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?”
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.
Dark, big screen band-aids for my depression that sometimes smell a little weird but I love anyway. They’ve been away for a while, but I see them now in their empty parking lots, popping corn and pressing the button that releases cheese onto the nachos and into your heart.
The people talking during the most important part have been successfully shushed, though we have chosen the squeakiest seats. Someone spilled their popcorn, kernels tumbling towards the screen. They’ll pick them up after. No doubt they’ll do it again next time. Always. It’s expected.
We are flickering with the screen, now. Still during the quiet parts.
My VHS cover pull-quote, scrawled on the weird and frightening backside of the theater, where those direct exits are that disorient you and put you outside who knows how far from your car:
“The earliest movie ticket I still have from my youth is for a showing of Shrek in 2001, which I feel has dictated my life up to this point and far beyond. To the grave. Even beyond that.”
Demon Slayer works because of its animation, fight choreography, violence, and wacky anime hijinks, sure, but it’s the vulnerability of the characters compared to other shonen anime that really lets it stand out in the canon for me. The emotional toll the traumatic past has taken on the main characters (and even the demons they slay) is always palpable in their actions and thoughts. Perhaps most critically, tears flow so freely throughout the story, normalizing strong emotions in stereotypically strong individuals.
The downright stellar animation in Demon Slayer the Movie: Mugen Train bolsters heavy emotional character moments that move the characters forward in meaningful ways and pretty much destroy me and my tear ducts every time I think about them. While the film starts out feeling like just a batch of episodes strung together in a film format, the scale and weight of the overarching theme becomes clear about halfway through. This arc of the story needed to be a film, and I hope they use the feature length format again to at least cap off the series, if not earlier.
My VHS cover pull-quote: “Buffy the Vampire Slayer’s Season 4 finale ‘Restless’ continues to inspire dream narratives across the globe.”
“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.”
This is the perfect 2021 Mortal Kombat movie just like the original adaptation was the perfect 1995 MK movie. They are, in fact, the exact same movie aged for 26 years in some sort of Outworld barrel with chains and blood on it until it was old and cool enough to say “fuck” a whole bunch.
My VHS cover pull-quote: “Stoked to see Jonny Cage in the second one. Also stoked to see such klassic MK characters as Mokap, Predator, Spawn, RoboCop, Joker, Ash Williams, Xenomorph, Terminator, John Rambo, Jason Voorhees, Kratos, and Leatherface.”
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.”
It’s Lord of the Flies in Space and now you know the whole movie which isn’t really a spoiler. Not as “sexy” or chaotic as the trailers and posters tried to make it seem, but it does at least try to discuss toxic masculinity and has a distinct and capable visual style that Neil Burger has evolved since shooting Limitless.
My VHS cover pull-quote: “I saw this at a drive-in and they paired it with Chaos Walking, which made it a B minus shitty sci-fi double feature kind of night. Chaos Walking actually kind of feels like a distant sequel to Voyagers, both attempting to tackle toxic masculinity from an almost wholly male perspective and botching it quite a bit by downplaying the fem characters.”
Calm down, dude, it’s just a superhero movie. Zack Snyder’s Justice League is far better than the theatrical cut, if only because it gives characters like Cyborg, The Flash, and, yeah, even Steppenwolf room to actually be characters with motivations and prominent roles in the story. Snyder makes the most of the four hours with these characters, and that’s the biggest reason I’m happy this cut exists now (not that I was clamoring for it, exactly).
Cyborg, especially, functions as the heart of the whole thing and the visuals of Barry’s scenes are almost Days of Future Past Quicksilver-level appealing so it’s mind-boggling that all this was left on the cutting room floor in service to a theatrical cut that just highlighted the most popular superheroes in history we already know about (but almost understandable given the rumored hard 2 hour runtime stipulation–you have to cut something, after all).
There are still problems, of course, some of which that were present in the original cut and some born out of the restored scenes. The grimdark path Snyder seems/seemed to be pushing the franchise down is, like, real edgy and dark, bruh, but devoid of much wonder, hope and a color pallette. Superhero cynicism has been all the rage for a while now, but it’s also kind of played out. Still, for better or worse this is a singular director’s vision and I would have been interested, at least, to see it play out over a few more movies.
My VHS cover pull-quote: “Restore the Snyderverse? Nah, bring on the Starroverse. And the multiverse. The Snyderverse is in the multiverse, so there you go.”
A moody detective story that feels way too much like a bargain bin Se7en until it suddenly doesn’t and deliberately pulls away from those comparisons with some telegraphed (but welcome) plot turns.
My VHS cover pull-quote: “Jared Leto is definitely playing a wonky vampire in this otherwise grounded detective flick and I don’t care what you say because that just makes the movie better in my head. It also low-key takes place around Halloween, which I feel lends credence to this being a vampire movie.”