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. 

Michael - Spectacularly Mid

 

I should begin this review with a full disclaimer that I am a massive fan of the late Michael Jackson: I grew up watching the Thriller video with my sisters, I own CDs of all his albums (even the posthumous ones), I won a school talent contest recreating his dancing style including the Moonwalk, and I own a special vinyl record of the album BAD (my favorite), which has the cover of the album printed directly onto the record itself. The music, the commitment to perfection, and the persona of a playful person spreading joy and excitement has always resonated with me, and I have always admired those aspects of the late King of Pop. 

Having said that, I am not ignorant of the unfortunate and less-than-ideal aspects of Michael’s life that some of us may wish had simply never happened, but are systemic to the public's terrible habit of forgetting that even the most talented and gifted people among us are still human, and therefore susceptible to the same flaws and, in some cases, unintentional behaviors that lead to greater tragedies down the road. 

What I mean to say is that my experience in watching todays subject, Michael, a musical biopic of the legendary King of Pop himself, is one that seems like a ripe opportunity to test my critical metal. While the music, general presentation, and historical likelihoods are well presented and enjoyable to see, the lack of interest into the nuance of his talent, along with a less-than-ideal  exploration into the life and essence of Michael Jackson himself (aside from his troubled relationship with his jackass of a father), results in the cinematic equivalent of a tribute concert: it goes through all of the greatest hits without delving deeper into the essence of what made the man as memorable or as nuanced as he was to begin with. Yes, the film was fun, enjoyable in many ways, and Jaafar Jackson does a spectacular job embodying his late uncle (more on that later), but aside from well-observed mimicry, and excellently recreated concert and music video experiences, Michael Jackson’s legacy deserved so much more than what amounts to a highly polished puff piece. 

Also, where the hell was Janet? 

The film follows Michael Jackson’s origins and career starting from his roots in Gary, Indiana all the way to the release of the album BAD; highlighting his troubled and painful “relationship” with his father and kind of glossing over his most historic achievements. While the movie gives a little insight into Michael’s talents and theatrical skills, it never goes any deeper into the nuances or the spirit of his creativity. It is similar to my many issues with the Queen biopic, Bohemian Rhapsody: although Michael is significantly more enjoyable and technically competent than that boring train wreck, neither film seems to have any interest in delving deeper into the driving forces behind their talents, inspirations, and reasons behind their creative choices. You know, the things that made them so memorable and entertaining in the first place?

It’s especially annoying when you consider the kind of stage presence and skills of showmanship that Michael Jackson possessed: he was very knowledgable and super skilled at stage craft, presentation, and creating his own kind of magic when performing. Yes, the film shows what it all looked like and how audiences felt about it, but there’s so little time spent exploring what made it all manifest within Michael to begin with, that you’re left wondering why they bothered to bring any of it up in the first place. For example: we never really learn why Michael was such a horror movie buff; something that would have been really nice to learn and watch unfold into his music and creativity. 

One of the few things that makes this movie worth seeing is how incredibly well Jaafar Jackson, Michael’s nephew, embodies and recreates his late uncle's persona and stage presence. Jaafar nails Michael’s moves, sounds, and mannerisms to a “T” with expert precision and commitment. I don’t know what his future will be beyond this movie, but I genuinely hope that he gets to enjoy a career of his own in whatever filed he choses; he’s got some powerful talent of his own. 

Michael is yet another musical biopic that is not as interested in the artists humanity as it should have been. While the presentation and well recreated highlights of Michael’s career are astonishing to watch, and the central driving force behind Michael’s need to stand up to his evil father is, at the very least, emotionally resonating enough to carry the story, and provide a little insight into what made Michael the kind of person he was, the film ultimately left me longing for greater depth than what was provided. Although my time did not feel wasted, and I greatly appreciate many aspects of the film, especially Jaafar’s talents and skills, Michael’s legacy deserves a more in-depth exploration than this!   

I do recommend you see it, especially in theaters, but do so knowing what to expect. Also, special warning for those with any kind of photosensitivity's. 

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

War Machine - What if Michael Bay directed Predator?

 

Streaming on Netflix

I have said before that it is absolutely possible for a film to be both smart and entertaining; two things can be true at the same time. However, I should clarify that when I say a movie can be “smart,” I don’t necessarily mean it has to be entirely intellectual (although that doesn’t hurt either.) For me, a “smart” movie is one that retains the necessary elements for a compelling narrative (sympathetic characters, an overarching theme worth investing in, a clever and insightful story, etc.) rather than relying upon spectacle and awesome presentations. Some prime examples include films like Robocop and Demolition Man: movies that have all the desired goods for invigorating entertainment, while containing all the required elements for proper storytelling, and offering at least a little bit of intellectual stimulation with clever commentary and insightful ideas. 

Todays subject, Netflix’s War Machine, is a film that might have joined the pantheon of other smart movie classics, were it not for its seemingly laser-focused desire to be less like of a narrative film, and more like a military recruiting video that happens to resemble a proper movie. While I do, and always shall have, the utmost respect and admiration for the armed forces, I cannot, in good conscience, give a pass to what feels like aggressive propaganda, no matter how fantastical the presentation. Even the parts that do technically work and deserve proper recognition do not overshadow the overall disappointment that is Netflix’s War Machine! 

The story follows recruit #81 (Alan Ritchson), going through the intense training regiment for becoming an Army Ranger and, in the process, hopes to find closure for an unfortunate past incident. The final test for recruitment plops him and his fellow potentials on a simulated mission, wherein they must destroy a downed aircraft, rescue a hostage, and return to base. Things take a sharp turn when they stumble upon what they assume is their target, only to discover that it is a highly advanced bipedal alien tank, which begins mercilessly slaughtering all living things it can find. Now in a fight for their very survival, #81 must take on the leadership role he had been avoiding to guide his fellow recruits to safety, and warn others of this impending threat. That is, of course, assuming they can survive against a heavily armed alien tank with no weapons of their own and severely limited resources. 

The greatest problem with this film is that it spends too much time beating its chest with uber macho military bravado, while only providing the absolute minimum of necessary narrative navigation. Sure, the protagonists troubled past is sympathetic, and the attempts at building a character arc are there, but none of it is executed well enough, nor given proper time for development to have any kind of significant impact. Not to mention, at least some of the narratives issues could have easily been fixed if some of the events were depicted in a different order. 

The only saving grace for the film is the leading man, Alan Ritchson, who apparently did many of his own stunts and successfully pushed himself as hard as possible to deliver the best kind of performance expected for a movie like this. While I have no doubt that Mr. Ritchson has talent and potential, I genuinely hope to see him in something that doesn’t spend more time taking advantage of his gladiator-like physique, and actually allows him to play a character. The roles he has had up to this point have served his known abilities well enough, but I want to see this guy do something outside of military-oriented stuff. He’s got charisma; he needs a worthwhile story to tell. 

Netflix’s War Machine is predictable, unimaginative, one sided, and offers nothing substantial to its genre, nor the talents of its leading man. While there are some decent moments scattered throughout the film, they are few and far in between, and only serve to highlight all of the films inexcusable flaws. If you must watch a movie that showcases what being in the armed services can mean and why it’s worthy of appreciation, go watch Act of Valor from 2012. It may have all the clichés of most military movies, but it utilizes them in a significantly better way. Plus, it stars actually active (at least at the time) Navy Seals. 

Skip this one entirely! 

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

Islands - Well Intended, Not So Well Executed

 

Rent on Apple TV and Amazon Prime 

While I have always believed in and often implemented an “elegance in simplicity” approach toward filmmaking, along with a desire for authentically human storytelling, I will admit that one of the greatest challenges in such an approach is finding the right balance of style and pacing. Cinema is an art form, yes, but it is also a form of entertainment; audiences need to feel as if they are having an experience of some kind that they can’t get anywhere else. This applies to all kinds of stories, regardless of how authentic or “realistic” you intend them to be. Audiences don’t go to the movies to see real life; we experience it every day. 

Today’s subject, Islands, is a film that tries to be a realistic story with authentically-intended characters, along with a relatable theme of longing for connection, belonging, and adventure, but those worthwhile themes get a little too drowned out by the lack of engaging entertainment value, and a sense of pacing that appears to be going for a slow-burn build up, that takes way too long to reach a not-as-satisfying-as-it-should-have-been payoff. Few things are as frustrating as seeing a film with all the right ingredients, only to be bogged down by less-than-stellar execution. 

*cough* Disney’s Frozen *cough*

The story follows an alcoholic Tennis instructor named Tom (Sam Riley) at a luxury hotel resort on the Canary Islands of Spain, who goes through his daily life regularly numb and likely running from his troubles. One day, he befriends a married couple with a young son who’s interested in learning some Tennis while on holiday, and Tom seems to get along so well with the family, that he offers to be an impromptu tour guide; taking them to the various fascinating parts of the Island for a better experience. Things seem to be going well enough until the husband has mysteriously vanished, with signs suggesting possible foul play. As the investigation continues, so does the romantic tension between Tom and the missing person’s wife, as they seem to have formed an unexpected connection that may or may not mean something greater. As the police continues to search for the missing husband, who knows what will happen if he is or isn’t found? 

As I said, there is enough workable material here that could have made for a compelling narrative: the characters are understandable and have, at least, a few likable qualities; the nuances of human connections are explored (albeit not as well as they should have been); and the general theme of finding your people and wanting to be part of something perceivably special is as universal a desire as can be. At times, the film reminded me of the underrated classic, One Hour Photo, only significantly less dark and not as well paced. 

Which, incidentally, leads me to the overall primary problem with the film: the pacing. Islands is yet another strange case of what appears to be a modern attempt to “enhance” the artistic nature of a film, by presenting everything in a slow, overtly moody, and hyper dramatic fashion that, in this critics opinion, comes across less like a means of establishing mood, and more like an adolescent attempt to come across as more mature than you actually are. Stories with an element of mystery do typically benefit from a deliberate pace, but that only works when the mystery is presented within the first twenty minutes of the story, and this film doesn’t present its mysterious elements until an hour into the narrative. 

In short, it takes too damn long for the story to get moving! 

While the film gains a few points for wanting to present a genuinely human narrative with tangible goals, the lack of tangible entertainment value and overtly slow presentation leaves much to be desired. There is just enough here for an audience to understand and appreciate what was intended, but it’s not enough for a full recommendation. If you want to watch a film with a similar approach but significantly better execution, watch Adopt a Highway with Ethan Hawke; it’s streaming on Hulu (if you still have it) and available for rent on most digital platforms. 

Give Islands a shot only if there’s nothing else. 

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