant that bus fight between Shang-Chi and Razorfist onto a dock, or swap out Razorfist for Bushwacker. They also go all-in on the balletic Wuxia style fight choreography, with water and leaves and other elements of the environment flowing along with the fighter's movements.
Like all MCU films, it drags a bit in the tail end with it's very long battle filled with CGi performances. The use of large empty arenas - the gate platform, the lake, the sky - makes it feel a little less grounded, and a little more Hollywood than the other battle scenes. It would have been nice for them to have some more distinct features for the characters to interact with - statuary like the story wall shown earlier in the film, for example. An especially wasted opportunity for the parts of the battle taking place in the village, which was full of architecture and decoration that could have been put to creative use. But there's still enough quality fight choreography to keep you interested.
There's also a couple of fun post-credits sequences - I was already all-in on any Shang-Chi sequels, but these were wonderful teasers for what may be coming.
Jungle Cruise
(2021)
Made for theaters; not a lot for the grown-ups
31 July 2021
Of course a film based on a theme park ride is going to be largely spectacle. No-one should go into this expecting Shakespeare. But while this will probably be a lot of fun for the kids, it's not quite as engaging for the adults in the audience. Characters are fairly thin, the CGI use is heavy and takes a lot of the weight out of the action. There are a lot of moments that would probably look amazing in IMAX or 3D but fall flat on a regular TV.
Disney hit gold with the balance of spectacle and engaging characters in the Pirates series (especially the first), but in the years since they've had limited success repeating the feat with their other ride-based films. This movie doesn't change their streak, but if you have kids it's not a horrible way to keep them occupied for a few hours.
Disney hit gold with the balance of spectacle and engaging characters in the Pirates series (especially the first), but in the years since they've had limited success repeating the feat with their other ride-based films. This movie doesn't change their streak, but if you have kids it's not a horrible way to keep them occupied for a few hours.
Made for kids, with something for adults who enjoyed the original
24 July 2021
Warning: Spoilers
At the time of this review, the first five episodes have been released in my country. To get this out of the way: Contrary to some reports, He-Man is in every episode.
Revelation's first episode is essentially both an epilogue to the original cartoons and prologue to Revelation. We see the classic era He-Man and his Eternian allies (complete with classic character designs) battling Skeletor and the forces of Snake Mountain for control of Castle Grayskull. This sets the stage for a tragedy that leads to the loss of He-Man and the dwindling of magic.
Teela is disillusioned by being lied to by everyone she ever loved about the true identity of He-Man/Prince Adam, and by King Randor's furious reaction to the dual news of both Adam's secret identity and his death. This titular revelation drives a wedge between our beloved heroes.
It is clear to adult viewers at this point that Teela's character arc will involve forgiving those who tried to protect her from He-Man's secret identity, to re-embrace a love of magic, and to embrace the destiny that the original series had clearly set up for her.
Teela creates an uneasy alliance with Evil Lyn and Beast Man, reconnects with Orko and Man-At-Arms, and is also joined by her junior partner (and obscure background character from the old comics) Andra on a journey to reignite Eternia's magical core and save the universe.
Every episode includes at least a third of the runtime dedicated to He-Man's past adventures, which provide some emotional context to each of the "present-day" storylines. Even in the "present day," He-Man's (and Prince Adam's) presence looms large in this show.
SPOILERS: The fifth episode brings us full circle, with Teela going to "Preternia" (In this series, a kind of Heaven) to meet He-Men of the past and reunite and reconcile with Prince Adam, who risks his own place in the afterlife to return back to life with her. This episode is the Empire Strikes Back of the series, ending on the seeming victory of Skeletor as he claims the Sword of Power.
This being the Masters Of The Universe, we adult viewers of course know that He-Man will return and Skeletor will be defeated. The fun part is seeing how. I can't wait until the next five episodes drop!
Revelation's first episode is essentially both an epilogue to the original cartoons and prologue to Revelation. We see the classic era He-Man and his Eternian allies (complete with classic character designs) battling Skeletor and the forces of Snake Mountain for control of Castle Grayskull. This sets the stage for a tragedy that leads to the loss of He-Man and the dwindling of magic.
Teela is disillusioned by being lied to by everyone she ever loved about the true identity of He-Man/Prince Adam, and by King Randor's furious reaction to the dual news of both Adam's secret identity and his death. This titular revelation drives a wedge between our beloved heroes.
It is clear to adult viewers at this point that Teela's character arc will involve forgiving those who tried to protect her from He-Man's secret identity, to re-embrace a love of magic, and to embrace the destiny that the original series had clearly set up for her.
Teela creates an uneasy alliance with Evil Lyn and Beast Man, reconnects with Orko and Man-At-Arms, and is also joined by her junior partner (and obscure background character from the old comics) Andra on a journey to reignite Eternia's magical core and save the universe.
Every episode includes at least a third of the runtime dedicated to He-Man's past adventures, which provide some emotional context to each of the "present-day" storylines. Even in the "present day," He-Man's (and Prince Adam's) presence looms large in this show.
SPOILERS: The fifth episode brings us full circle, with Teela going to "Preternia" (In this series, a kind of Heaven) to meet He-Men of the past and reunite and reconcile with Prince Adam, who risks his own place in the afterlife to return back to life with her. This episode is the Empire Strikes Back of the series, ending on the seeming victory of Skeletor as he claims the Sword of Power.
This being the Masters Of The Universe, we adult viewers of course know that He-Man will return and Skeletor will be defeated. The fun part is seeing how. I can't wait until the next five episodes drop!
Gunpowder Milkshake
(2021)
A lot of fun, if a bit shallow
18 July 2021
Warning: Spoilers
Some folks need to remember that "not as good as (X)" is not the same as "bad". This is a fun movie with fun action. In this review I'll address some common criticism of the film. I'll try to avoid spoilers, but some things may come close.
1) "It rips off John Wick/Shoot 'Em Up!" No, it's more accurate to say they all clearly draw from the same vast well of action cinema - a bit of John Woo, a bit of Jackie Chan, a bit of Quentin Tarantino, a bit of Sergio Leone, and so on. John Wick and Shoot 'Em Up are far from original films (hell, Michael Davis straight-up admitted his film was based on the famous baby-saving scene in Hardboiled), but they're fun. That's what matters. I had fun watching this movie.
2) "It's SJW propaganda/She-roes vs Misogynists/Hating White Men!" Aside from three chumps at the start who are clearly the d-list of their organisation (they get high on Nitrous in the middle of a job), there are no misogynist bad guys in this film, nor is race mentioned even once. There are white people and people of colour on both sides of the conflict. Hell, the antagonist is a self-described feminist who actually seems to be getting the protagonist on his side... until he commits the cardinal sin of Changing The Rules Mid-Game in order to sweeten his revenge. It is that, not Man v Woman, that is the central conflict driving the protagonist and much of the plot.
(Honestly, this complaint seems to be something certain viewers decided on before they watched the film, then conveniently ignored every single actor and line in the film that contradicted it.)
3) "The story/characters are a bit thin!" While there was enough for me to stick around, it is true that they could have been developed more. Perhaps that will improve with the writer's and director's future movies. But keep in mind that this is, after all, an action flick. John Wick isn't exactly a deep and complex character either ("My wife's dog is dead. Now I will emotionlessly slaughter a thousand people."). As I said before, what matters is that it's fun. We're not watching a movie called "Gunpowder Milkshake" expecting Shakespeare.
In summary: This is not the best action film you will ever see, but it's not a bad one. It's a colourful, fun popcorn action flick.
1) "It rips off John Wick/Shoot 'Em Up!" No, it's more accurate to say they all clearly draw from the same vast well of action cinema - a bit of John Woo, a bit of Jackie Chan, a bit of Quentin Tarantino, a bit of Sergio Leone, and so on. John Wick and Shoot 'Em Up are far from original films (hell, Michael Davis straight-up admitted his film was based on the famous baby-saving scene in Hardboiled), but they're fun. That's what matters. I had fun watching this movie.
2) "It's SJW propaganda/She-roes vs Misogynists/Hating White Men!" Aside from three chumps at the start who are clearly the d-list of their organisation (they get high on Nitrous in the middle of a job), there are no misogynist bad guys in this film, nor is race mentioned even once. There are white people and people of colour on both sides of the conflict. Hell, the antagonist is a self-described feminist who actually seems to be getting the protagonist on his side... until he commits the cardinal sin of Changing The Rules Mid-Game in order to sweeten his revenge. It is that, not Man v Woman, that is the central conflict driving the protagonist and much of the plot.
(Honestly, this complaint seems to be something certain viewers decided on before they watched the film, then conveniently ignored every single actor and line in the film that contradicted it.)
3) "The story/characters are a bit thin!" While there was enough for me to stick around, it is true that they could have been developed more. Perhaps that will improve with the writer's and director's future movies. But keep in mind that this is, after all, an action flick. John Wick isn't exactly a deep and complex character either ("My wife's dog is dead. Now I will emotionlessly slaughter a thousand people."). As I said before, what matters is that it's fun. We're not watching a movie called "Gunpowder Milkshake" expecting Shakespeare.
In summary: This is not the best action film you will ever see, but it's not a bad one. It's a colourful, fun popcorn action flick.
Bloodthirsty
(2020)
Interesting take on the genre
26 April 2021
Don't go into this film expecting a straight werewolf flick. This isn't a supernatural horror or gore-fest so much as a tense psychodrama. The main character sometimes cannot trust her own senses, and so you can't always trust that what you're seeing is her reality.
As a lifelong fan of the werewolf subgenre I always appreciate a movie that can take the tropes and turn them into something new. This film didn't disappoint.
As a lifelong fan of the werewolf subgenre I always appreciate a movie that can take the tropes and turn them into something new. This film didn't disappoint.
The Dry
(2020)
A good murder mystery, and a shining example of Australian storytelling
22 January 2021
On top of being a damn good murder mystery, it was wonderful to see an Australian movie that doesn't try to play down the specificity of life in this country. Many Australian films could very easily be set in any other country - designed to be universally appealing, with a thin layer of ocker seasoning. But this story, the range of characters in it, their personalities and quirks, are very specifically of this time and place.
Matt Nable continues to be a pleasant surprise for those of us first introduced to him as a football player. He brings a level of realism to his performance that is completely familiar; I could almost believe the filmmakers had been spying on people I grew up alongside. He made such interesting character choices. Injecting vulnerability where a lesser actor may have chosen hardness. Portraying that vulnerability with a sincerity that in another's hands may have been laughable, but in his became a full realised multi-dimensional human being.
Indeed, all of the main characters feel multidimensional. Not a one is a simple one-note character. All have flaws and contradictions that just feel real.
In other words, this feels like the world I've lived in. Given the saturation of American media in our cinemas and on our small screens, occasionally punctuated by a UK comedy or Nordic crime drama, that is a very rare and very welcome feeling indeed.
Matt Nable continues to be a pleasant surprise for those of us first introduced to him as a football player. He brings a level of realism to his performance that is completely familiar; I could almost believe the filmmakers had been spying on people I grew up alongside. He made such interesting character choices. Injecting vulnerability where a lesser actor may have chosen hardness. Portraying that vulnerability with a sincerity that in another's hands may have been laughable, but in his became a full realised multi-dimensional human being.
Indeed, all of the main characters feel multidimensional. Not a one is a simple one-note character. All have flaws and contradictions that just feel real.
In other words, this feels like the world I've lived in. Given the saturation of American media in our cinemas and on our small screens, occasionally punctuated by a UK comedy or Nordic crime drama, that is a very rare and very welcome feeling indeed.
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