Aquaman - Mostly refreshing

I'm not sure how to write this review. Aquaman is a rare film that has equal amounts of quality and lack thereof in almost every single aspect of its presentation. For everything that this film does well it is carefully counterbalanced by something that doesn't make sense or feels underdeveloped. Even so, it still succeeds in being a fun ride with fresh characters and a decent take on the traditional hero's journey. In comparison to any other DC Comics superhero film released in the past few years, with the notable exception of Wonder Woman, Aquaman is leagues above them all in quality and entertainment value, but sadly still falls into the unfortunate traps left by the previous films and the wrong-headed last minute choices made by Warner Brothers. Despite all that, while I would not dare to rank this movie on par with the likes of Black Panther, I will say that I enjoyed the hell out of it and genuinely hope that DC & Warner Brothers learn some valuable lessons. Sometimes, all you need is a little crazy. 

The story follows Arthur (Jason Momoa) a.k.a. Aquaman, as a man who is half human and half Atlantian: a race of people who live deep in the Oceans of the world. When Arthur is not helping innocent people from pirate attacks or saving marine wildlife, he spends his time drinking at the local fisherman's bar lamenting about his lost mother and how much he hates Atlantis for betraying her. That is until one day a new Atlantian friend named Mera (Amber Heard) approaches Arthur with news about his other home. It turns out that his half-brother King Orm (Patrick Wilson) has grown tired of hiding from the surface world as they pollute the oceans and threaten their very existence, and has decided to declare war on the surface. To so do he must first assemble an army of all six kingdoms of the seas to join him. To stop King Orm and save his home and loved ones, Arthur must seek out the ancient Trident of King Atlan, the first King of Atlantis, and challenge Orm as the rightful heir to the throne, securing peace between Atlantis and the surface world. Meaning Arthur will also have to prove himself worthy of being King. The question is, does he want to take on the new title, and is he even ready for it?

First, let me talk about what I liked about the movie, and fortunately, there is a good deal of quality stuff here. 

Almost the whole cast, especially Jason Momoa and Amber Heard, are fantastic. Everyone seems to have fully embraced the fantastical nature of the film and are having a lot of fun. It often at times feels like watching kids play an epic round of "let's pretend," and I mean that in the best possible way. Jason has a surprising charisma about him that was sadly not present in his previous outing as Aquaman, Justice League. Amber Heard as Mera is fun, energetic, sympathetic, and badass, like Ariel from The Little Mermaid if she knew how to fight. Patrick Wilson as the villain is incredibly entertaining to watch as Mr. Wilson successfully balances the dual nature of his character. He can be calm and diplomatic one moment, only to shock you into submission with killer aggression the next. Although, my favorite supporting character has to be Willem Dafoe as Vulko. He's like an amalgamation of Yoda and the relaxed yet caring uncle who takes you fishing. No pun intended. 

The action scenes are phenomenal. No two fight scenes or chase sequences ever look or feel the same. Each one gets progressively exhilarating and more impactful to the general story. At the end of each action set piece, I felt out of breath like I was the one running and fighting. A true testament to the talent at play in the director's chair. Speaking of whom...

The film was directed by James Wan, who is genuinely showcasing himself as quite a versatile director. Starting as a horror specialist with great modern chillers such as Insidious and The Conjuring, James Wan put horror cinema back on the map with his exquisite direction of the camera, spooky atmosphere, and well timed scares, not to mention his excellent workflow with actors. After ranking in tremendous success with his scary movies, Mr. Wan tried his hands at the action genre with Furious 7. Much to everyone's surprise, despite the original perception that he might have been well out of his comfort zone, Mr. Wan delivered an incredibly fun action movie. Complete with silly yet thrilling set pieces and a reasonably compelling narrative to boot. All of that has been further showcased in Aquaman as Mr. Wan effortlessly delivers fantastic action scenes with comprehensible camera movement, fluid editing, and satisfying choreography. Also, his handling of the quieter moments is equally stunning. I'm looking forward to seeing his future films. 

Unfortunately, as I have already said at the beginning of this review, for everything good about this movie, there is a negative counterpart. 

Starting with the writing. While the general story and overall theme of heritage vs. personal identity is pretty well executed, the rest of the script, at least for the most part, is not. Half the dialogue is relegated to unnatural-sounding exposition, and most of the other half is incredibly amateurish. Like it was written by a sixteen-year-old surfer dude over the weekend. Also, as sympathetic as Arthur-Aquaman is, and as much as a genuine hero he turns out to be in the end, it is challenging to believe that he would be a genuinelyly great leader of a Kingdom he has never visited or cared about until now.  Also, King Orm's motivations, while understandable, don't make much sense within the narrative. Minor spoiler warning, when Orm says he wants to wage war against the surface world for killing the Ocean and destroying their home, we never actually see any of that stuff happen. In fact, whenever we look at the Ocean in the movie, it is perfectly clear and free of garbage say for one or two small moments. And even then, it's not really all that devastating. Also, we never see how any of this affects Atlantis. Actually, I'm pretty sure it never does. The script is full of plot holes like this that, granted didn't really change my overall experience, but it did make me long for something more clever. 

Another issue I personally have with this film is its treatment of its supporting villains. Namely, the ruthless pirate Black Manta (Yahya Abdul-Mateen II) as well as his father (Michael Beach) who is also a pirate. As characters, they are perfectly fine. They have a rich and sympathetic backstory (not unlike Kilmonger from Black Panther), they are played well, and they provide some of the more impactful action scenes. The big problem I have however is the fact that these two are literally the only black characters in the whole film that I can remember. Under different circumstances, this might not be a problem. But when the only black characters you have in your movie are ruthless killers, it kind of paints a bad sign, however unintentional. The good news is, at the very least, the film never forces them to devolve into any sort of stereotype that would otherwise further any unwarranted negative implications on the characters. So while they are still murderous villains, they are never really dehumanized. If anything, they are arguably more interesting than the actual main villain, King Orm. Almost makes you wish the movie was more about Aquaman dealing with them rather the politics of the throne. 

The last thing I have to nitpick about the movie is pretty minor but is worth mentioning. The transitions between the more quiet moments and the action scenes are just too repetitive. The first time a softer moment is suddenly interrupted with an explosion to the face was just fine. It gave me a good jolt and informend me that something big was about to go down. However, when that same tactic is utilized for almost every single action scene, it gets a little dull. 

To be fair, a lot of this was kind of inevitable. Because of the misguided standards initially put into place by Zack Snyder, and the studios sudden and drastic desire to change course, there were going to be some issues like these with this movie. Even so, much like Justice League from last year, there does seem to be some real effort put into making these movies better and more fun. While I still have my reservations as to whether or not they can succeed in turning their plans around for the better, I feel more hopeful now than I ever did before. 

While Aquaman is not necessarily the new pinnacle of quality for DC superhero movies, I do argue that it is at least, for the most part, a good step in the right direction. If for no other reason that it is one of the few DC movies in recent years that actually does understand what a hero is and actually likes them. If Wonder Woman is the highest possible execution of good DC superhero movies (and it really is), then Aquaman is the result of a humbled fool trying to follow the good example made by her. It may not be the next best thing for DC movies, but it's getting closer. Let's hope they continue to improve from here on out. 

Is this movie worth seeing? 

Maybe 

Is it worth seeing in theaters? 

Yes. 

Why? 

While it may not have the best writing or use of characters, it succeeds in being a thrilling visual presentation that is best experienced on the big screen. If you can look past its flaws, you'll be in for a pretty cool ride. 

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

Bird Box - Intensely intriguing

Every once in a while you come across a movie that is so intense, so relentless, so frustratingly immersive that you almost feel angry at the film for making you feel so alive. Only to slowly rewind and remind yourself that, as adrenaline-inducing it all was, it's still just a movie. These kinds of films can be tough to make and even harder to watch, but when they are as well made as this one, it can be one hell of a ride. It is a true testament to the power of cinema in that it can move you in ways you often seem to forget it can. These kinds of films are the very reasons I am so passionate about cinema. 

Based on the novel by Josh Malerman, the story takes place in a post-apocalyptic world in which strange and unknown entities have populated the planet. They appear to be invisible, but upon looking in their general direction, they apparently take on the form of your worst fears or deepest regrets and cause you to commit suicide. Even worse, some of the people who have seen these entities have lost their minds and systematically seek out survivors to force them to look. One such survivor is Malorie (Sandra Bullock), a depressed and isolated painter with two small children. When we first meet Malorie, she and the kids begin a long boat ride down the river in search of sanctuary. All the while cutting to flashbacks of the events leading up to the boat ride. To better assure their safety, they must make the trip wearing blindfolds the whole time. Will they find their new safe haven, or will they be tempted to look? 

Many of the films story elements seem heavily inspired by other movies and media. The notion of avoiding an unknown entity by depriving oneself of a specific stimulation seems lifted from A Quiet Place (the significant difference being sound as opposed to sight). The plot dynamic of a parent and kids traveling through a post-apocalyptic wasteland in search of a safe haven is very similar to The Road. And of course, the idea of blindness being not only a side-effect of the inciting incident but also the means of survival can be traced back to Day of the Triffids. Yet, despite all of those connections, coincidental or not, Bird Box succeeds in making everything feel as if it was all its own. Every single element I just listed is taken into account, and the film mashes them into its own identity, which makes this film a genuinely unique experience. In the words of Stanly Kubrick, "everything has been done before, it's up to us to make it fresh again." Those may not be his exact words, but the point still stands.

Sandra Bullock delivers her usual professional powerhouse performance. Her wide emotional range and a tremendous sense of conviction never fail to get one invested in the story. Even when she seems unlikable at first, as she does in this film, she still manages to make you curious enough about her character to allow the benefit of the doubt. One could argue that it is mostly the doing of the screenplay, but I say that any writing is only as good as the one who has to deliver it. I have always admired Sandra Bullock as an actress, and it is always appreciated to be reminded as to why.

The film was directed by Susanne Bier. A Danish director whom I mostly remember for her original film Brothers from 2004, which was remade in the United States in 2009 and was far less impressive, but I digress. Susanne seems to have a talent for telling dark and intense stories but in such a way that it never devolves into complete bleakness. She seems to relish in bringing you close enough to the edge that you can just barely see the bottom only to reel you back in forcing you to only imagine what might have been down there. Despite the film featuring some rather gruesome and disturbing images, none of them every outstay their welcome or feel out of place. It's the perfect example of how less is more or how you don't have to show every single gory detail. The implication is far more potent than full depiction, and Susanne Bier has prover herself to be the master of that philosophy.

The cinematography by Salvatore Totino deserves special mention as it arguably contributes the most to the films visual realism. The lighting feels naturalistic and never stylized, which is a big plus for me personally. The camera often feels like it's being operated by a person in the scene, thereby making the audience feel more like a participating character. Best of all, no shaky cam. These may be minor things to point out, but speaking as a cinematographer as well as a critic, I appreciate seeing my personal preferences being practiced in other big budget productions.

This film may not be the easiest to watch, but it is one you must check out when in the proper mood, especially if you happen to have a Netflix account. This streaming service turned premium network has been on fire with its original content getting better every year. It's almost enough to encourage me to give up attending the movie theater entirely. Mind you I said "almost" as I still enjoy the theatrical experience. Even so, it's nice to know that quality control always seems to exist, at least in some capacity.

If you have Netflix, or you have access to a friends account, check this one out.

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

Bumblebee - More to love than meets the eye

They did it! It took over ten years and five awful movies by the same lousy director, but they finally made a Transformers movie worth watching. This is what we as fans of the source material have been waiting for. A smart, thoughtfully crafted, tactfully paced, and emotionally resonating feature film bringing a part of the childhood of my generation to life. Not only do the robots look more akin to their original designs, not only do the filmmakers have a better appreciation for the appeal of the Transformers, but the movie has what the whole franchise had been missing for far too long: a sense of childlike awe. Moreover, though it is soaking in 80s nostalgia, that is not the main reason this film is so enjoyable and memorable, but rather for its authentic story, loveable characters, comprehensible action scenes, and a genuinely relatable journey of growth, love, and overcoming obstacles. 

The story takes place in 1987 in a small town near Santa Cruz. A young girl named Charlie (Hailee Steinfeld) is struggling with the death of her father. Distancing herself from the rest of her family, as well as her own self-value, finding refuge in rebuilding an old Corvette she and her father were working on. On her 18th birthday, while salvaging parts in a local scrap yard, she stumbles upon an old yellow Volkswagon Beatle, which the friendly yard owner gives her as a birthday gift. However, as soon as she takes the yellow Bug home, it transforms into a colossal robot right before her eyes. Despite the robots intimidating size, he is actually very timid and confused, like a lost puppy. Turns out that the robot, which Charlie chooses to name Bumblebee, is an Autobot soldier in an intergalactic civil war against the evil Decepticons and was sent to Earth to establish a new base for the resistance, as well as protect the planet from the Decepticons. Except for one small problem: Bumblebee has somehow lost his memory and his voice and cannot fulfill his mission. Even worse, Decepticon agents have landed on Earth in search of him. Now, Charlie must help her new friend remember who he is and, in doing so, come to terms with her own loss and reconnect with her own true self. 

This movie is an absolute delight in every possible way. Arguably the most significant reason why is because of how different it is from any other live-action Transformers movie that has been produced. Since 2007, Paramount Pictures has released five films, and they all share the exact same problems. Without going into too much detail, all of their issues can be chalked down to director Michael Bay and his inability to understand or appreciate the source material as well as basic storytelling. It got so bad that The Nostalgia Critic successfully predicted everything about last years movie before it was even released. Despite Mr. Bay's failure to make a decent or even watchable Transformers film, they continued to make lots of money and discourage producers from taking any risks with the franchise. It was only recently that their repetitiveness finally caught up with them. After the last film, Transformers: The Last Knight, failed to deliver the box-office performance they were expecting, they finally took a step back and re-evaluated their approach to the material. Needless to say, their efforts have paid off. 

Bumblebee was directed by Travis Knight, the co-founder of the stop-motion animation group known as LAIKA Animation Studios, which was the studio behind Paranorman and Kubo and the Two Strings. This is Mr. Knight's live-action debut, and it is a beautiful break out hit. Considering Mr. Knight's background in animation, he knows how to pay attention to fine details. His visual style is calm yet active in its elegant simplicity. His talent for crafting action scenes is a joy to behold as he never resorts to shaky cam or rapid-fire editing to artificially up the intensity. His ability to handle actors makes for some of the most touching and memorable moments in the film. His firm understanding of the need for emotional resonance in a story puts him on par with the likes of Steven Spielberg. All of these things and more secure a glorious display of talent and skill that deserves applause. Hollywood would be wise to keep Travis Knight in their employ. 

The relationship between Charlie and Bumblebee is, hands down, the best part of the movie. They are the heart and spirit of the story and the real reason the film is worthy of your emotional investment. The two of them come to each other broken and, through their friendship, rebuild each other into better versions of themselves. It is true that this particular story is very similar to that of The Iron Giant or E.T., to which many other critics have, understandably, compared this movie. This does not bother me because, as I have stated in my original video review for Wonder Woman, I would prefer that the filmmakers take too much inspiration from the right material than from the wrong ones. Also, these characters have already had five movies worth of blowing stuff up, so it was time to do something different, and I for one welcome it with open arms. 

Hailee Steinfeld, whom some of you may remember as the Academy Award-nominated actress from 2010's remake of True Grit, delivers a heartfelt performance the likes of which I would put on par with the cast of Black Panther. Offering genuine chemistry and believable relatability despite not having an actual on-set opposite presence to work off of. Also, Hailee puts so much conviction into her performance that she sells everything else that happens on screen. Regardless of whether she is running through a mountain range from armed robots or sharing her vulnerability with a friend, it is always genuine. I for one look forward to seeing her in future movies. 

The special effects and the action scenes are leaps and bounds above anything else that has been seen in any other Transformers movie, if only because you can actually understand what's going on. The design of the robots not only look more accurate to their original conception but are also adjusted in ways to make them stand out more. So even when the robots are fighting each other causing tons of damage to their surroundings you are never confused as to what's going on or who is fighting who. From what I understand the film utilized a combination of practical effects and CGI, which is something I have always advocated and appreciate when it's actually practiced. 

Perhaps what ultimately makes this film such a fantastic experience, besides the genuine friendship between the main characters, is that anyone can watch this movie and enjoy it for what it is. Even though it is based on a popular cartoon series from the 80s, and it makes some great callbacks to it, the movie doesn't really expect everyone in the audience to be familiar with it. While those who are already familiar with the source material will get a good chuckle at some of the inside jokes, like I did, the film only expects you to be ready for a compelling, self-contained story. Any and all recognizable acpects of the Transformers is relegated to lore and additional texture so as to add further depth to the real meat of the story. Much like The Princess Bride, there is something for everyone. 

This is precisely what the Transformers franchise needs right now. Rumor has it that if this movie does well, the studio will use it as a launch pad to effectively reboot the entire franchise and start again with Bumblebee as the model for all future Transformers movies, effectively erasing the Michael Bay films from cinematic history. Which, if you ask me, is not a bad idea at all. Make no mistake: Bumblebee is not a great film because of its nostalgia value, but because of its storytelling power. This film may well be the best Holiday present I have received in cinemas ever, and I can't wait to go see this again. 

Is this movie worth seeing? 

Yes 

Is it worth seeing in theaters? 

Yes 

Why? 

It is a heartfelt, exciting, well crafted, emotionally resonating film that makes the whole movie going world brighter by its existence. Roll out to the theater for a genuinely transforming experience. 

Ladies and Gentlemen, I am TheNorm, thank you all for reading. 

Spider-Man: Into the Spider-Verse - Masterpiece

I may have mentioned once or twice before that Spider-Man is my favorite superhero of all time. Considering how there have been so many new and exciting versions of the character, it stands to reason that Spider-Man is indeed a universal figure. There are many reasons as to why but none are as important or as influential as to just how relatable he is. Despite having tremendous powers and a sharp suit to boot, he is just like you and me: A relatively normal everyday person just trying to make ends meet. Sure, Spidey can tackle monsters or foil bank robbers, but he also has to deal with things like school, a day job, and family. The real power of Spider-Man is the idea that anyone can be a hero, even if you can't swing through buildings. It is a fundamental aspect of Spidey's character that is gloriously demonstrated in this beautiful film. It is indeed a masterpiece in every way. 

The story follows Miles Moralis (Shameik Moore), a young boy who, in the comics, would eventually become the new Spider-Man after the tragic death of the original Spider-Man, Peter Parker. Before the idea even crosses his mind, Miles spends most of his time balancing his artistic desires with his school obligations. One night, as he sneaks out to meet up with his uncle, Miles stumbles upon Spider-Man in a fight against a monster. Even worse, there's some kind of giant machine that just exploded and caused some bizarre stuff to happen. Also, Miles gets bitten by some mysterious Spider which gives him his own set of Spider oriented powers. Anyway, after that event, not only is Miles discovering his own Spider powers, he is running into other versions of Spider-Man, including Spider-Woman. It turns out that the explosion was some kind of dimensional portal which caused a rift in space and time. Forcing five alternate versions of Spider-Man to arrive in Mile's universe. Now, they all must team up to solve the mystery and get back to their own worlds. All the while Miles is struggles with the idea of even becoming Spider-Man, and what that means to him personally. 

This movie is downright amazing. While it may not be my personal favorite Spider-Man film (that distinction remains with Sam Rami's Spider-Man 2), this film succeeds where so many other iterations have failed. The choice to make the movie animated alone makes the experience all the more incredible. As Spider-Man is one of those characters who truly benefits from the animated medium. Considering the colorful style and the incredible feats shown in the comics. 

The script is hands down what makes this film so great. Penned by Phil Lord and Rodney Rothman, the whole screenplay is a wild collection of meta-humor, witty action, and touching moments of emotional drama and character development. All of these and more are beautifully balanced to deliver a narrative that is not only compelling but also feels personal. As if you are the one going through this unusual journey. It is the kind of writing that comes from genuine talent and expertly honed skill. Both writers deserve a medal for their beautiful work. 

Miles Moralis as a character is sympathetic, three dimensional, and wonderfully entertaining. Just like Peter Parker, he is a normal kid who is suddenly thrown into a fantastic situation. With no clue as to how to tackle all that is happening, he still manages to keep his head up and do what is right. His character arc, which I will not spoil, best showcases the great message of Spider-Man as a whole. That true heroes are within us all, and anyone can wear the mask. 

Each and every version of Spider-Man presented in this film is fun and fascinating. Speaking personally, my favorite is Gwen Stacy a.k.a. Spider-Woman (Hailey Steinfeld). For those of you who may not be familiar, in the original comics, Gwen Stacy was Spider-Man's first girlfriend who tragically died during a battle with a villain. The alternate version of Gwen Stacy, as presented in this movie, is one where she was bitten by the spider instead of Peter Parker. So she became Spider-Woman in her universe. It is an intelligent and fun new take on a character who had typically been treated, let's say not so reasonably in the original comics. In this film, she plays a pivotal role in Miles's development and gets some great moments of her own to boot. Plus, Hailey Steinfeld plays her with a whole lot of enthusiasm and charm. Not to mention, her costume is just so damn cool! 

This all may seem a little overbearing and hard to follow, especially for non-comic fans. Fortunately, the movie has the good sense to not assume that everyone in the audience is as familiar with the character as others may be and succeeds in bringing everyone up to speed. You don't have to be familiar with all of the details to understand the situation at hand. Those who are familiar with the details will get some extra mileage out of this movies charm. 

The animation and art design of the whole film is just jaw-dropping to behold. It incorporates so many different styles, techniques, and genres, and blends them all together so well, that the whole film can double as a beautiful collage of art. Best of all, no matter how insane the animation can get (and boy does it get completely crazy especially towards the end) you will never feel lost or overwhelmed by what is happening on screen. 

I had so much fun with this movie and loved it so much that I cannot recommend it enough. Even if you're not a big Spider-Man fan, or a superhero fan for that matter, the compelling story, fantastical art style, and the universally appreciated message about our inner heroes is more than enough to enjoy it. This is a powerhouse of a movie and one that does not come along very often. Please don't miss it. 

Is this movie worth seeing? 

Yes 

Is it worth seeing in theaters? 

Absolutely 

Why? 

It is fun, vibrant, impactful, and all kind of entertaining. There's a little bit of something for everyone. 

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

Mortal Engines - Frustrating

One of the worst feelings you can have when walking out of a movie is frustration. When you go through the trouble of buying your ticket, getting your overly priced snacks, struggling to get a good seat (assuming the theater in question doesn't have reserved seating), you are at least comfortable with the knowledge that you are about to be transported to another world that will entertain you and enrich your life. That is unless you end up going to see this garbage. Mortal Engines is a loud, brash, hyperactive, and unforgivably dull assault on your senses and especially your time. Don't let the fact that it advertises itself as "From the Filmmakers of Lord of the Rings" fool you because it contains nothing of what made those movies so special. The only thing that prevents this movie from being as awful as Jurassic World: Fallen Kingdom (the worst movie of the year) is that, at the very least, there was an attempt to do something different, give rising artists a chance at their own project, and present an unusual story that seemed worthy of a big screen adaptation. Even so, it fails miserably on all counts! 

Based on the book by Philip Reeve, the story takes place in a post-apocalyptic world where nations and cities have rebuilt themselves as mobile megacities, traveling the ravaged lands in search of resources. London has become the most powerful and dangerous of them all as it devouring everything in its path. Our "protagonist" is a young girl named Hester Shaw (Hera Hilmar) who is out for revenge against the man who killed her mother. Who turns out to be the semi-leader of London. However, as the events unfold, it turns out that there is a sinister plot unfolding underneath the great mobile city. Now, Hester must solve the mystery before it's too late. 

I know that description is vague, but that's mainly because there's too much plot to summarize in a single paragraph. The script for this movie is overloaded with too much plot and not enough story. About 85% of the dialogue is just exposition meaning no one ever develops as a character. It suffers from all of the same problems as The Last Airbender (the movie and not the show) where it tries to summarize too much world building in a small runtime. It is poor screenwriting that does not belong in such an expensive movie. 

The film was directed by Christian Rivers who is actually a storyboard artist. While he has a talented eye from production design, he is not a storyteller. Nor is he really a filmmaker. He has no eye for composition, zero skill in assessing a script, no clue how to manage actors, and is utterly incompetent in assembling action scenes. Which is an issue because this whole film is really just one great big action scene after another with nothing in between. I understand that this is his very first feature film as director, but he should have know better than to believe that he was ready for the task when he really was not. Alternatively, someone should have known better than to hire him in the first place. Mr. River's directing future does not look very promising. 

The cinematography is probably the second most frustrating aspect of this film. I could count on one hand the number of times the camera actually stood still and allowed the moment to speak for itself. Otherwise, it is continually flying around every chance it gets trying to make everything it looks at feeling more epic than it really is. Not to mention the colors and lighting make everything look flat and lifeless. It felt like an amusement park motion simulator where it's basically a giant crane arm up against a giant screen creating the illusion of free movement. Except it's not very useful in the theater because the seats are not moving with the action. Even if it were, it would still not be a pleasant experience. 

It would take another five paragraphs to go over everything wrong with this film! The editing is choppy and fails to connect scenes properly, the sound design is too loud and aggressive, the music is dull and repetitive (the composer was Junkie XL credited under a pseudonym in case you were wondering), and none of the characters have any sympathetic or relatable qualities to them. This is the cinematic equivalent of a petulant teenager trying too hard to be taken seriously by shouting to everyone about how deep and sophisticated he is when he's really just a hollow shell desperate for attention. This may have been made by the same people who worked on Lord of the Rings in some capacity, but they all chose not to play to their strengths and, worst of all, they forgot to add a heart. 

Stay as far away from this film as possible. It will only bring you pain. 

Is this movie worth seeing? 

No 

Is it worth seeing in theaters? 

No

Why? 

It's dull, loud, brash, and frustrating just how much wasted potential was there. It will scar you in ways you never thought imagined. 

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

The little movie that should (get nominated)

One of the definitions for the word recognition, as found online at dictionary.com, is listed as "the acknowledgment of achievement and/or merit." Back in February movie audiences were treated to Black Panther, a genuinely fantastic film and, arguably, the absolute best Marvel movie ever made. It had everything you could ask for and more. A rich story with textured characters, incredible action, excellent special effects (mostly), and timely commentary on relevant social issues. It single-handedly tore down barriers of all kinds and became a shining ray of hope for the future of cinema. Naturally, a lot of people who saw it, including me, wanted this movie to get the highest recognition it could achieve. So far it has received many well-deserved accolades, including the AFI (American Film Institute) movie of the year award, the best director award for Ryan Coogler from the Academy of Science Fiction, and, as of this writing, a Golden Globe nomination for Best Picture. Even so, many fans and casual admirers are anxious to see if it will get the most prestigious consideration of all: an Academy Award nomination for Best Picture. Which, as it turns out, has become something of an unexpected and, quite frankly, unwarranted uphill battle. While I am one of the people who does believe this movie should absolutely get nominated, it doesn't necessarily have to win. Moreover, not only are their other films from this year that I feel are more deserving of actually winning the Oscar for Best Picture, but I think that Black Panther must at least be considered for different reasons. 

For those of you who have not been following the news in the world of entertainment, allow me to give you a quick rundown of some past events about this topic. Namely, the Academy's wrong-headed reaction to Black Panther and its impact. Shortly after the film struck gold at the box office and transforming into a cultural phenomenon (rightfully so I might add), there was a lot of buzz amongst the fans about the possibility of getting a Best Picture nomination at the Oscars. Traditionally, the Academy has not favored superhero movies, let alone blockbusters, for any category outside of technical achievements such as special effects, sound mixing, and costume design. Even so, Black Panther became so much more than a mere superhero movie, to the point where tons of people, especially black people, were showing their gratitude for the film and the filmmakers. So, when backed into a corner, the Academy came up with what they believed was the perfect solution. They announced that, for the first time in a long time, there was going to be a brand new category at the Oscars. It would be called "Achievement in Popular Films," and it was going to apply to movies like summer blockbusters, financially successful movies, and so on. Needless to say, this rubbed everyone the wrong way. 

The most apparent problem with this idea is the timing. The Academy announced this brand new category right around the time that a film starring black people, made by black people, featuring a story that comments on the black condition, had become not only the most successful Marvel superhero movie since the first Avengers film but transcended into a more profound and relevant symbol of progress and pride. To everyone who heard this announcement from the Academy, it just felt like a slap in the face. Because we could not help but notice how this felt like segregation all over again. It amounted to little more than a "separate but equal" award (which by the way is the most annoying oxymoron in history). The idea is so outdated and mean-spirited that it was insulting to think that anyone high up in the artistic community would ever even suggest such a thing. 

The good news is once the Academy heard the peoples disdain for their ridiculous idea, realizing how much it was going to negatively impact their reputation and further decrease the already declining viewership of their annual show, they wisely pulled back their plans for the new category. Since then, there hasn't really been any more news regarding Black Panthers chances at the Oscars. Though, given it's recent Golden Globe nomination, it just might look better. 

As I'm sure you were able to glean from the title of this article, I am of the opinion that Black Panther does deserve to get nominated for Best Picture at the Oscars. Not because I feel that the Academy is now obligated to do so after their incredible blunder (frankly it annoys me that this will more likely be the case when it really shouldn't be), but because this film absolutely deserves that level of recognition. Black Panther is the first film in a long time to take as many risks as it did. Starring a predominantly black cast, featuring strong and three-dimensional female characters with compelling arcs that are not relying upon a man, and a narrative that was both incredibly entertaining and provocatively thoughtful. It is a glorious piece of cinematic history that deserves its place in the highest regard possible, and I am glad to live in a world where movies like this can exist. 

Now, having said all of that, does this mean that while I want Black Panther to get nominated for Best Picture, am I also of the opinion that it should win? The answer might surprise you. 

No. I don't. 

Don't get me wrong. I love Black Panther. I think it is, without a doubt, Marvel Studio's best movie ever. It's not my personal favorite, that distinction still goes to Captain America: The Winter Soldier, but that movie just didn't have the same impact on pop-culture and society as Black Panther. Even so, I would not personally advocate for this movie to actually win the Oscar for Best Picture. 

The fact is that I personally can think of at least one other film this year that, in my opinion, is a bit more deserving of the Best Picture Oscar. My personal pick, at least at the moment, is this one: 

Love, Simon is another film released this year that has a diverse cast, three-dimensional characters, talented people of all walks of life, and a story that is both entertaining and discusses a genuinely crucial social issue. It is also a movie that has been long overdue and deserves the utmost amount of praise it can get. Moreover, it may very well be my favorite movie of 2018. This is, in my mind, the one film that deserves to take home the Best Picture Oscar the most. 

While Black Panther does deserve to be nominated for Best Picture, I do not believe that it should win. Why? Because while I still admire and appreciate all that it is and all that it has accomplished, it is still a massive Hollywood movie with an outrageous budget, tons of star power, and all the prestigious amounts of polish it can afford. This is not an inditement of the quality of the film, but my personal reasons for why I don't consider Black Panther to be entirely worthy of Best Picture. I prefer to advocate for the smaller movies. The ones that don't have the biggest budgets, or the most popular stars, or even the amount of technical power as the big boys. Love, Simon is not only the kind of movie I want to make for a living but is also the sort of film I enjoy seeing more of. As such, I tend to favor those kinds of movies for the highest amounts of accolades and recognition possible. My money is on the little guys. 

Unfortunately, this is more than likely not the reason why the Academy didn't initially consider Black Panther for Best Picture. Yes, the possibility of racism is a contributing factor, but I personally believe that the biggest reason was something else entirely. I am of the opinion that the Academy didn't consider Black Panther for Best Picture because they didn't think it was worth their time. Traditionally, the Academy has sort of looked down upon blockbuster films, especially superhero movies, as a kind of lower form of art. Popcorn flicks that only exist to mindlessly entertain the vapid masses who aren't looking for anything unusual or meaningful. As if to say that blockbuster movies have no real value or are incapable of enriching peoples lives. Moreover, they perceivably seem to think the same way about the people who make those kinds of movies. This could not be farther from the truth. 

While this negative and cynical perception is not helped by the constant popularity and financial success of things like Michael Bay's Transformers movies, that does not and should not represent the general audience as a whole. Nor should it reflect the talent and passion of real filmmakers and storytellers who actually care about what they're making. Blockbusters of all kind, especially superhero movies, are more capable of leaving a lasting impact than most people of the Academy might otherwise give them credit for. Moreover, we know that the Academy is capable of practicing this notion. Consider the films District 9 and Mad Max: Fury Road. What do these films have in common? Well, they're both genre films that utilize a lot of special effects, they have expensive and elaborate action scenes, were made by incredibly talented people who love the art of storytelling, and they both feature stories that are entertaining and enrich the lives of the viewers in some way. Also, they were both nominated for Best Picture at the Oscars. 

Black Panther is a beautiful film that is on par with the likes of District 9 and Mad Max: Fury Road. While it is not my personal choice for Best Picture at the Oscars, I do believe that it deserves to be recognized on that level and absolutely should be nominated. The Oscars themselves are broken and have been for quite some time. They have been fueled less by artistic integrity and more by politics and money, there is no denying that. Regardless, the Oscars still mean something to many people. They may not have always represented the absolute best of any given year (I mean, Saving Private Ryan not getting Best Picture? Come on!), but achieving that level of recognition with a nomination alone is one of the most significant accomplishments that any artist can hope to make. 

One of my favorite stories about an artists attitude towards getting an Oscar is the story of actor John C. Reilly. Back in 2003, John was nominated for Best Supporting Actor for his role in Chicago. While he was excited to have been considered for the award, John actually openly admitted that he hoped he would not win. Because while John was proud to have reached that level of recognition, he felt that having an Oscar would hinder his casting choices. As John would have suddenly become too expensive and prestigious to be considered for the non-Hollywood kinds of movies he still likes to do. Since then, not only has John appeared in many small hit movies, but he has also performed in beautiful big time movies like Wreck-It Ralph. Perhaps his most interesting upcoming adventure is his portrayal of Oliver Hardy, as in Laurel and Hardy, one of the greatest comedic duos of the early 20th century. 

Black Panther is a relevant film. It deserves to be recognized for all of its accomplishments based on its own merits. It does, unquestionably, deserve to be nominated for many categories at the Oscars including Best Picture. Its very impact on pop-culture, society, and the human condition alone makes it worthy of the full amount of recognition it can achieve. As does any other blockbuster and superhero film that has as much heart as Black Panther. 

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

Wakanda Forever!