TheNorm's Top 5 PIXAR films

There is no denying that PIXAR has become a powerhouse of both animation and storytelling. With no sign of slowing down or losing traction in quality. Granted, they are not necessarily the absolute best in their field nor the most universal (arguably), but they have made a lasting impact nonetheless. I can still remember when their very first film, Toy Story, hit theaters when I was eleven years old. It still ranks as the one movie I have seen in theaters the most number of times, seven in case you were wondering. Over the nearly twenty years of their existence, PIXAR has released many great and memorable films. Here are just a few of them that means the most to me. 

This is TheNorm's Top 5 PIXAR Films. 

#5 

Toy Story 3 

I consider this film to be PIXAR's magnum opus. The one that definitely proved that no story is too challenging or too risky for PIXAR. This is the movie that presented the most challenging narrative for PIXAR, and they pulled it off with flying colors. Not just in terms of story and characterization, but especially in theme and message. Very few family-oriented films have tackled the philosophical questions presented in this movie, and it deserves all the applause it could possibly receive. There is a reason why this film was nominated for both Best Animated Feature and Best Picture at the Oscars. 

Some of you are likely wondering why it is so low on my list. Well, it mainly has to do with the fact that it's a sequel. While this film is still enjoyable on its own, I advise seeing the first two films before watching this one. Much like the Avengers films, Toy Story 3 banks some of its charm on expecting its audience to have seen the first two films. Thereby having already fallen in love with these characters and their world. While you could technically still enjoy this movie by itself, I advise starting with the first two before jumping into this one. 

#4 

WALL-E

PIXAR's most visually striking film. Under the guidance of cinematographer Roger Deakins acting as a visual consultant, WALL-E delivers gorgeous imagery that leaves you breathless. It's narrative about the potential future of humanity is on par with the likes of Asimov. All of which centers around the relationship of the main robot characters, EVE and WALL-E, who are some of the most adorable and lovable robots ever put to the silver screen. Which, I assure you, has nothing to do with the fact that EVE looks like an iPod, and WALL-E looks lie ET. Okay, maybe it does a little bit. 

What keeps this beautiful film from getting hight on my list is, while I still adore it, It's merely not my favorite movie about robots. Yes, this list is about judging PIXAR films, but I still prefer many different films about cyborgs nonetheless. While WALL-E is on my mental list of favorite robot characters, he's just not very high on said list. Even so, I hope this does not make you beautiful readers think any less of this gorgeous movie. 

#3 

Monsters, Inc 

One of the things that make PIXAR stand out is their talent for telling stories from the perspective of parents. Nowhere else is that more evident than in Monsters, Inc. A tale of friendship, love, truth, corporate greed, and the power of laughter (both literally and figuratively). Each and every character feels three dimensional and more human than you might expect. The chemistry between the lead monster and the baby girl is adorable and engrossing. The commentary on unethical business practices and the dangers of single-mindedness is more resonating than in any other film tackling this issue I can think of. It's a near-perfect blend of family entertainment with mature themes. 

While I do love this film, it lands in the #3 spot merely for preferential reasons. I enjoy returning to this film, but not as much as the next two films on my list. 

#2 

Toy Story 2 

This is the movie that absolutely proved to me that PIXAR is genuinely all about the story. Typically when tackling a sequel, there is a tendency to assume that it must be as much like the first film as possible. Consider Men In Black 2 and Ghostbusters 2, for example. However, with Toy Story 2, PIXAR avoided falling into that pit and did everything right. They upped the steaks, expanded the lore, introduced more equally compelling characters, and delved deeper into mature themes such as the nature of existence. Plus, watching Buzz confront another version of his former delusional self was just plain funny! This film showed me that PIXAR meant business when it came to quality in the narrative, and I have appreciated it ever since.  Which, incidentally, brings me to what I consider to be my absolute favorite PIXAR film. 

#1 

Ratatouille

There are plenty of movies that follow the "anyone can be anything" message, but none of them are quite as resonating or as literal as Ratatouille. Which is, for my money, my absolute favorite PIXAR film, because it defines PIXAR in a nutshell. Taking something so unusual and unexpected (in this case, a Rat with a talent for cooking) and creating a provocative story around it. Throw in there some commentary about class, natural ability, and optimism, and you've got a recipe for a damn good film. Not to mention one of the best monologues about criticism from the late Peter O'Toole. Also, this movie always makes me hungry. 

There you have it, folks. My Top 5 PIXAR Films. Tune in soon for my Bottom 5. 

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

The Banker - Just see it

Christopher Reeve once spoke about the power of film. That it can raise awareness and promote change in all aspects of the human condition, especially in regards to injustice and inequality. In my opinion, the real trick in telling these kinds of stories is striking a balance between informing and entertaining the audience. Because movies are and always will be entertainment first and foremost. We watch movies to escape the real world and all of its ugliness, now more than ever. So if you plan on using the medium of film to tell a relevant story and make a valuable statement, it is crucial to do so in a way that still gives the audience what they paid for. Fortunately for us, The Banker is such a film. An entertaining tale of two people fighting against inequality in their own way. 

Inspired by actual events, the story follows a young prodigy named Bernard Garrett (Anthony Mackie) and a successful club owner named Joe Moris (Samuel L. Jackson), who decides to take on a career in real estate. However, to do so, he must have assistance from the bank, which will offer no help to him simply because they're black. Eventually, the two men realize that to make their business work, they need to find a way around the broken (racist) system. They get the idea to take on a young white man named Matt Steiner (Nicholas Hoult) to pose as the face of their business. Together, they buy a bank and start handing out loans for people of all races to purchase homes and start businesses. The only question is, how far can their plans reach? 

The real strength of the film lies with its writing. The witty dialogue, apt character beats, and robust narrative cohesion make for an entertaining and informative yarn. There are more moments of awe in this film's writing than I was expecting. Every once in a while, I found myself watching a scene, then rewinding it to see it again because it was just that cool. 

In all seriousness, the only aspect about this movie I kind of didn't like is that it's only available on Apple TV streaming service. I am glad that it is available on some platform or another, but this is one of the aspects of digital platforms that bothers me the most. That there is so much great content out there only viewable on multiple streaming services. The good news is that you can still see this film and not subscribe if you so choose. Apple TV has a free one week trial, which you can cancel anytime. My recommendation would be to sign up for the free week-long trial, watch the movie, then promptly cancel the whole thing. Unless you find one or two other things there, which you might be interested in. 

In any case, I do highly recommend this film. It is entertaining, informative, and quite timely. It may not feel like it at times, but progress does march onward. 

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

Joker - An assault and an insult walk into a bar...

This was a long time coming. When I first saw the trailers for this film, I was not sure if I was going to appreciate it, let alone like it. Because on the surface, it did look like a compelling character study with the backdrop of one of the most iconic villains in comic book history. However, my most significant concern was that at its core was, in actuality, a pale imitation of classic films from the 1970s like Taxi Driver. The more I examined the film, the less interested I became in seeing it. Then came it's theatrical release, along with with the reviews, and the audience reaction, all of which kept me from even giving this film a shot. That is, until today, when I finally hunkered down and rented this film to see what all the fuss was really about. As it turns out, all of my initial fears were correct. Everything about this film, say for the genuinely stellar performance by Joaquin Phoenix and haunting music, this movie is an assault! As in the terrible kind that no one should ever have. 

Taking place in the fictional city of Gotham, which is in the middle of a garbage strike, the story follows a man named Arthur Fleck (Joaquin Phoenix), who has severe mental health issues. The most difficult of which is a condition that causes him to randomly laugh to the point where it seems to cause him pain. He works as a clown-for-hire, has no social life, is bullied by everyone, and has dreams of becoming a stand-up comedian. All the while struggling to take care of his ailing mother. All of this and more build-up to a massive mental breakdown where Arthur, while dressed in his clown gear, kills some Wallstreet jerks on the Subway. This prompts a city-wide "Anti-Rich" movement causing riots and the like. Arthur, enjoying this level of attention, takes on the mantle of Joker and begins embracing his insanity in the worst possible way. 

Now, there is a lot more to this plot, which I didn't go into, but please believe me when I say that this film has no clue what it's doing. 

As I had feared before, Joker is a mere attempt at capturing the essence and original message of the classic film Taxi Driver. In that, it is a story about the ugliness of society, apathy, and arrogance. All of which are important things to address, and have been in significantly better movies. Joker, on the other hand, pretends to understand what it's talking about, under the assumption that throwing shock value at the audience is enough to pass as "deep." The movie doesn't do anything with an ultimate purpose or meaningful goal, it just does stuff because...Martain Scorsese did it. 

The film's most significant problems are twofold: First, it bashes the audience with visual cues and references to better movies without understanding them. Second, it claimed to be a "real movie" disguised as a comic book movie. 

First of all, if you just paste the style of other more accomplished filmmakers onto your own work, all you're gonna do is call attention to what little skill and talent you have yourself. Second, if you want to make an original movie using familiar characters, then do so. Don't make the film then act like you accomplished something superior to everyone else's hard work. Not only does it make you look arrogant, but it's also just mean spirited and wrong. Finally, the idea that the only way to be taken seriously as an artist is to be dark and gritty and depressing is not only outdated, it's stupid! 

Aside from the genuinely excellent lead performance and the gorgeous music, Joker has no redeeming value. It is an insult to your intelligence, an assault on your emotions, and it has no justifiable reason for any of it. If you've managed to miss this film so far, keep on doing so. You can live a long and happy life, having never seen this atrocity.  

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

Terminator needs more spin-offs not sequels

The Terminator series is one of my all-time favorites. The first two films are bastions of excellently crafted sci-fi action. Many people, including myself at some time or another, have argued that there should never have been any more movies after the masterpiece that is Terminator 2: Judgement Day. Mainly for the reason that, given the films ending, there was no room for any more content. While that has not stopped Hollywood from trying, I would personally argue that there is, in actuality, plenty of space for more Terminator content. The only problem is that those who are in a position to provide said content are continually looking in the wrong places. 

For the sake of keeping everyone on the same page, The Terminator is a science fiction action thriller by visionary filmmaker James Cameron released in 1984. The story follows a young woman named Sarah Connor (Linda Hamilton), who becomes the target of a strange and lethal behemoth known only as The Terminator (Arnold Schwarzenegger). Fortunately for Sarah, she has a companion in Kyle Reese (Michael Biehn), who is on a mission to protect Sarah from the mysterious walking machine. As it turns out, he and The Terminator are from the future: when an advanced computer system called Skynet gains self-awareness and decides to destroy all humankind. They are met with resistance lead by Sarah's future son, John Connor, who has become a thorn in Skynet's side. Therefore, Skynet sent one of their machine soldiers back in time to kill John's mother, thereby eliminating the resistance. In response, the opposition sent back one of their soldiers to protect Sarah from The Terminator. In the end, Kyle sacrifices himself to save Sarah, The Terminator is defeated, and Sarah rides off with her unborn son preparing for the impending future of war.

The Terminator is one of the greatest movies ever made. It paved the way for future action films and, to this day, serves as a template for how to construct proper action narratives. By having a sympathetic protagonist whom the audience can relate to in some way or another, the action becomes more visceral and engaging. Also, if you build and photograph the movie in a way that is comprehensive and layered, with rises and falls and fun beats in between, it will add a texture to the narrative, thereby making every victory feel earned and more triumphant. All of this and more was elevated even further in the most surprising sequel ever to grace the silver screen.

Released in 1991, Terminator 2: Judgement Day reigns supreme as one of the best sequels and greatest sci-fi action films ever crafted. It is even surpassing the first movie in some ways. This time around, The Terminator (once again played by Arnold) is reprogrammed by the resistance and sent back to project John Connor as a child. Meanwhile, Skynet has sent back a more advanced and powerful machine known as the T-1000 (Robert Patrick), made of malleable liquid metal. As such, it can morph into any person it chooses and reshapes its limbs into knives and other such deadly weapons. At the end of this film, our heroes succeed in preventing the war from ever happening. Thereby saving all of humanity and providing a blank slate for the future. Incidentally, there is where many people, including myself, agree that the franchise should have ended, or expanded upon in unique and more original ways. 

Sadly, that never happened. 

Every one of these films was utterly terrible, with the slight exception of Terminator: Dark Fate. I say "slight" exception because even though I did mostly enjoy that movie, I still had a ton of issues with the script. Meaning I do recognize that it is just as insultingly awful as all the other Terminator films post-Judgement Day, but at the very least, it had more heart in some areas than any of the others combined. Other than that, all of these movies are insulting to the integrity of the series. 

There are many reasons why these films are terrible. However, except for Terminator: Salvation, I believe that the most significant reason these movies are awful is that they all take place in modern times. Most of these films tried and failed to reboot the franchise for new audiences. They were trying to keep what long term fans loved while bringing in new concepts for younger people, which was their greatest mistake. Aside from the conclusion of Terminator 2: Judgement Day leaving no possible room for a story taking place after those events, there has been a veritable goldmine sitting right in front of Hollywood, which they either ignored or simply didn't see. The time travel concept. 

The entire mythology of the Terminators and their future war against humanity is tied to not only the machine's creation of time travel but their apparent reliance upon it. As suggested in Terminator: Genisys, Skynet used time travel as a last resort to win the war. Why would they just stop at sending one or two soldiers to kill the leader of the resistance? As also suggested in Terminator: Dark Fate, they didn't. They sent back many killing machines as contingencies. So, having established all of that, why would they not also send back terminators to other points of time to further their efforts? 

Here's an example: Let's imagine that for this thought experiment, time is not linear. Instead, time is a continually changing mishmash of realities, continuities, and dimensions, all existing simultaneously. Therefore, if we can accept this idea, at least for the sake of argument, then we can work our way around the one narrative wrinkle that some people have had a problem with forever. That being, if Judgement Day didn't happen, then John Connor would not exist, because he would not have sent Kyle Reese back in time to become his father. Anyway, what if Skynet sent back multiple Terminators to various points in time? A machine sent to the 1700s, one to the 1950s, and so on. There is a multitude of stories that can be told with this concept allowing tons of different settings and themes. Be honest, how awesome would it be to see a Terminator as a Cowboy? 

Art by Ben Munson 

Now, some of you might be thinking, "well, even if we did do something like that, it would still be the same story. A Terminator goes back in time to kill someone related o John Connor, and someone else has to protect that person." Well, you would be right. However, there is no reason for this new story to do any of that. Let's imagine that a Terminator was sent back in time to prevent a specific historical event that could go on to play a significant role in the future war. Say a particular political document or the outcome of a previous ancient battle. Any number of ideas could work in this context with the right creative team behind its conception. 

There is a great deal of space for more Terminator stories. None of which requires the dismissal nor continuation of any of the previous films that came before. With the right amount of creative talent and heart, there can be many Terminator films that retain the same amount of excitement and visceral storytelling as the first two. If only the owners of the franchise would realize it as well as we all do. 

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

I AM MOTHER - Asimov meets Darwin

Of the many reasons I mostly enjoy science fiction, few are as prominent as this: it makes you ask important (if occasionally uncomfortable) questions. Be they about humanity, society, or the Universe as a whole, a decent sci-fi yarn will cause you to contemplate the human condition in one way or another. Today's Netflix original film, I AM MOTHER, is such a story. Aside from one or two somewhat annoying plot holes here and there, this movie is loaded with symbolism and character beats that provide a robust and intellectually satisfying narrative. How good is this film? Well, it makes subtle nods to Blade Runner. That should give you a clue.

Taking place sometime after a massive extinction-level event, the story follows a Robot dubbed MOTHER (Luke Hawker & Rose Byrne), who is in charge of an enormous facility meant to re-populate Earth. Housing thousands of embryos to be grown and shaped into good human beings. MOTHER starts with one child, a little girl named Daughter (Clara Rugaard), who has been raised into a loving environment by MOTHER, who says the world outside is dangerous due to lethal contagions. Life seems pretty stable until a stranger from the outside, only referred to as Woman (Hilary Swank), makes her way inside the compound. According to this stranger, Robots are the cause of human extinction and attempts to persuade Daughter to escape with her. So begins the journey to uncover the mystery, and to determine who is the real enemy.

This is a well-crafted piece of science fiction cinema. Without spoiling anything, the narrative goes into tight places about morality, nature vs. nurture, and what it might take to renew the world as we know it. While some may find its ideas a little uncomfortable for understandable reasons, I personally found myself engrossed in the ideas it presented. Not necessarily because I agreed with them, but it was all presented in a way that made me contemplate its philosophy. Which is precisely what good science fiction should do. This is not the kind of story that provides clear answers. Instead, it makes you look more inward and think.

The MVP award for the film goes to, without questions, MOTHER herself. The robot suit was built by the WETA Workshop, the special effects team behind Lord of the Rings, and the new Planet of the Apes films. Because of the movie's small budget, the team was only able to build a single suit for the whole production. Designer and physical performer Luke Hawker wore the costume for shooting while actress Rose Byrne provided the voice of the robot. The results are not only a beautifully crafted piece of practical effects but also perfect chemistry between the robot, and the other characters that would never have been accomplished had the robot been CGI. Not to mention a much-desired new case for the defense and superiority of practical effects. Not to say that CGI is horrible, far from it. Instead, CGI is a great tool that has become far too overutilized.

I AM MOTHER is a rare gem of science fiction cinema. It strikes the right balance between being intellectually stimulating and viscerally thrilling. Sci-fi fans will love it, and casual movie buffs will appreciate it. If you need something a little deeper than an excellent brainless action movie to tide you over and give your brain a jolt, this is the movie for you. Check it out.

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

Holiday in the Wild - Cute, pleasant, and just what the doctor ordered

There are times when for some reason or another, you just want to watch something that makes you feel right. Regardless of a movie's quality or lack thereof, if it provides a pleasant distraction from an otherwise unpleasant situation, then it's just the right tool for the job. Holiday in the Wild is far from a perfect film, but it is precisely the kind of story that we need at present. A heartwarming tale of love, family, and care. Call it cheesy or fuzzy, but don't call it unappreciated. 

The story follows a woman named Kate (Kristin Davis) as a licensed Veterinarian who's son has just gone off to College. Immediately after sending him away, Kat's husband reveals that he is not in love with her anymore and promptly takes off himself. His timing could not have been more terrible as Kate had planned a surprise second Honeymoon in Africa for the two of them. Unsure of what to do, Kate takes the trip herself. Soon after, she meets her tour guide Derek (Rob Lowe), who also happens to work at an Elephant Orphanage/Recovery Center. After the two of them discover a baby Elephant who just lost his mother to poachers, they whisk the young animal away to the center, where Kate decides to stay and help at the center. From there, Kate rediscovers who she wants to be and finds something new and meaningful in her life. 

Objectively speaking, this film is a bit ridiculous—both positively and negatively. On the one hand, it stars two attractive people who aren't acting, but rather are playing exaggerated versions of themselves if not characters which made them famous. The plot is yet another tale of a rich white woman going on what they consider a walkabout. Not to mention it is yet another movie about white savior figures in Africa.

On the other hand, for every issue I just raised, this movie offers a decent counterbalance. Even though the two main leads are not playing actual characters, they both still have a great deal of charisma, which provides most of the film's energy. Although the plot does center around a rich white woman, it has the good sense to make her character intelligent and fully prepared to get her hands dirty, unlike the stereotypical "city girl who never worked before" cliche often found in these kinds of films. Also, and this is especially appreciated; the main characters are not white savior figures. Yes, they are white people in Africa who help out with an important cause, but they are just people joining the fight. Things don't just miraculously get better when Kate arrives, she doesn't wave her money around to "update" the orphanage, and none of the black characters appear incompetent or apathetic.

Holiday in the Wild is just the right amount of warm & fuzzy that we all could use right now. It's pleasant without being childish, intelligent without being condescending, and relevant without being pretentious. If you need a cute "feel-good" movie (as I'm sure we all do right now), give this one a shot. You might find yourself pleasantly surprised.

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

Special: Netflix Month Vol. 2

My beautiful readers, In light of the pandemic known as the Coronavirus, there will be a temporary halt of reviews of new theatrical releases. As attending the movie theaters is not advised at the moment. Rest assured, I eagerly await the moment things become significantly more manageable, and we may continue to enjoy our lives as usual. In the meantime, I would like to encourage all of you to stay safe and healthy. Let us do all that you can to prevent the spread of this terrible disease. Together, we can beat this thing and come out more robust, and maybe a little wiser. 

While we all now have a justifiable excuse to remain indoors and at home as much as possible (albeit for an uncomfortable reason), I think this would be a perfect opportunity for me to revisit a fun and enlightening special. Starting today and going on for at least the next several weeks, I will be reviewing original films found on Netflix. There is a whole universe of movies on this network, and I only scratched the surface last time around. Since we're all stuck at home for a while, it's high time I took another look at what home entertainment has to offer. 

Don't worry. As soon as it is safer to go out into the real world again, I will be back to reviewing theatrical releases. I will also continue with the occasional specialized essays here on my Blog. I intend to provide you all with as much content as possible, given out strange situations. I hope you will all enjoy it. 

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

TheNorm's Bottom 5 Marvel Movies

Well, I guess this had to happen at some point. 

At the end of my list of my Top 5 Marvel Movies, I asked if I should also contemplate a list of the Bottom 5 as well. As in the ones that I didn't find all that fantastic. This is actually a bit of a tough challenge because Marvel hasn't really made any bad movies. Oh sure, they've made films that lacked the same amount of impact and panache as some of their betters, but I would not go so far as to call them awful, just underwhelming. Now, I can assure you that this is not me trying to fanboy my way out of being objective. Because while I genuinely like all of the Marvel movies, I can assure you that I don't love them equally. Some of the Marvel films have disappointed me in some way or another. So, it seems only fair that I balance the scales a little bit and discuss a few of the movies that I personally didn't find to be all that marvelous. 

This is TheNorm's Bottom 5 Marvel Movies. 

#5 - Captain Marvel 

Now, hold on! I know what you're going to say! "But Norman, you loved this movie in your original review. You dubbed it Marvel's equivalent to Wonder Woman!" Yes, in my original review, I did say that I liked it, and I did indeed put it on par (mostly) with Wonder Woman. However, you may also recall that I never said I absolutely liked it. The parts of this film I did enjoy were more than enough to overshadow the parts that I didn't.

On the one hand, I love how it has become a significant contribution to feminism (regarding women in the armed forces in particular), and I especially admire how the narrative took a rather unexpected turn with the "villains" of the story. If you've seen the movie, then you know what I'm talking about. However, on the other hand, the film is sprinkled with little things that just rubbed me the wrong way. The first half of the film drags with the amnesia plotline rendering the protagonist into an empty vessel with little to no personality. Also, as much as I loved the Cat, I hated that he became how Nick Fury lost his eye. It's a minor thing, I admit, but I thought they wasted a potentially great story with that little part of his past, as referenced in Captain America: The Winter Soldier. 

Captain Marvel is ranked #5 on this list because, at the very least, it has enough goodwill to allow me to overlook its shortcomings. Which, incidentally, brings me to the next film on my list. 

#4 - Doctor Strange 

Let me get this out of the way: Benedict Cumberbatch is an awesome actor, and he is perfect for this role. With his physicality, haircut, and booming voice, he was practically born to play this character. Not only am I glad that Marvel cast him, but I am also happy that Benedict Cumberbatch actually enjoys playing the part. It is always a relief to me when I learn how much an actor loves the role they land in projects like this. 

That said, it's really too bad that the movie doesn't really give him a lot to do. 

For those of you who don't know, Doctor Strange started out as a competent but pompous too-hip-for-the-room surgeon who loses the use of his hands in a car accident, prompting him to spend his fortune searching for a cure. His journey eventually lands him at the doorstep of a mystical master known as The Ancient One, who takes on Doctor Strange as a pupil training him in the mystical arts. Through his training, Doctor Strange learns humility and discovers a new way to help people. 

Now, all of that is indeed in the movie. However, it just doesn't feel as prominent as I thought it should have been. Moments that should have been spent developing the character were wasted on cheap & childish jokes (a problem shared with many of the Marvel films I must admit), and the film never delves deep into what ultimately drives Doctor Strange as a person. He just goes through the motions and becomes the hero that we recognize him as because...the plot demands it. At least, that's how it felt to me. 

The good news is that there is an alternative. There is another Doctor Strange film out there, which I actually prefer because it does a lot more character development. That is the animated film from 2007. 

While I still enjoy the live-action film, mainly for Benedict Cumberbatch, I usually turn to the animated movie for a more satisfying story. I can still enjoy the official MCU movie for its own charm and jaw-dropping special effects. Which is more than I can say about the next film on my list. 

#3 - Avengers: Age of Ultron 

This was one of Marvel's lower points. The real title of the film should have been Avenges: Build-up to Phase 3 because that's what over half of the movie does. Vast chunks of the film, which serve no purpose to the overall narrative, are spent setting up places, characters, and events that are going to happen in future movies. Even worse, some of the film's best scenes (the Farm segment in particular) were practically held hostage by the producers. Who demanded that writer/director Joss Whedon include all of the build-up stuff they wanted, or they would cut out the parts that he wanted. In the words of Joss Whedon himself, "they put a gun to the Farm's head." 

Although, Joss Whedon isn't entirely blameless for the movies underwhelming quality. After all, it was he who suddenly decided to shove the character of Black Widow (Marvel Studio's prominent female role) into three of the worst and most overdone cliche's in cinema history. Those being who is she sleeping with, would she be a good mother, and when does she get kidnapped? 

Also, let's be real: As excellent as James Spader was as Ultron, he was basically playing Raymond Redington from The Blacklist, but as a Robot. 

Now, on the flip side, the movie does have some good merits to it. It still carries Joss Whedon's signature style and charm which is often entertaining (at least to me), It does a good job introducing new characters, and it has some of the best cinematography of the Marvel films. Namely, its accomplishment in creating gorgeous uniform images despite utilizing at least five totally different cameras.  

Even though it has a difficult time justifying itself in certain areas, it is still, at the very least, a fun little romp with characters we still care about. Unlike the next film on my list. 

#2 - Ant-Man and The Wasp. 

The first Ant-Man was a wonderfully surprising gem! Despite its early production woes, it managed to cross the finish line with flying colors. Delivering an entertaining adventure with a sympathetic protagonist, witty writing, and incredible special effects...and I really, really wish I could say the same for its sequel. 

Ant-Man and The Wasp is the filler episode of the MCU. The only part of the film that has any relevance to it is one of the post-credits scenes. It bides its time with a story that doesn't feel important or compelling. Worst of all, it feels so poorly constructed. Almost as if the director was on auto-pilot, which seems to be a likely scenario. 

The only thing I can really say in the movie's favor is that it brings The Wasp into the roster of characters, and she is totally bad-ass! I genuinely hope to see her in better films in the future. 

And now, we come to what I consider to be the lowest point in the MCU. 

#1 - Thor: The Dark World

This is, without a doubt, my least favorite of the Marvel movies. The only thing that keeps me from calling this film terrible is the incredible charisma of the main cast, who all tried their damndest to make something watchable out of the lackluster material they had. This movie doesn't do anything compelling, it has no idea what it wants to be about, and it tries (rather aggressively) to cover it all up with broad over-the-top comedy. Yes, Thor: Ragnarok was also mainly a comedy, but that movie had better justification for being so and was genuinely clever with its jokes (mostly). As opposed to this film, which isn't bright or genuine in any way at all. 

I think the primary source of the film's lack of quality lies with its director, Alan Taylor. A television director mostly recognized for his work on the HBO series Game of Thrones, he somehow got it into his head that he could handle feature films after years of working on, at most, two episodes of any given series. I am not saying that television directors cannot make the transition to movies, many people have successfully made that leap. Sadly, Alan Taylor is not destined to become one of them. He has no sense of personal style, no idea how to construct compelling action scenes, and no clue how to establish or even maintain a consistent tone. This is all further exemplified with the movie he made after this one, Terminator: Genysis, which is not only a bland and lifeless movie; it is also the absolute worst Terminator movie ever made! Yes, even worse than Terminator: Salvation. 

Thor: The Dark World is the equivalent of receiving a store-bought cake from a master baker, despite that same baker delivering you perfectly crafted hand-made cakes in the past. It's lazy, tasteless, and reeks of apathy. Even so, if I had to choose between watching this or Terminator: Genysis, I will gladly take Thor: The Dark World. Because, at the very least, it is still a Thor movie, and Thor is always entertaining. 

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

TheNorm's Top 5 Marvel Movies

There is no doubt that Marvel Studios has become one of the most fascinating phenomenons in recent cinema history. Despite what Martin Scorcese would prefer to believe, these movies are far from mere roller coaster rides. While I can understand why Mr. Scorcese would publicly despise these movies, I have to respectfully disagree with his opinion in regards to the quality and nature of the Marvel Films. Speaking as a movie enthusiast as well as a superhero fan, I am glad to live in a time when mass Superhero entertainment has proven itself to be more profound than we ever could have expected. Marvel Studios has created more than mere special effects-heavy extravaganzas. They have built a world of fantastic stories, robust characters, and in some ways, given a voice to the voiceless. I know that sounds corny, but then again, so are these movies, and that's just fine with me. 

So far, Marvel Studios has released 23 films with many more on the way. So, in recognition of their remarkable achievements, and in preparation for the upcoming Black Widow movie (finally), I would like to take a moment to look back on some of the Marvel films that mean the most to me. The ones that made me proud to consider myself a superhero fan. 

This is TheNorm's Top 5 Marvel Movies. 

#5 - Avengers: Endgame 

The main event Marvel built up to for over ten years, Avengers: Endgame is a remarkable film in many ways. The most significant of which is its narrative. Under the expert guidance of directors Anthony and Joe Russo, The film spends the vast majority of its runtime building up the ultimate "save the day" moment with profound character development, unbelievably witty writing, and emotionally resonating performances from every single member of the cast. All of which makes the climactic final battle against the ultimate evil all the more cathartic. This may very well be the best possible conclusion to Phase 3 of the MCU (Marvel Cinematic Universe) than any of us could have asked for. 

Now, you might be wondering to yourself, "If I love this film so much, why is it so low on my list?" Well, as much as I do enjoy this film, it saddens me that I can't recommend it to anyone, other than established fans. You see, while the majority of Marvel films are enjoyable on their own, the "main event" movies are really for those of us who have been watching these movies since day one. While you could still technically watch Avengers: Endgame without having seen some or any of the films prior, the impact will not be as substantial, because you would be missing vital emotional beats from previous chapters. It would be like starting a book in the middle rather than the very beginning. 

Avengers: Endgame can potentially be enjoyed on its own, but anyone who wants to watch it would greatly benefit from taking their time with the earlier movies first. Therefore, as much as I love this movie, it is not an easy one to recommend to newcomers or casual fans. As opposed to the next film on my list. 

#4 - Guardians of the Galaxy 

One of my friends described this film as "the Star Wars of this generation," and I have to agree. Much like Star Wars, it's a space opera with larger than life characters with sympathetic backstories, a rouge for hire with a partner only he can understand (ala Han Solo and Chewbacca), and a genocidal villain who wants to conquer the Galaxy, not unlike Darth Vader. Even so, the most crucial similarity this film has to Star Wars is its confidence. Because it's a movie loaded to the brim with characters no one ever heard of (outside of die-hard comic fans) and locations that are so out-of-this-world, many people didn't think this would work and were afraid to give it a try. Sound familiar? It should! Because just like Star Wars, it blew everyone's expectations out or the water by delivering a heartwarming story about family and acceptance. Not to mention the utter awesomeness of watching a Racoon wielding a Machine Gun! 

As I said before, this is one of the many Marvel films that anyone can just pick up and watch without having to do a lot of homework. Setting aside its tangential connection to the MCU, Guardians of the Galaxy functions quite well as its own story. It has a little bit of everything for everyone (not just comic book fans) to enjoy in some capacity. 

It holds the #4 place on my list, not for anything negative, but instead is a specific type of enjoyment for me. While I enjoy the right amount of thoughtful brainless fun as much as anyone, I tend to get more personal satisfaction out of the ones with just a little more texture to them. Which brings me to the next film on my list. 

#3 - The Avengers 

This ranks as one of the best Movie Theater experiences I've had in my whole life. I saw this film in theaters four times on the same weekend, and on every viewing, I experienced the same enthrallment as everybody else in the theater. The moment that all of the established heroes came together to save the day, every single person in the audience, including myself, got up and cheered. Aside from attending a few comedies where the audience always laughed out loud together, I cannot remember ever having a shared connection like that with any other movie or audience before. It became one of my fondest memories at the movie theater, right alongside seeing the first Tim Burton Batman film in theaters on opening day. The only thing that might have made this experience more exhilarating is if they hired a group of performers dressed as The Avengers to run through the theater during the climax of the film. Would that have been overkill? Maybe, but it still would have been awesome!  

This movie has it all! Comedy, action, science fiction, commentary, colorful costumes, you name it. It was the first time we had seen all of the beloved characters we had been watching in separate movies on the same screen together. While there is no denying that it is not a perfect movie, it is a positively unbelievable one that deserves its high status in the world of superhero blockbusters. Best of all, it's probably the one event movie that anyone can jump right into regardless of prior history with the earlier films. Sure, there are a few spots here and there that may require a quick Google search or an explanation from a friend who has seen the other films, but aside from that, one can go straight to this movie and have a blast. 

In case you're wondering why this excellent film is in my #3 spot, it's merely because it's not my absolute favorite. Oh, I enjoy it a lot, but the Marvel movies that stick out to me the most are the ones that got bolder with their risks. The ones that decided to take advantage of their prestige and utilize their status to say something profound and topical. Not unlike the next film on my list. 

#2 - Black Panther 

Black Panther is, without a doubt, Marvel Studios' best film ever. Not only is it an all-out entertaining as hell blockbuster. Not only is it the most well written and directed Marvel film, but it is one of the few triple "A" high budgets movies to be made by black artists, starring black artists, with a story that brings to light relevant aspects of the black condition. In an age when Hollywood tends to continue catering primarily to the white male age 18-45 demographic, this is a huge accomplishment! One that Marvel, and indeed all of Cinema, should be proud of. 

This film breaks all kinds of boundaries. It is the first Marvel film to have a three-dimensional and empathetic villain in Killmonger, it features compelling female characters whose strength comes from pride, and it helped to further cement director Ryan Coogler as an artist with conviction. Not to mention becoming the first superhero film to be nominated for the Academy Award for Best Picture. Of course, I would be remiss to not also give a shout out to the gorgeous cinematography by Rachel Morrison. Whos lighting style and camera work speak to my own sense of style. Almost as if we were on the same wavelength. 

While I just said that this is the best Marvel movie ever, and I will forever stand by that statement, it's not my absolute personal favorite. Hence why it proudly sits at #2 on my list. My absolute favorite goes to this film. 

#1 - Captain America: The Winter Soldier 

This is the Marvel movie that speaks to me the most! As an artist, a superhero fan, and as an individual all at once. Yes, the action is beautifully crafted. Yes, the writing is on-point. Yes, it is the best showcase of the incredible directing duo known as The Russo Brothers. Yes, it was the first Marvel film to break away from the expected formula by being more of an espionage thriller. But, all of that is in higher service to the movie's overall themes of questioning authority, the importance of individuality, and always doing what is right regardless of how challenging it may be. If The Dark Knight was a vaguely supportive metaphor for The Patriot Act, then Captain America: The Winter Soldier is its complete antithesis. Because this movie's message can best be summarised in this quote from Edward Abbey: 

"A patriot must always be ready to defend his country against his Government." 

While there have been plenty of stories that carried the same message, it is rare to see it played so vividly and with such conviction in a massive blockbuster like this one. For that reason alone, it remains my absolute favorite of the Marvel superhero films. 

Well, there you have it, folks. My Top 5 Marvel Movies. Now, this has me thinking. As much as I have praised and enjoyed these films, should I maybe balance the scales a bit by making a Bottom 5 list? Maybe discuss some of the Marvel movies that didn't mean a whole lot to me? Let me know what you think. Perhaps there will be another list on the horizon. 

Until then, ladies & gentlemen, I am TheNorm, thank you all for reading. 

Color out of Space - Cosmic horror done right

The works of H.P Lovecraft have been a staple of classic horror fiction. While Lovecraft as a person is not the easiest to identify with (to put it mildly), his works have had a significant impact on the world of horror storytelling. To the point that the term "Lovecraftian Horror" is shorthand for fantastical stories of the unknown, ancient beings, and the strange phenomena that cannot be quantified by modern science. Adapting a Lovecraft story to film can be a tricky endeavor for many reasons, not the least of which is the abundance of racism and agoraphobia found in his works. This new film not only showcases how to appropriately adapt Lovecraft's stories but also shows the triumphant return of a voice in horror cinema who has been in exile for far too long, director Richard Stanley. 

For those of you who don't know or need a quick refresher, Richard Stanley was the initially intended director for the feature film adaptation of H.G Wells's The Island of Dr. Moreau. However, due to an abundance of unfortunate circumstances, Richard Stanley was fired from the director's chair and replaced with John Frankenheimer, who showed up in a vain attempt to save a sinking ship of a movie. As you might have suspected, the film bombed both financially and critically, placing Richard Stanley on the blacklist of directors. Since then. Richard Stanley has remained quietly active in the film world mostly as a writer and occasionally directing short videos. Color out of Space is his first big step back into the world of feature films, and he was undoubtedly the best person for this job.

For a more detailed and in-depth look into the history of the production woes with The Island of Dr. Moreau, check out the documentary Lost Souls available on Amazon Prime. 

Based on the short story by H.P Lovecraft, the film follows a family living on a small farm in the woods. The family seems functional, but it becomes clear that things are not completely fine with everyone. Even so, things begin to escalate even more when a small meteorite hits their front yard emitting strange colors unlike any seen on Earth. Shortly after it lands, it buries itself deep into the ground. Not long after that, all of the vegetation in the surrounding area begin changing into a strange color, creating unusual mutations to everything around them. Making things even worse is that the color has started affecting everyone's minds in various ways, driving everyone in the house to utter madness. Will they survive this strange ordeal, or will they submit to their insanity? 

Back in November of last year, I published an article here on my blog discussing what I believed to be genuine horror. The short version is that the film world these days is oversaturated with gorry jump-scare filled bits of garbage, to the point where everyone just assumes that is what horror cinema is all about. When, in actuality, it is about something much deeper and more profound than that. To me, horror is about uncertainty, not on in rather or not this strange thing that's floating in my bedroom is real or not, but also about how one chooses to react to it. One of the scariest kind of horror stories, at least to me, are the ones where we see how different people respond in extreme situations, and how they may show their true and darker colors becoming more dangerous than any actual monster. Color out of Space is such a story. 

Director Richard Stanley has always been a strange individual, and I mean that in a positive way. In addition to seeming like a more down-to-earth person than you might expect, he also comes across as one of those minds that has developed early—discovering early on what makes him tick. He seems to be one of those individuals with a vivid imagination and a passionate curiosity for the unusual. Not in a pretentious kind of way, but more like a continually absorbing mind that's bursting with ideas that need to be realized. I know it sounds like I'm describing every kind of artist, but in this case, it's genuine. 

The film succeeds where so many modern horror films fail. It has suspense, build-up, genuine human terror, and messed up ideas the likes of which I haven't seen in cinema for a long time. Color out of Space is not a film for everyone, but it is the best of its kind for those who enjoy well-crafted horror, especially for those who are bigger fans of H.P Lovecraft than I am, and I don't consider myself a fan. More like a casual admirer who appreciates psychological thriller stuff that may or may not happen to feature monsters as well. Apparently, this is to be the first in a trilogy of Richard Stanly films based on the works of H.P. Lovecraft. If they keep up this kind of quality, I will be happy to jump on board this train. 

At the time of this writing, Color out of Space is available on VOD (Video On Demand) and, as far as I know, has a limited theatrical run in some areas. It is also likely to be released on disc sometime soon. However you can see this film, if you are of the horror persuasion, I think you will enjoy this one. Take it from someone who didn't grow up a horror fan but discovered a fondness for the good ones later in life. 

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

Onward - A good filler episode

In television, shows will often have what are called "filler" episodes. Segments that are not necessarily of the best possible quality, but are there to fill in the space to meet a required number or length of runtime. Mind you; this is not an automatic sign of poor quality. Some filler episodes turn out to be better than others, but even the best of them tend to be lacking in particular something-or-other that gives the show its identity and charm. It's still entertaining and enjoyable, just not entirely on par with what you likely have come to expect. Onward is not an episode of a television show, but it does feel like a filler episode keeping audiences occupied well enough in anticipation of the more significant presentation. A very well made and entertaining one, but filler none the less.

Set in a world where classical fantasy creatures live in modern urban civilization (and magic now lives in the realm of legend and myth), the story follows two Elf brothers named Ian (Tom Holland) and Barley (Chris Pratt). Their father passed away when Tom was very young, leaving the two boys with their mother and each other. Upon Ian's 16th birthday, his mother gives him a gift from his dad, which turns out to be a magical staff along with a spell that will allow their father to come back to life for just one day. Ian and Barley try the enchantment but don't quite finish it, leaving their resurrected father only halfway developed. With only 24 hours before the magic wears off, the two brothers venture on a quest to find another magical item that will help them complete the spell and spend their day with dad.

As expected from PIXAR, the narrative is pretty solid. It's a classic story about brotherly love, family, coming to terms with loss, and finding one's inner courage. As I stated in my review for Toy Story 4 last year, I have no reason ever to doubt that PIXAR will deliver quality stories. Even so, while this narrative, in particular, does retain some of their usual polish, it doesn't quite have the same level of maturity you would expect. Not to say that the film is juvenile, far from it! It just doesn't have the same level of je ne sais quoi that you get from movies like Monsters, Inc. or any of the Toy Story films. If those movies are an elegant Steak dinner, then Onward is more of a tastefully crafted Cheeseburger. Both are equally enjoyable and made of the same stuff, but one has a little more panache than the other.

Visually, the film is incredibly gorgeous and showcases how far PIXAR, and indeed computer animation, has advanced since its conception. Details and textures look damn near real enough to touch. The designs of the characters and the environments are distinctive and creative. The lighting, and by extension the cinematography, is downright excellent! One of the significant aspects of PIXAR films that make them stand out (aside from profound stories) is their commitment to combining animation with real-world camera effects. Over the years, they've developed programs that can replicate the style of specific lenses, various methods of camera movement, and even the unique looks of multiple types of light bulbs. With every PIXAR film comes a new wonder to behold.

The cast, particularly the two leads, deliver pretty solid performances. Tom Holland and Chris Pratt have excellent chemistry despite them merely providing the voices. Chris Pratt especially gets to be a manic ball of energy he seems to be and is having a blast. Personally speaking, I would love to see him do more voice over work rather than yet another Jurassic World disaster.

Oh, was that my out-loud voice? Sorry.

Onward may not be PIXAR's next most excellent film, but it is a solid piece of work that retains just enough of their usual charm to make it extra enjoyable. It's clearly aimed at younger audiences as reflected in parts of the pacing, which can come across as a little rushed. Even so, it never goes into a full-on hyperactive mode and provides enough universal appreciation for all audiences. If you got an hour and a half to kill, give this one a shot.

Is this movie worth seeing?
Yes.

Is it worth seeing in Theaters?
Maybe.

Why?
If you have kids, then you're likely going to see it on the big screen anyway, and while it is mostly for them, it's not without its bits of adult appreciation here and there. Otherwise, you may prefer to wait for video on this one.

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

The Invisible Man (2020) - A competent movie with incompetent advertising

I was fully prepared to utterly despise this movie. It claims to be a new adaptation of one of my favorite science fiction stories as well as a remake of the all-time classic Universal Monster movie of the same title. Yet, even the most fleeting glance at the film's trailer will make it abundantly clear that it is yet another "In-Name-Only" movie. Where the flick in question is an entirely unrelated story with totally different themes and ideas but bears the name of a recognizable property for the sole purpose of boosting ticket sales with the power of nostalgia value. These are a few of the Hollywood practices I detest for many reasons, chief among them being an unforgiving disrespect to the source material and the assumption that the audience is too stupid to recognize it. Even so, despite my reservations, I went into this film with an open mind. Much to my surprise (and annoyance), I can confidently say that while the movie itself is surprisingly good on its own merits, it still manages to fall short due to lazy marketing and wrong-headed choices made by cowardly executives. There is a good film in here that deserves better than this. 

Claiming to be based on the novel by H.G. Wells, the story follows a woman named Cecilia (Elizabeth Moss) who has just escaped the clutches of her abusive sociopathic husband, who also happens to be a wealthy tech genius specializing in optics. A few weeks after her escape, her husband's lawyer informs Cecilia of her husband's death by suicide. By her husband's final wishes, Cecilia is to inherit five million dollars, provided she not commit a crime or be deemed mentally incompetent. Shortly after receiving this fantastic news, Cecilia starts having strange incidences, which cause her to question her own safety and sanity. However, she soon discovers that her husband has not only faked his own death, but has used his optical technological genius to develop a means of invisibility, and has been using it to torment and destroy Cecilia. Now, Cecilia must prove her situation before she falls victim to her husband once again. 

If you have ever read the original book or seen the original movie from 1933 starring Claude Rains, then you know that the story I have just summarized is a massive departure from the source material. Not only in terms of narrative, but also in theme. The works of H.G. Wells have always shared a common theme of the dangers of unchecked science and the catastrophic consequences of ignorance. Not to mention that sometimes people are just jerks who do awful things for no adequate reason other than they can. The story, as presented in this brand new movie, is one of the psychological and emotional traumas of an abused woman embodied by the unethical use of highly advanced science. While you could argue that there is a hint of similarities between the two, that is still not enough to justify sharing the title or association with the works of H.G. Wells. This is yet another case of the I, Robot problem. 

What upsets me the most about this whole situation is that the film itself is, in actuality, pretty damn good. Taken on its own merits, the movie as a whole is well made and genuinely tense. Or at least it would be were it not for the fact that it is titled The Invisible Man. As I said a moment ago, the film is more of a psychological thriller wherein the main character's sanity is continuously questioned. Because of the story's circumstances (that being that the antagonist is invisible), everyone around Cecilia assumes that she's having difficulty dealing with the trauma and that she is being haunted by her own fears. Had the film been given a different title that didn't instantly give away the movies "twist," it might have been a significantly more satisfying experience. Because the narrative plays out in such a way that the audiences could have been fooled into believing that it was potentially a ghost or her own loss of sanity, the reveal of the invisibility would have been much more enjoyable. Instead, because of the trailers and the all-revealing title, we are left watching the characters stumble through what we the audience are already well aware of—thereby resulting in a boring story. 

Writer/Director Leigh Whannell, who previously graced audiences with the science fiction masterpiece Upgrade, delivers a bright and deliberately paced narrative that begs to have its own identity rather than be constrained by its nostalgic association with a literary classic. Maybe Whannell genuinely wanted to "modernize" a classic or an overpaid Studio executive slapped a familiar title onto the script for marketing purposes, we may never know. What I do know is that had the publicity for this movie presented me what the film genuinely was rather than try to win me over with name recognition, I might have been more inclined to give the film a passing grade. As it stands, it is yet another valiant effort by a talented filmmaker to be forever bogged down by incompetent marketing. 

This new take on The Invisible Man is the equivalent of trying to make a Chocolate Cake while blindfolded. You may feel like you know what you're doing, but unless you can get that pesky veil off your face, the results won't be as you hoped. As much as I would like to recommend the movie strictly for its own genuine good merits, I cannot in good conscience do so when there is already too much working against the favor of the film. If you are curious enough, I recommend waiting for the video. Otherwise, track down and watch the original 1933 movie if you haven't seen it yet. I assure you, it is more of what you would expect and is a Golden classic.  

Is this movie worth seeing? 

No. 

Is it worth seeing in Theaters? 

No. 

Why? 

"It is better to fail in originality than to succeed in imitation." 

                                                                                     -Herman Melville 

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