Masters of the Universe (2026) - A Fun and Silly Mess

Streaming on Amazon Prime

    One thing about modern Hollywood that still bothers me is its abandonment of being comfortable with silliness. Rather than allow a particular project to simply be weird or unusual, producers (and some screenwriters) often demand that such properties be treated with irony and ridicule rather than allow the creators to let loose and have fun. In some cases, like Michael Bay's Transformers, they try to insert darker and more "grown up" themes and elements to make the silly thing appear more adult than it needs to be. 

    Masters of the Universe, a nostalgic property from the 1980s, is a grand example of something that needs to be silly to be properly enjoyed!

    For those who may not know or would like a quick refresher, Masters of the Universe was a cartoon show set in a fantastical world (Eternia), combining elements of fantasy, science fiction, adventure, and moral-driven storytelling of good vs. evil. Like many cartoon shows at the time, its primary purpose was to sell toys and merchandise. Still, like many other shows of the time, it managed to surpass its commercial intentions, and become a fun and engaging show with memorable characters, grand adventures, and occasionally clever stories that were more mature and nuanced than expected. It is also the source of that infamous internet meme featuring the song "What's Up" by 4 Non Blondes. 

    This IP was adapted into a feature film before in 1987, starring Dolph Lundgren as the hero (He-Man) and Frank Langella as the villain (Skeletor), and it may very well be his greatest and most enjoyable over-the-top performance of his career; other actors dream of hamming it up as much as he did!

    This brand new adaptation, courtesy of director Travis Knight, late of Bumblebee (the one good Transformers movie) and Paranorman (the greatest stop-motion film ever made, and not for the reason you think), is probably the closest we may ever get to a studio-produced product, that embraces as much of the inherent silliness from the source material as possible. While it is not a great film by any stretch of the imagination, and it is abundantly clear that it went through some challenging growing pains (as evidenced by the number of screenwriters attached), it is still a fun and enjoyable mess with just enough charm to forgive its flaws. Also, let's be real, it deserves bonus points for punching Jared Leto in the face, however symbolically! 

    The story follows Prince Adam/He-Man (Nicholas Galitzine) of the fantastical kingdom of Eternia, who has been living in hiding on Earth after the evil Skeletor (Jared Leto) stages a coup d'état and takes over the kingdom. Adam was sent away with Eternia's most powerful weapon, the Sword of Power, but lost it in transit to his temporary home. Adam spends the next fifteen years living his life, holding onto the memories of his true home, and searching for the sword so he may finally return to Eternia, and save his family. Soon enough, Adam finds the sword and gets swept away back to the desolate Eternia, and must now reconnect with his true inner strength to take down Skeletor, and reclaim his true home. 

    What makes this film so charming, at least to me, is how it does its best to be a story about the importance of fantastical ideas in a modern world that's dominated (at least perceptively) by overwhelming cynicism; as if having dreams and being empathetic are things to be scoffed at and discarded in reality. While I argue that this kind of message was done significantly better in last year's Superman movie, I appreciate the effort presented in this new iteration of another childhood classic. 

    Having said that, it must be said that the film is, regrettably, disjointed and a bit messy.

    The script feels like it went through a series of arguments between too many writers fighting over what story to tell. Every so often you can see where the movie went from being one kind of story to another, without any real connective tissue binding them together. While some effort was made to at least incorporate all of the different ideas the various writers had in mind, it doesn't make for an experience as compelling as it wants to be; the occasional bits of wit and inside jokes could only go so far to cover the makeshift patchwork. Not to mention the less-than-stellar dialogue choices that are, at times, a bit too on the nose for their own good. 

    On the bright side, the action scenes are pretty fun, everyone's performances are appropriately delivered, the VFX is top notch, and the production and costume designs are spectacularly true to the source material. Also, Idris Elba absolutely kills it as Duncan Man-At-Arms! 

    While this new movie adaptation of one of my beloved childhood properties isn't quite as polished as it should have been, and the themes of toxic masculinity and the power of empathy are always appreciated and worth exploring, it has enough charm and good will on its side to warrant a curious viewing. If nothing else, I would not mind it if director Travis Knight got to make more movies of other fondly remembered 80s cartoon shows; Thundercats anyone? 

    Good for a laugh and unironic positive affirmation of the things that made our childhood entertainment fun. Give it a shot. 

Ladies & gentlemen, I am TheNorm; thank you all for reading. 

How Using a Typewriter Made Me a Better Writer (and How it Could Help You as Well)

 

    I have discussed many aspects of writing on this blog, mostly in terms of narrative structure and the like, but I haven't felt the need to discuss the actual mechanism options for the actual act of writing itself. Mostly because, before becoming good friends with my mechanical companion, I hadn't given much thought about how different devices can impact your ability and mindfulness. Since distractions of any kind have always been a writers worst enemy, the digital age has introduced many alternative writing devices to help writers focus on their craft and put out their works. Still, even as technology continues to advance (for better and for worse), there's something about the tactile feeling the typewriter offers that, as far as I can tell, can't be properly replicated in any digital space. 

    In becoming an author and screenwriter, I was initially attracted to the romantic novelty of the typewriter; there is a sense of prestige these mechanical wonders offer that is often associated (wrongfully I might add) with perfection. Feeling unable to attain that level of creativity, and certain that I would never actually use a typewriter for any of my projects, I sought a means of recreating the typewriter experience without actually purchasing one: I got an app for my iPad that replicated using a typewriter (which is more of a novelty than a productivity tool), I downloaded a program on my computer that plays typewriter sound effects when using the keyboard (which I stopped using), and I installed clicky-sounding-style switches in my mechanical keyboard (which I have since switched out for smoother linear switches). 

    Then, after exhausting as many options as possible (short of purchasing one of the many dedicated digital typewriter devices offered), it happened! I went on Etsy, found a shop in the Netherlands that repaired and sold classic typewriters, and placed an order for one; the exact same one you see in the photo above. 

    At first, it was merely a decoration; a symbol of my affirmation to become a dedicated writer (among other things). The few times I did use it for real, it was merely for getting the feel of it, typing out random and silly things for fun. The idea of using it for anything else hadn't crossed my mind, at least not at first. 

    Sometime later, I watched an amazing film titled California Typewriter: a documentary from 2016 about using typewriters in the digital age, directed by Doug Nichol (mostly known for directing a few music videos for Sting), the film featured interviews with people like Sam Shepard (notable playwright), and Tom Hanks (typewriter enthusiast and collector). Among the people interviewed, the one that spoke the most volumes to me was with musician and songwriter, John Mayer, who made the best argument for using a typewriter in the digital age, which became the turning point for me finally adopting the use of a typewriter full time (or as much as I could realistically afford). 

    In discussing his experience, John Mayer mentioned how challenging it can be to write any kind of creative work on a digital platform, because, aside from the typical distractions, they demand that you act as the creator and editor at the same time; distracting you from your creative goals. As an example, he cited some of his lyrics from one of his songs, The Age of Worry: "Close your eyes, clone yourself, and build your heart an armi." You will notice that I misspelled the word "army" and that was intentional. Because when you misspell a word on most digital platforms, you will see a little red line underneath it, prompting you to go back and fix it. While you're doing that, your mind suddenly loses track of where your creative flow was going, and, as stereotypical as it may sound of creative types, it is true that getting back into that same flow can be difficult. 

    So, Mr. Mayer decided that he would get himself a typewriter and try it out for his songwriting. He bought a brand new electric model from Brother, and he demonstrated how he would, as he described it, "be a creative wack job!" He would put his ideas and thoughts for songs onto the page with the typewriter, completely ignoring any typos or misspellings, partially because it didn't bother him, but mostly because the typewriter also didn't bother pointing them out; it couldn't! 

    By eliminating the very thing that demanded "perfection" while creating, Mr. Mayer managed to work out the rough basis for his songs. Furthermore, he now had a permanent and tangible reference of his creative works that was, as he also described it, "human compatible," as in not requiring a hard drive that you will inevitably stick into a drawer somewhere and never plug back into your computer again (yes, I have a drawer of hard drives myself). 

    This is when I finally realized and embraced the truth about typewriters: they are not instruments of perfection; they are tools for creative thought. By forcing you to push forward with your ideas regardless of grammar and/or spelling errors, you are reminded that what's most important in the moment is getting your idea on the page; editing and other such adjustments can and should wait! This, you may have surmised, became the notion that allowed me to improve as a writer, and become a full-time typewriter user and enthusiast. 

    Since adopting my mechanical friend, I have written and sent many letters to friends and loved ones, written piles of poems, scripts for short film projects, and, my proudest achievement so far, I've written the first draft of my very first two-act play. Also, I am currently writing the first draft of my next book on the typewriter. 

    Now, some of my beautiful readers may be saying, "but Norman, you wrote your first two books and all of your blog entries on the computer! Why would you suddenly go to the typewriter when you can clearly do what you need to do digitally?" And you would be right to ask such a question, for I have an answer! 

    Two words: tangible effort. 

    While writing some of my projects on the computer is more practical in some cases, there is a sense of pride from using a typewriter that cannot be matched. When you write on a computer, you're pressing a series of unseen digital commands that create representations of letters onto a screen, but when you write on a typewriter, you're instantly printing words onto a page. It's a night and day contrast that makes a world of difference in how it feels to write anything. 

    I do love my mechanical keyboard for my computer, and I do agree that not everything needs to be done in an analog way to yield better results, but when it comes to using the typewriter, I have yet to find something that matches the feeling that comes with seeing my thoughts spring to life on the page. So, if you're interested in writing of any kind, and you can't release your thoughts on any given digital platform, consider taking a step back and trying something different.

    These days, typewriters can be found just about anywhere; typically in good working condition. And if they're not, there are still places and people out there who know how to fix them. And, like anything else worth having in life, if you take good care of it, then it will take good care of you. 

    Ladies & gentlemen, I am TheNorm; thank you all for reading. 

THE REVOLUTION WILL BE TYPEWRITTEN

The Devil Wears Prada 2 - A Complete Waste of Everyones Time

 

Rent on Amazon Prime and Apple TV (or rather don't)

Released back in 2006, The Devil Wears Prada was a decently entertaining dramatic comedy with a serviceable message, top-notch performances, and enough visual flair to make for a fine experience. Based on the novel by Lauren Weisberger, inspired by her experience working as an assistant for Anna Wintour (the then editor-and-chief for Vogue magazine), it is a story of horrible bosses, the often unspoken price of ambition, and the importance of knowing what is actually valuable and beautiful in your life. It was also a fun showcase of what it must be like working in “high society” and the absurdities therein. Also, Stanley Tucci (I could watch that man read the phonebook on stage and be entertained!)

Now, a full blown twenty-years later, Hollywood has released a sequel, to which many of us have asked…why? It’s a rhetorical question, of course (we all know it’s only about the money and Hollywoods allergic reaction to anything not linked to a brand name or nostalgic property), but strictly speaking from a narrative perspective, there is no reason for this film to exist! Especially when it offers no real substantial growth for the characters, a story that only the wealthy elite would find engaging, and a visual presentation that somehow feels less glamorous than it probably should have. Not to mention the poor attempts at commentary about fashion and artistic integrity that are severely undercut by the narratives priorities. At the very least, Stanley Tucci makes a triumphant return and renders the whole thing tolerable (again, phonebook!)

Taking place two decades after the events of the first movie, the story follows Andy (Anne Hathaway) being fired from her long time career as a journalist, due to corporate greed and a delusional perceived lack of necessity for her profession. Coincidentally, at the same time, the publication she used to work for, Runway Magazine, is dealing with a publicity problem; apparently they were unaware that their products were being made in sweatshops. In an effort to restore the magazines reputation and, apparently, save their stake in the fashion world, they hire back Andy as their new Features Editor to write up some pieces to save face. This, in turn, reunites Andy with her old boss, Miranda (Meryl Streep), who is still the editor-and-chief of the magazine, and is still the stuck-up, snobby, condescending (word that rhymes with ‘stitch’) that Andy had to put up with when she was starting out in the world. Will their reunion bring about some unexpected developments, or will there be some unresolved bitterness that will add to the conflict? 

Aside from this kind of narrative only appealing to fashion magazine shareholders, there was a ripe opportunity to showcase and play with the twenty-year disconnect between Andy and Miranda. When they first “worked” together in the first film, Andy was a fresh graduate from college who was still trying to find her place in the world, putting up with a boss who embodied everything she disliked about the more prominent but ultimately toxic aspects of popular culture, but still managed to get a glimpse of the humanity within. It was both tragic and reaffirming for Andys convictions when she saw first hand how narcissistic and unappealing Miranda truly was; her efforts to appeal to Miranda’s humanity for friendship were met with apathetic betrayal, the kind that makes you understand and appreciate what really matters in the world. 

With all that in mind, this sequel could have delivered a brand new dynamic, wherein Andy now has more power to both teach her old boss a lesson in humanity, and maybe, just maybe, force the beast out of its cave to better see the error of its ways, which, in all honesty, would have made for a compelling story, especially in this modern upsetting world. Instead, none of that potential character play or growth is ever utilized, and we wind up stuck with a massive repeat of the same character arcs and story beats from the first film. In short, more of the same, and nothing new! 

Andy, as portrayed by Anne Hathaway, reverts to the same shy and validation-seeking girl she was when she first worked at the magazine, despite the fact that she has enjoyed a twenty-year long career as a traveling journalist! Even if she still believed there was something good within Miranda, and had some amount of respect and understanding for her, Andy ought to have grown a bit of a backbone and would be expected to approach returning to the Lions den (as it were) with a completely different mind set. Instead, the film expects, nay, demands that we pretend the last twenty years either didn’t mean anything or didn’t actually happen, as if modern societies short attention spans weren’t pandered to enough already! 

This might have been tolerable if the visuals were anything to write home about, but instead the film that’s all about glitz and glamor has a boring, washed out grey tone to the images that makes everything look (and feel) dull and lifeless. This has become a common complaint for modern cinematography, where the filmmakers try to retain as much usable information in the highlights and shadows, assuming that every single thing in the image must be visible at all times, resulting in images that have no sense of contrast or texture. This is why I no longer film anything in a LOG profile, and I desperately wish more filmmakers would do the same once in a while. 

The Devil Wears Prada 2 is just another scrap from the things-that-were-once-popular-and-made-money pile that Hollywood has been scraping off the bottom of the barrel and throwing in our faces! No one asked for this, no one needed this, and everyone involved could be doing so many other things better than this! While the performances and parts of the writing make the film tolerable, there is nothing else here worth your time. 

    Watch literally anything else! 

Ladies & gentlemen, I am TheNorm; thank you for reading. 

SONY Declares War on Physical Media

 

Not Going Anywhere

This feels somewhat predictable; I suppose we should have seen this coming. 

For those of you who have not yet heard, SONY, one of the largest companies in gaming and media production, recently announced that they will no longer be manufacturing physical copies of their games by 2028, opting instead for a completely digital platform. I have discussed my feelings on the superiority of physical media a few times here before, and I will provide a link to said article at the end of this one, rather than regurgitate it here. Needless to say I am throughly disappointed and somewhat offended by this decision! 

At the time of this writing, nothing has suggested that this end of physical media has made its way to anything outside of video games; movies and hopefully books remain not-yet-on-the-table. I say that instead of “off the table” because, let’s face it, one of the main reasons SONY has made this decision is to maximize profit at the expense of consumers, and if this decision ends up making them more money in the long run, you can be assured that they will consider doing it in as many other avenues as possible! 

We need to accept the sad fact that we live in an age when the corporate overlords have more power than they should have, and they will wield over all of our heads like the braindead lemmings they believe us to be! However, time and time again, we have shown them our true power, and made our voices heard with our wallets. So, if you’re looking to protest, this decision, here are a few things you and I can do, assuming you haven’t done them already. 

1. 

If you own an all digital Playstation 5 Pro (which I do), you can still buy the optional disc drive for future installation (which I have). Although I do own a handful of digital games on my PS5, and even though I may not play my games as much as I have before (at last presently), I still prefer the notion of actually “owning” my games for the long run. Also, having the ability to play other kinds of discs on as many of your devices and consoles as possible, is a great way to ensure that you have as many avenues for enjoying your other games and movies on disc. Which brings me to the next item on my list of suggestions. 

2. 

Avoid purchasing any digital copy of anything (games, movies, books, etc.) and only purchase whatever form of physical media (DVD, BluRay, UHD, etc.) that you can find! Furthermore, try to avoid purchasing them from online platforms, like Amazon, if you can. I understand that sometimes Amazon seems to be the only retailer that actually has what we’re looking for, and I am guilty of caving into using Amazon many times myself. Even so, I still try to go out into the world and find the thing I’m looking for first, and put in the effort to use Amazon as a last resort. Also, there are many other fantastic digital retailers of games and movies out there (Arrow Video, Limited Run Games, and Criterion Collection to name few), offering high quality physical media for titles that might otherwise find themselves lost in the shuffle. As long as you own a machine that can read your discs, you OWN the title on that disc, and have every right to watch and play that title whenever you see fit; you will NEVER have that luxury with any kind of digital media, no matter how unlikely it may be that they will revoke your license. 

3. 

Write a letter (not an email, social media message, or any other form of digital communication) to SONY and any other media company that may be considering ending physical media, and express your distain for this decision! Even if they never reply to you, or if your letter gets tossed aside, no one can deny the existence of a physical thing that takes up space in someones office. Sooner or later, they will have to acknowledge it in some capacity, and with what may be an overabundance of physical letters crowding up their corporate mailboxes, it will provide grater emphasis on the importance of physical media. 

I myself plan on writing and sending a letter to SONY, and I will write it on my typewriter. I will also scan said letter and share it here and on all of my social media platforms, so as to make it abundantly clear where I stand. I hope you will join me in this effort to save our media from extinction. Because we may only enjoy our entertainment if we sustain it by fighting for it with our wallets and our voices. Nothing will ever change or get better if we don’t start demanding it in every way possible! 

“Unless someone like you cares a whole awful lot, nothing is going to get better; its not!” 

-The Lorax 

Ladies & gentlemen, I am TheNorm; thank you all for reading. 

Previous Entry on Physical Media

Remarkably Bright Creatures - Cleverly Heartfelt

 

Streaming on Netflix

I have said a few times on this blog that I enjoy stories featuring animal characters: they can offer a uniquely helpful narrative perspective that allows for some creative freedom, and can also provide interesting and unexpected ways to drive the story forward. What’s more, the animal character doesn’t have to be the protagonist to have this effect; an animals presence alone offers incredible symbolism that can speak volumes about the human characters and the overall themes of the story. Keep that in mind next time you’re watching Blade Runner. 

Todays subject, Remarkably Bright Creatures, is a film that not only utilizes an animal character in a fun and profound way, but is also a damn good story on its own merits. A comedic drama about isolation, loss, unexpected family, and the uncertain journey we call life, all centering around the perspective of a wise and justifiably cranky sea creature, who steals the show in the best way possible. 

Based on the book by Shelby Van Pelt, the story follows an elderly woman named Tova (Sally Field), who works as a cleaner for a local aquarium. While there, she befriends a recently rescued Octopus named Marcellus (Alfred Molina) who is very observant his human friends conflicted condition. One day, Tova accidentally hurst her leg, and has to train her temporary replacement, a young man named Cameron (Lewis Pullman), who happens to be in town working off a replacement part for his van. The two humans form an unexpected friendship that eventually leads to some equally unexpected revelations, one of which Marcellus the Octopus is determined to bring about. And, in doing so, provide some much needed closure and freedom for everyone involved. 

The film features on-point performances, balanced direction, and sharp writing. While much of the narrative elements have been done many times before, the film succeeds in being familiar yet fresh; treading past story turns in a different enough fashion to be its own thing. Its greatest strength lies in successfully being heartfelt without being sappy, a challenging balance to strike that co-writer/director Olivia Newman seems to have perfected. 

The MVP award goes to Alfred Molina as Marcellus the Octopus (who goes uncredited in the film by the way). His professional and extraordinary talent elevates what might have been an otherwise lame excuse for a voice over narration. Molina brings a tremendous deal of depth (no pun intended), weight, and emotional gravitas to the whole film. And no, the irony of an Octopus being voiced by someone, who previously played a particular Spider-Man villain, is not lost on me!

Remarkably Bright Creatures is a quintessential “feel good” movie in the best way possible. It offers a relatable story with sympathetic characters and a great deal of heart. Not to mention lots of enjoyably comedic observations from Marcellus. It may not change your life, but it will make you smile. 

Totally worth a look. 

Ladies & gentlemen, I am TheNorm; thank you all for reading. 

I'm Still Here

I'm still here. 

New reviews on the way. 

Thank you for your patience. 

😊

My Thoughts on Zack Cregger's Upcoming Resident Evil Movie

 

I have stated on this blog once before that the Resident Evil series deserves another chance at the silver screen. Video games have an unfortunate history of, shall we say, less than ideal treatments when it comes to film adaptations: they either miss the charm and the point of the game entirely, or they feel as if they have to “compensate” for being a video game adaptation. I’ve said it before and I’ll say it again: the only good video game movie thus far is still Prince of Persia, purely on the basis that the director actually played the game to determine the best creative options for the movie. Also, I would be remiss to not mention the astonishing achievement in video game adaptations that is HBO Max’s The Last of Us, but that is an episodic series (not to diss the format in any way); this is about feature-length films, which the Resident Evil series is absolutely ripe for fascinating and engaging cinematic storytelling. 

I bring this up today because of a rather interesting thing that recently dropped on the internet: a teaser trailer for a brand new Resident Evil movie co-written and directed by Zach Cregger, the same filmmaker behind Barbarian and last years Weapons. While Mr. Cregger’s filmography shows his genuine talent and skill in the horror genre, which the Resident Evil series has always been a part of, I admit that my interest in this upcoming new feature-film adaptation has me simultaneously interested and concerned. 

For those of you who may not be familiar with Resident Evil (also known is Biohazard in Japan), it’s a survival horror video game series about an evil mega corporation that accidentally creates a virus which inadvertently causes a zombie apocalypse. Since the release of the first game back in 1996, the series has enjoyed a ton of sequels, spin-offs, and remakes to varying degrees of quality. Some good, some bad, all interesting and horrifying in their own way. The series also got six feature-film adaptations, all of which were completely terrible, sad to say. All that might actually change with this upcoming film; here's why. 

According to statements made by Mr. Cregger, the script for this brand new Resident Evil film is entirely original, and most likely won’t utilize any of the established characters or storylines from the games and, in his own words, “This is a story I would have wanted to tell, whether I got the IP or not.” Immediately, this can feel like a massive red flag: yet another established filmmaker taking their own story, and slapping a recognizable IP onto the script, purely for marketing purposes. This is a practice that has plagued the Hollywood system for decades, especially with video game adaptations.

*cough* Super Mario Bros. from 1993 *cough* 

So, most people's knee-jerk reactions would be to dismiss this upcoming film entirely, since the director already gave away their apparent disinterest in the source material. However, given the content of the trailer, and my thoughts on how creatives need to occasionally approach working with some IP’s (more on that later), I think this might actually turn out to be significantly more interesting than we might have thought. 

Hear me out! 

While it is easy to dismiss this upcoming film as yet another tired Hollywood business practice, it is also systemic of what it truly takes to give aspiring filmmakers and original scripts a chance at production. You see, Hollywood and all of its affiliates are terrified to produce anything that isn’t connected to a “pre-existing property” of some kind, under the delusion that nothing can have any chance of success unless it has a recognizable IP attached to it. Therefore, it is now commonplace for screenwriters to link some recognizable IP’s onto their original story just so they can more likely get a producers attention. It may feel a tad degrading and somewhat frustrating, but if that is a sure way to get a more original concept in the works, and give an aspiring filmmaker their shot at making a movie, then I have no problems with this practice. 

Now, Zach Cregger is already a well established filmmaker with two well received horror films under his belt, all the while doing so with his own original scripts; so he doesn’t necessarily need to sneak an original story into production by slapping a recognizable IP onto it, it’s more likely that he is doing this either because the studio demanded it, or, maybe, Zach Cregger is establishing a precedent for future filmmakers, saying that it’s totally acceptable, and not at all degrading, to attach a pre-existing IP to your script. Because as long as Hollywood remains addicted to avoiding truly original concepts (which they forever will be), then this is the best way to make your movie and retain at least most of your artistic integrity. 

Another argument to make for this movie is Zach Cregger’s efforts to do something else that not enough people in Hollywood, or in the filmmaking world in general, are willing or able to try: tell an original story within a pre-existing IP. 

You see, something that I wish more filmmakers and Hollywood executives would take to heart, is the notion that you can still make movies inside a recognizable universe (Star Wars, Marvel, Video Games, etc.), but they don’t have to follow any of the recognizable characters and events within that world. One of the reasons I love the Disney+ original show The Mandalorian so much, is because it avoids (for the most part) revisiting the events and characters from the original film trilogy. Yes, the story takes place after the events of Return of the Jedi, and there were a few callbacks to some of the classic elements of the trilogy (including a de-aged Mark Hamill), but the series spends most of its time exploring characters and events outside of that established narrative. It’s still a Star Wars story with all of the recognizable elements; it’s more interested in exploring the other stuff that the universe has to offer outside of its origins. 

Also, at the very least, Zach Cregger is maintaining his passion for horror, and appears to be making a genuine effort to bring the Resident Evil series back to its horror roots with this new movie. Those who are bigger video game loyalists than I am will likely take issue with this movies blatant abandonment of recognizable characters and events from the original game series, but I say, maybe that’s what it needs right now. As much fun as the original games are, and always will be, perhaps it needs a completely different perspective in the movies. 

Also, props to Zach Cregger for working with a different cinematographer; one who actually knows how to light dark scenes and not overly rely upon High Dynamic Range! Yes, I said it! 

I, for one, am actually looking forward to this film. If nothing else, I’m sure it will be a thrilling experience in its own way. We shall see what Mr. Cregger has in store for us this September. Until then, I think I’m going to go dig up my old copy of the original Resident Evil 2 game. 

Ladies & gentlemen, I am TheNorm; thank you all for reading.