Time is a flat circle. Here we are, twenty-five years later, saying similar things about Lebron’s Space Jam that the critics did about Jordan’s: uninspired, stupid, not enough Marvin the Martian, who is the best Looney Tune. But we were young back then. Children wearing those 90s “street” Looney Tunes shirts who enjoyed “stupid,” “uninspired” things. And now, we have a fondness for Space Jam.
Perhaps we have become the very thing we swore to destroy: old people with opinions.
The added corporate synergy is the real outlying negative in A New Legacy, as Warner Bros. just dumped cameos from every one of their owned properties into this thing because branding. But, like this year’s Mortal Kombat reboot, this is very much the exact same movie they made in 1996 just made in 2021. If Space Jam were never made before now, this is still the movie we would have gotten today. The trend of trading in nostalgia that’s been so successful this past decade, applied to an idea about the most famous basketball player of our time playing basketball with the Looney Tunes, can only end with a product like this in 2021. We have brought this on ourselves, and that’s okay. It doesn’t really matter what I think, though. How the children remember A New Legacy 25 years from now will truly determine the movie’s, uh oh, legacy and worth.
My VHS cover pull-quote: “Pennywise the Clown could have used a bit more screentime and development. Like, he probably wants to tear LeBron’s son Dom’s arm off, drag him into the sewer and eat him, of course, but that’s not really explored here so why even have him in the crowd at the basketball game?”
“I’m not the killer that little girls call ‘hero.'”
An entry into the MCU that touches on familiar themes but pulls the universe into the realm of spycraft with ease, which makes it feel different enough from (and comparitively fresh in relation to) the rest of the films in this sprawling series. More importantly, though, Natasha Romanoff is finally given substantial character development and time to be both human and, damn it, silly. Is it too late? Definitely, but better late than never.
Another place I think the film really succeeds is in its use of humor. While most MCU movies make jokes, even if they’re not comedies like Thor Ragnarok or Guardians, there is a dark undercurrent of trauma in Black Widow‘s jokes that I feel enhances out understanding of the characters’ (Yelena, especially) horrid experiences at the hands of the villain.
If anything, I’d say the action is the weakest part of the movie and the action is actually pretty solid.
My VHS cover pull-quote: “Taskmaster is so damn cool. This version of Taskmaster, that version of Taskmaster, whatever version of Taskmaster. I’ve always wanted to be Taskmaster because I don’t want to work for years honing an ability to fight like Captain America, I just want to watch Chris Evans and be able to fight like him.”
Edgar Wright brings his brand of humor to the documentary format by exploring the infinite career hills and valleys of the iconic, weird, and long-running pop duo Sparks, a band I had no idea existed until seeing this movie at a special film fest showing near me. Which is wild because the talking heads in this documentary are members of Red Hot Chili Peppers, Duran Duran, New Order, The Go-Gos, Beck, and actors, comedians, and writers like Neil Gaiman (no actual Talking Heads, though). These successful artists knew about them, so now I feel have to pretend that I, too, always knew about these two quirky brother musicians who were more popular in Europe so I can lord it over people who don’t even know who they are.
My VHS cover pull-quote: “Oh my rock and roll christ, you don’t know Sparks? Then you don’t know music! They have influenced literally every pop musician since the early 1970s. I can’t believe you haven’t listened to Sparks. They’re all about the ART, man! Don’t even speak to me until you’ve at least streamed Kimono My House and Propaganda. Get some education.”
Disclaimer: One of Sparks’ songs is featured in the 1986 movie Rad, which I did somehow see when I was young in the early 00s. I just didn’t have the musical permanence to correctly retain that song amidst all the sick BMX style bike tricks breeding in my brain.
“Who would have thought a tech company didn’t have our best interests at heart?”
The animation techniques honed in Spider-Man Into the Spider-Verse are let loose and used to tell the frantic, heartfelt story of a chaotic cartoon family against the machinations of a Mark Zuckerberg stand-in. In terms of energy, it feels like the next evolution or step up from the Cloudy with a Chance of Meatballs movies, which are both classics in my book of modern movies that most people don’t think (and probably aren’t, actually) classics but I like quite a bit.
This, however, feels destined to be an actual classic whose legacy may only be hampered by the relatively tame marketing push and it just being dropped on Netflix instead of having a meaningful theatrical run. Having to watch a film with blink-and-you-miss-it visual flourishes on a TV really made me long for the big screen and the togetherness theater experience and all that. But that’s hardly the movie’s fault! The film is a kinetic, hilarious techno journey into a sugar-addled Asimovian not-too-distant-future with the requisite (and fairly progressive) family component to bring the emotion.
My VHS cover pull-quote: “There is a particular scene in this that has been making the rounds on the interweb involving a deadly Furby colossus spouting eldritch phrases, which is why it is my favorite film of the year. If I say something else is my favorite film of the year in December 2021 or something, don’t listen to Future Nick. That asshole doesn’t know what he’s talking about and he’s an old person who’s out of touch with everything. His time is over and he doesn’t even realize it yet. I, on the other hand, am young. I am important.”
A bloody, creative cosmic horror festival that’s fit for the archduke of nightmares. The utterly inspired Power Rangers style practical creations, characters, and deaths they’ve come up with is reason enough to watch it, the fact that it’s hilarious is a glorious bonus.
My VHS cover pull-quote: “Spirits of the Electroverse, I’m going to be saying ‘Spirits of the Electroverse’ any time I talk to my TV which is quite a lot, actually. It’s one of my best friends.”
A fun detective story entry into the millennial ennui (millennui) genre that uses its ‘Encyclopedia Brown but older and sad” premise to great and sometimes surprising effect, allowing the movie to break away from any Veronica Mars and Brick comparisons. It also hits all the noir beats it needs to with classic moody shots and a soundtrack that’s heavy on the smooth noir sax.
My VHS cover pull-quote: “Has anyone coined the term ‘millennui’ for the genre that shows like Search Party and movies like this belong to yet? I’m not even going to Google it because I want the little bit of serotonin that comes with thinking I’ve come up with something original. That’s the stuff!”
A revenge comedy(ish) using the style and the idea of revenge as a bleak and inevitable, all-consuming force from those 70s revenge movies like Death Wish to make a clear and necessary modern statement. It sure goes places and an incredible Carey Mulligan leads us there.
My VHS cover pull-quote: “Using ‘nice guy’ actors like McLovin, Schmidt, Seth Cohen, and Piz to play these wurst guys is excellent typecasting that’s also, like, casting against type.”
Definitely up there with Pixar’s standalone best, giving out some serious Coco and Inside Out vibes just pulled to a stylish metaphysical extreme. The “It’s a Wonderful Life” style themes dealing with the joys of life are front and center, but so too is the drive of creatives to create and what ‘success’ means after chasing it for so long (which absolutely resonated with me as a writer person).
The soundtrack is also outstanding and, of course, it’s another good step forward for the company in terms of diverse characters and leads in their films (but not so much for major representation behind the camera).
My VHS cover pull-quote: “Joe reminds me of my childhood trumpet teacher, and I wonder if he also dealt with the self-doubts and setbacks that Joe did in his life that eventually led him to teaching music as a career (a career I would love to have). I probably should have practiced more to make his job easier. My bad, Roger.”
This is like The Return of the King of Bill & Ted movies. As much a celebration of the first two as it is an examination of the way our past selves inform our future selves and our past failures (and successes) color our opinions of our younger counterparts or something. Heartwarming, well-written, and totally non-bogus. It’s a Bill & Ted movie (without the three or so dated instances of homophobic language from the first two (“yikes!” I said during a rewatch of them last week))!
My VHS cover pull-quote: “The actor who plays Ted’s dad, Hal Landon Jr., played Scrooge onstage for 40 years in California, is still alive, and is quite spry for a 79 year old. Excellent!”
“I’m not saying we’re not going to get away with it, I’m saying I don’t want to get away with it.”
A matter-of-fact unraveling of multiple relationships that takes the long, chill road towards becoming the entry in a hallowed horror genre it ultimately wants to be.
My VHS cover pull-quote: “The main characters are like the high school kids who somehow all successfully escaped one horror movie, grew into their late 20s and 30s, then found themselves caught unawares in another horror movie.”