“And the world is fit for all manner of mysteries.”
A fittingly strange and epic adaptation of the Arthurian tale, with lush cinematography and effects (practical skeletons galore) that capture just how bizarre these tales of yore could get. It’s sometimes easy to forget that storytelling has always been wild as fuck. Also a perfect Christmas/New Year’s movie that grasps the spookiness and soul weight of those introspective yule times.
The springish themes of renewal, birth, and connecting to nature are critical here too, though, with the radical botanics of the Green Knight at odds with the grim structures and interests of man. Alright, it’s a movie for all seasons. Except those weird couple weeks in February when it just sucks all the time. Don’t you dare watch this around then.
My VHS cover pull-quote: “At least as good as this weird version I watched in highschool English class that had Sean Connery as the Green Knight. I was convinced that I fever dreamt that version of the story until recently, but I guess not.”
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?”
The Father is an impressive bummer of a movie that somehow makes me not want to have dementia when I’m old even more than I previously didn’t want to have it, which was already a rousing 100% heck no to that.
My VHS cover pull-quote: “My father never made it to old age, but if he had I would be worried about him becoming exactly like Anthony Hopkins in this movie, so committed to remaining in control of himself and his world, not realizing these things have already slipped away from him. It’s a trait I see in many of the older generations–that need for control–which makes it all the more heartbreaking when its wrested away from them by their own mind. It’s a tragedy that this film nails.
“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.”
“If this was a movie, this would be the part where the villain’s plan suffers a setback.”
The Fast and the Furious movies are just big ol live action anime mecha movies now with cars instead of giant robots. Tyrese is questioning whether or not they’re all invincible superheroes during the entire movie, but they’re not. They’re all just anime characters in a mecha movie, going through the dramatic motions until it’s time for the next big set piece when they can suit up and hop into their giant robots/cars to do impossible stunts while chasing some increasingly sci-fi macguffin or something. Plus family.
Fast10 better have a laser sword.
My VHS cover pull-quote: “Flashbacks to 1989 throughout the movie explore Dom’s father’s death and its effect on the Toretto FAMILY. The actor playing Dom’s father has a similar SoCal accent to the late Paul Walker, which suggests to me that Dom saw and heard a bit of his father in Brian when they met all those years ago and that helped build his trust in Brian. These movies have layers, okay?”
A less inventive sequel that has lost the novelty of the original but not the spirit or solid filmmaking. It relies too much on the ‘people making dumb decisions’ trope in horror movies, though, and doesn’t do enough to separate Cillian Murphy daddy figure from John Krasinski daddy figure. I’m definitely into the world, that main characters, and I’m looking forward to parts III – IX and beyond as long as it’s profitable. Like The Purge. Did you know there’s a new entry in the Purge series called The Forever Purge coming out?? What even is that?
My VHS cover pull-quote: “Spoiler, but let’s stop killing Djimon Hounsou in movies. He was a cool, chill character who died stupidly just because they needed him out of the way for the ending.”
“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.”
Definitely one of Disney’s most emotionally mature entries into their animated canon, tackling weighty themes like loss and humanity’s seemingly natural discord and distrust of one another. Heavy stuff. It’s a near perfect synthesis of what they tried to do in their underrated early 2000s actioner efforts like Atlantis and Treasure Planet (and, to a slightly lesser extent, later stuff like Big Hero 6 and Moana) and another welcome evolution of what being a ‘princess’ means and looks like.
My VHS cover pull-quote: “Also features some excellent fight and action choreography, like, better than The Raid. Or just like The Raid but with a con-baby.”
A paranoid, whispered assembly of folklore and cosmic horror happenings that explores many permutations of this kind of story before vaguely settling into one collectively conjured nightmare. The CULT following it’s gaining is well deserved.
My VHS cover pull-quote: “I don’t need much to enjoy a movie, just a skeleton that’s all kinds of H.R. Geiger/Alien-inspired in the first 20 minutes like this has. Come on, Hollywood!”
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.”