Sunday, March 28, 2021

Hunter Hunter - Unjustifiably Bleak (CAUTION: SPOILERS AND GRAPHIC CONTENT)

 

Don't...just don't! 

    Some of my readers may be under the impression that I dislike bleak stories. This could not be farther from the truth. While they are not my preferred kinds of stories, I appreciate some of the darker observations on humanity, provided they have a good reason to be so. Rather we choose to accept it or not, some aspects of human existence are too difficult to accept and cannot be ignored. Sometimes, it falls upon cinema to remind us of the sadder parts of life and inform us how we may find something better down the line and how there is still a chance at hope, both for society and humanity—case in point; Schindler's List

    On the other hand, I cannot stand stories that are bleak for no discernable reason outside of lazy shock value and pale imitations of better movies-case in point; Joker. Today, I add a new movie to the list of films that have shocked me for all the wrong reasons and with no justifiable cause. Hunter Hunter may be the most insulting and disgusting film I have seen this year so far!

    Spoilers from here on out. 

    The story follows a family of three living in the woods and off the grid. They survive by hunting and scavaging, selling animal pelts to the local general store. No, the movie does not take place in the wild west, but it clearly wants to. Anyway, the family is set upon by a rogue Wolf who keeps eating their catches, threatening their survival. The father wants to hunt it down, while the mother just wants to move back to the city and give their thirteen-year-old daughter a chance at real life. 

    As the father goes out to hunt down the wolf, he discovers something more dangerous. A psychopathic rapist/killer has been committing his murders at a remote spot in the woods close to his home. The father, being the uber macho idiotic embodiment of toxic masculinity that he is, decides to hunt down the killer himself rather than, you know, call the authorities. This results in his wife and daughter left alone to fend for themselves on the brink of starvation. 

    Things take a turn for the worst when the mother discovers an injured stranger in the woods close to their cabin. Instinctually, the mother brings the stranger into their home and nurses him back to health. After a few unsuccessful efforts to carry the injured stranger to their truck down the path, the mother and daughter stay at the cabin and try to formulate a different plan. 

    Sometime later, the mother is out hunting and finds her husband dead. She then realizes that he was murdered, and the only likely suspect is the stranger she brought into their home. Upon returning to the cabin, she is assaulted by the stranger who, shocker, turns out to be the killer. After a quick scuffle, the mother discovers that the killer murdered her daughter (at least it's heavily implied he killed her) and, in a fit of motherly rage, exacts her bloody revenge on the killer. 

    CAUTION: Trigger Warning for bodily mutilation and gore. Please skip sections written in RED if you do not wish to learn further details. 

    The mother takes the killer to the shed, where they skin the animals for their hides and proceeds to skin the killer alive. Slowly removing the skin from his arms and torso before violently and deliberately ripping off the guy's face while he's still conscious. Afterward, not only does the camera linger on the mother carrying the guy's severed face in her hand as she exits the shed, but we are also treated to not one but two shots of the very-much-still-alive faceless killer, all in explicit gory detail. 

     As I said before, a film can be bleak so long as there is a good justification for said bleakness and it provides something more outside of general shock value. Hunter Hunter is deliberately and unjustifiably bleak. Why? Because it had the opportunity for a more appropriate ending which might have better suited the narrative. 

    From the beginning, the film utilizes the Wolf as the likely antagonist to the family. Throughout the whole runtime, the story implies that the Wolf will play a significant role in the conclusion of the narrative and provide a more satisfying ending. Halfway through the film, the mother encounters the Wolf and instinctually protects her daughter. The Wolf seemed to pick up on the motherly instincts and backs off. 

    By the time the third act started, I was waiting for the Wolf to come busting into the cabin and attack the killer, thereby saving the mother and daughter. Not only would this have made sense within the narrative as presented, but it also would have tied perfectly into the general idea of nature's power and response to acceptance rather than forced control. Which is something that the film spent the better part of an hour building up to. 

    Instead, the writer/director of the film chose to ignore the fantastic opportunity he had right at his fingertips in favor of a cheap and inhumane crybaby hissy fit about how much he thinks people suck! And, to add insult to injury, the Wolf is never seen again. 

    Now, I will admit that the mother's punishment performed on the rapist/murderer was understandable and justifiable in its own right. Personally, I think all rapists deserve to be punished in the most extreme manner possible. Maybe not to the extremes presented in this film, but still. However, when you intentionally choose that route over the more sensible and narratively satisfying option, you are deliberately and unjustifiably manipulating your audience into watching what amounts to a snuff film. That is the most egregious and insulting thing that any filmmaker could ever do to an audience. 

    This movie is a horrendous steaming pile of garbage, and I regret giving it money for a rental. Please, do not make my mistake. Avoid this movie entirely! 

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

Mank - Wank

 


Stream it on Netflix

    Back in 2011, there was a little film called The Artist. The story of a prominent star in the silent film era at risk of losing his career with the integration of sound allowing the use of audible dialogue referred to then as "Talking Pictures" or "Talkies" for short. The film was presented in the classical style of silent films: including title cards in place of audible dialogue, sweeping dramatic music, and shot on old-fashioned black and white celluloid film. It was a neat and heavily detailed imitation of the classic style. Still, apart from its well-observed mimicry of silent films, it didn't do anything creative with the presentation, aside from one brief nightmare sequence where sound suddenly and unexpectedly enters the artist's life. Even so, it went on the win five Acadamy Awards, including Best Picture, out of ten nominations. 

    In my honest opinion, The Artist, while well made, was not worthy of the Best Picture Oscar. It had nothing interesting to say about its own subject matter and lacked any kind of nuance or unique voice. Plus, nothing was presented in the film that had not been done before in a hundred other "suffering artist" stories that Hollywood can't seem to get enough of. It is the kind of Hollywood placating that has poisoned and continues to poison filmmaking as an art form and as a business. 

    So, it should come as no surprise to any of my wonderful readers that I find today's subject, Mank, to be nothing more than a desperate plea from a once talented and nuanced filmmaker, David Fincher, to finally have his Oscar after two previous nominations for films that were far more nuanced and Oscar-worthy than his latest offering. While I can appreciate Fincher's intentions and reasons for making this film (the script was penned by his late father), I can't call it great. Not only for how painfully obvious his pandering to the Oscar voting panel is, but because of how uninspired and wrongheaded the whole affair genuinely feels. 

    Taking place in the "glory days" of Hollywood between the mid-1930s and early-1940s, the story follows Herman Mankiewicz (Gary Oldman), the Oscar-winning screenwriter who penned the first draft of Hollywood's favorite accomplishment, Citizen Kane. Following a non-linear progression, we see Mank working on the first draft of the script, with occasional flashbacks to key moments that likely inspired the story he would write. Including his strange friendship with William Randolph Hearst and Mank's supposed accidental involvement in the swinging of the 1934 California Mayoral election. Namely, the belief that Mank was somehow unintentionally responsible for the creation of "Fake News". I'm not kidding. 

    If you're wondering why my summary of the story is so minimal, it's because there wasn't much of an actual story in this film. At no point was I presented with a tangible conflict, a sympathetic protagonist, or an emotionally resonating reason to care about anything on the screen! The script seems overly occupied with presenting a specific depiction of historical events, along with replicating shots and moments from the other film it's so tangentially related to. It never provides a coherent or sympathetic reason for any of it. 

    Much like The Artist, Mank is more interested in replicating filmmaking techniques of the era it takes place in, right down to recording old-fashioned mono audio. This might have been a neat feature if it didn't make it nearly impossible to understand half of the dialogue. More often than not, scenes with copious amounts of talking are drowned out by the other sounds within the scene. It's almost as terrible as the sound mixing for Christopher Nolan's Tenet. These aesthetic and artistic choices don't seem to have any purpose other than, again, to remind you of Citizen Kane. 

    The cast all do a wonderful job, but their characters leave much to be desired. Gary Oldman is his usual entertaining self despite him playing the largest collection of arrogant, pretentious, self-righteous, elitist artist archetypes rolled up into a single character. Amanda Seyfried is a talented and gorgeous actress who is utterly wasted in this film. She literally has nothing to do but strikes classic Hollywood glamor poses and provide an unnecessary "will they-won't they" romance subplot to the proceedings with an incredibly obvious "they won't" answer hanging over their heads the entire time. While Amanda Seyfried does deserve an Oscar, it should not be for this! 

    Probably the most thoroughly disappointing aspect of this film is its director, David Fincher. While I may disagree with his perfectionism and how he chooses to execute his artistic visions (for example, demanding nearly two hundred takes of every single shot), there's no denying that Fincher has a unique voice as a filmmaker. Some of his masterpieces like Se7en, The Social Network, and Gone Girl are all memorable films executed with incredible care and precision one can't help but admire and appreciate. Sadly, I can't help but feel that he's either losing his passion for it or he's suddenly trying too hard to appease the very establishment he has openly criticized. Rightfully so, I might add. This is the same man who, when making his first film, once commented on his experience working with the studio by saying, "I gave them a Champagne glass, and they turned it into a Beer mug."

    Mank is not the most insulting movie I have seen this year so far, but it is indeed the least worthy of an Oscar, especially Best Picture. The only thing that makes watching this movie more depressing is how likely it's going to win anyway, despite what little it offers in terms of nuance and entertainment, though I do hope that I'm wrong. It is worth checking out for yourself if you're the least bit curious, and maybe there's an aspect of the presentation that will speak to you. As for me, I sadly got nothing out of the experience, except for yet another reason to finally give up on the Academy Awards. 

    If nothing else, let Mank serve as a reminder of how much more political the Hollywood system is than we might otherwise like to believe. 

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

Thursday, March 25, 2021

How Much is Enough?

 


    Recently I posted on my Facebook page my disdain for Disney+ requiring an additional $30 premium pricetag to watch their upcoming new theatrical releases on their platform. In the comments of said post, one of my friends mentioned how it was actually not that big of a deal. Considering how they still need to make money to pay their creators and fund future projects. Also, my friend pointed out how I may have unintentionally given the impression that some of Disney's latest content was not worthy of financial or critical success. This was indeed not my intention, as I do find great joy in much of Disney's output. This did get me to wondering about the whole idea of premium access and rental prices as a whole. How much is really reasonable to pay for renting a new movie? Are premium access prices worth it if you're already a regular subscriber to a service? And perhaps, most importantly, isn't Disney rich enough to afford not having to squeeze more money out of their consumer base? Let's explore these questions and see what we can find. 

What's this all about anyway?

    For those who do not subscribe to the streaming platform Disney+, there is one aspect of their platform which has annoyed many subscribers, including me. In light of the continuation of the COVID-19 pandemic, Disney releases their upcoming movies to theaters and on their streaming platform simultaneously. However, there is a catch. To see their new films on Disney+ the same day it is released in theaters, there is an additional charge of $30 on top of the regular subscription fee. This allows unlimited access to the brand new movie on your account.

Why does this bother me?

    There are several reasons I find this particular business practice to be impractical and unreasonable: 1) The price is too high when you consider that most other digital movie rental platforms will rent new movies for $20 max. 2) It's paying an additional fee on top of an already existing monthly premium alienating the consumer. 3) There is no point in paying an additional $30 to watch the new movie now when that same movie lands on the regular list of non-premium available content in less than three months. 

    Furthermore, Disney+ appears to be the only streaming service, to my knowledge, utilizing this premium access plan. When you consider how most other streaming services handle their content, both old and new, it's baffling how Disney is the only one in the game that thinks this is a good idea. 

    Compare this to HBO Max, a streaming service I have written a whole article about and proudly subscribe to. They have a deal with Warner Brothers which states that they will host their new theatrical releases on the platform and with no additional charge. Yes, the new movie only remains available on the platform for a few months before it migrates to digital rental services, but at least they're not charging an additional fee on top of the subscription price. 

Does this mean I hate Disney+?

    Absolutely not! I have a Disney+ account, and I love it. I enjoy the Marvel content, especially WandaVision and the new Marvel show The Falcon and The Winter Soldier. I especially love the original Star Wars show, The Mandalorian. Disney+ has some terrific content that I enjoy, and I look forward to seeing what will come next. 

Is the $30 premium for new movies really that big of a deal?

    Well, yes and no. One valid argument for the premium fee is that it's roughly the price of two movie theater tickets plus snacks. It's more or less how much you would pay for the traditional theatrical experience. Plus, as mentioned earlier, you can watch the new movie as many times as you wish, and its $30 premium is only temporary. On the other hand, they're demanding you pay more money while you're already paying a monthly subscription fee. This feels unreasonable to me. 

So, why does it still bother you?

    Compare renting a brand new release on Amazon or Apple TV. The highest price you'll likely pay there is $20. Which, while still a little steep, is not entirely unreasonable. It's about the price of two theater tickets without snacks. Plus, after a while, the price will either go down a bit, or the movie in question will show up on another platform at no additional cost. Also, those inclined may consider purchasing the film on physical media if they care about it enough. 

    The way Disney+ is choosing to handle their new theatrical releases on their streaming platform seems a bit unreasonable in terms of price and practicality.

    Also, let's face it, this is Disney we're talking about. The company that practically owns most if not all of Hollywood. You would think they could afford to not charge an exorbitant amount of extra cash for the privilege of seeing their latest projects at home. 

Disney makes their fortune elsewhere. 

    Something else to remember about Disney is that they don't make most of their money from their films. Their biggest sources of revenue are their theme park attractions, luxury cruise lines, and media networks. Not to mention their merchandising, license agreements, and copyright lobbying. Yes, Micky Mouse should technically be in the public domain by now, but Disney's lawyers and lobbyists will continue to push that goalpost further down the track for as long as they live. 

    Now, it is true that Disney is likely going to lose a substantial amount of money in the fiscal year due to the COVID-19 pandemic. But, again, this is Disney! Whatever money they lose will almost be instantaneously made back with their sales of Marvel, Star Wars, Muppest, and PIXAR content. Also, last time I checked, despite most of the population still not yet vaccinated, they're still visiting Disneyland. 

    In all honesty, it feels less like Disney is taking a massive loss and more like they're just not going to afford the addition on their already expensive house. 

What about the creators?

    Now, I've never worked at Disney, so I cannot attest to how they treat their creators, animators, and filmmakers. However, what I can say is that the only way studios measure the success of any given project, and what determines their future, is how financially successful said project is. With the release of Raya: The Last Dragon, a film that provides some much-needed representation to southeast Asian talent, there is also the argument that giving this movie your money contributes to telling the folks over at Disney that you want more quality content and representation of cultures outside of America. Which is, in and of itself, a good thing to demand. 

    This argument is not so far off. It's actually the only reason Paramount keeps forcing Michael Bay to make more Transformers movies. Not because he wants to or because they're any good (they're not), but because people kept paying money to see them. People who thought they were "ironic" by seeing the movie and hating it. 

    Here's the harsh truth, folks. Paying to see a movie in theaters for ironic viewing doesn't work! Why? Because you're still giving them your damn money! If you want Paramount and Michael Bay to stop making these terrible Transformers movies, or any other movie series you don't like, STOP PAYING TO SEE THEM! The box-office does not even know what irony is!

Conclusion.

    While I understand the general reason for wanting to charge customers more for your product, especially given the world's unfortunate state, I simply do not believe that Disney of all companies is in that kind of dire need of extra cash. Maybe if the price was lower, or if they offered a variety of pricing options (like a version where you have to watch commercials in exchange for a smaller fee), I probably would not have thought that paying a little extra to see a new movie on a streaming service I'm already paying a monthly fee for was that big of a deal. Especially considering the ongoing COVID-19 pandemic. 

    However, I still believe that $30 is an egregious price to demand, and I simply will not pay it. It has nothing to do with not wanting to support the arts or demand higher quality and better diverse representation, but it has everything to do with practicality. To me, a corporation as massive and rich as Disney locking their new content away from their fans behind a $30 price tag is, at least to me, highly impractical. 

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

Monday, March 22, 2021

I Care A Lot - I Don't Care for This

 


Don't Stream it on Netflix 

    One kind of movie that is especially aggravating is the kind you want to like but ultimately can't. Those films that might have a character you want to root for (but you can't), an under-explored theme you want to see better developed (but you won't), or maybe a profound commentary about American society and the undiscussed dangers of selfish capitalism delivered with care and nuance (but it isn't). I Care A Lot is one of those rare films that is chock-full of all three of these mishandled elements and then some! It is a film that makes me feel worse than how I felt after sitting through both versions of Batman V Superman: Dawn of Justice: dirty, depressed, and angry at having wasted my time witnessing many things I love get dragged through the mud for seemingly no justifiable reason. After watching this travesty, I felt like I needed a stiff drink! 

    The story follows a woman named Marla (Rosamund Pike), a con artist who makes a "living" by playing the legal system to have herself inserted as a "legal guardian" to elderly citizens who show signs of an inability to care for themselves. Except once she's imprisoned the elderly victim into the care facility, she swoops in to seize control of their assets and possessions. It's a steady (albeit amoral) hustle until she decided to make her move on a specific elderly woman named Jennifer (Dianne Wiest), who just so happens to be the mother of a dangerous mob boss named Roman (Peter Dinklage). At first, Roman tries to "reason" with Marla. Still, due to an abundance of overconfidence and pride, along with the discovery of millions of dollars worth of diamonds, she won't release Roman's mother and intends to continue milking her for all she's worth. Needless to say, this does not bode well with Roman, who proceeds to declare war on Marla until they can both come to an "understanding." Oh, and Roman is involved in human trafficking. I just wanted to let you know that. 

    This film commits the absolute worst offense that any movie could ever commit: you don't care about anyone! None of the characters in this film, especially the protagonist, are likable or sympathetic in any way, shape, or form. Marla makes a "living" by lying her way through the legal system to seize control over helpless elderly people and steal their money and possessions. Meanwhile, Roman is a mob boss who has no issues with sending armed men to an elder care facility to "rescue" his mother. Did I mention that Roman is also involved in human trafficking? I feel that I need to make that abundantly clear because there is never, ever, ever, a good reason to sympathize with or root for a human trafficker! 

    And yet, with the way this story progresses, it seems to give the impression that we're meant to find some kind of common ground with one of if not both of these criminals, especially Marla. She brags about how being ruthless is the only way to achieve anything in this country, and playing by the rules is only for losers with no ambitions or drive. Her character also attempts to insert a pseudo-feminist message about how people (men especially) can't stand women in power. Which, while sadly true (though I wish it wasn't), is poorly delivered in this film with the overdone "women good, men evil" mentality that does not, in any way, represent actual feminism! At least not in my opinion. 

    A few genuinely interesting ideas are sprinkled throughout the film. It has the opportunity for clever commentary on American capitalism, not to mention the often undiscussed arguments of working hard vs. playing the game. Sadly, all of these possibilities are either overshadowed by toxic delivery or are abandoned by the wayside in favor of wasting the audience's time with vile characters and an unsatisfying conclusion to it all. It's one thing to tell a depressing story, but it's another thing to be unjustifiably depressing. 

    Skip this one! 

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

Saturday, March 20, 2021

Justice League (The Snyder Cut)

 


    I have made my disdain for Zack Snyder as a director pretty clear by now. I find his hyper-focus on style over substance to be ill-suited for narrative filmmaking and his overreliance on uber-masculine symbolism to be alienating and distracting, not to mention toxic. The only film of his that I have ever liked was his adaptation of Watchmen. Even then, I am convinced that the only reason it was any good at all was that Zack Snyder did not realize the original graphic novel was intended to be a satire. That should describe Zack Snyder in a nutshell, in my opinion. 

    Even so, having now watched his much-awaited original vision of the ill-advised Justice League film, I can still say that, while I continue to dislike Zack Snyder as a director, his original vision of the film turns out to be a surprise upgrade from the original, albeit in only a select few areas. The entire concept as a whole is still incredibly misguided, cynically motivated, and definitively proves just how needed a change-in-course was for Warner Brothers and the DCEU. 

    Having sat through all four hours of Zack Snyder's original vision (his original plan was to divide the story into two films), I cannot go so far as to say that Snyder has redeemed himself, nor can I say that Snyder appears to have learned any valuable lessons when it comes to narrative growth. What I can say is that, at the very least, there are aspects of his original vision that I agree with and appreciate, but they are still not sufficient for me to overlook the many, many, many flaws that still permeate the film; flaws that were present in the theatrical version and in The Snyder Cut, along with a few new ones. 

    Strap yourselves in; this is going to be a massive undertaking! 

    In focusing on the differences between the two versions of this film, I will not be summarizing the story per my usual practice. The narrative is mostly incredibly complex and loaded with references and story turns that only the deeply initiated will understand and appreciate. Therefore, please indulge me as I go over some of the key differences between the two versions of this film, why some of them work, why some don't, and why I partially prefer this new version despite my many misgivings with it and its creator. 

    Furthermore, I will discuss these two versions of the film under the impression that you have seen at least one of them or are familiar with the characters. If you have not seen either of the films or are not familiar with the characters in question, I advise you to take a moment to examine the films Wikipedia page for a brief description of the film, the characters, and the reason there are two versions of this film in the first place. 

    Now, let's begin this breakdown. Starting with the few aspects that I genuinely liked. 

Some of the characters are a bit more compelling.

    The two characters who suffered the most in the film's original release were The Flash and Cyborg. Both are fine characters portrayed by talented and engaging actors, but they suffered from either a lack of development or misplaced comedic antics. Cyborg was not provided sufficient development in the theatrical release to make him a compelling character, outside of his relationship with his estranged father (who was also responsible for his cybernetic appearance and abilities) and his inability to completely control his newly found gifts. The Flash, while enjoyably goofy and sympathetic, suffered from too much awkward humor and annoying personality traits. His original arc of finding the courage to be a regular hero facing off against many kinds of bad guys made no sense within the story's context. 

    In Snyder's cut, Cyborg has much more needed characterization, making him more compelling and textured. You get a much better sense of his motivations and reasons for being the way he is. It also provides a much more satisfying character in terms of growth and engagement. The Flash is also fairly improved. While he still retains his somewhat goofy behavior, which made him likable, he no longer has issues with facing off against unusual enemies, nor is he at all cringe-inducing. Furthermore, he plays a much bigger role in taking down the bad guys and saving the day, providing a much more satisfying arc for his character.

The music is astounding, including the needle drops. 

    For those who don't know or need a quick refresher, needle drops refer to the use of non-diegetic music, as in music not emanating from within the scene but rather accompanying it. This is typically used with montages or moments that don't have many other sounds, including dialogue. A perfect example would be the opening scene to The Graduate, where Dustin Hoffman walks through the airport as the song "Sound of Silence" by Simon & Garfunkel plays over the footage. The song is not playing anywhere within the scene, like over the airport speakers, but is playing over the footage to accompany the scene's intended mood. 

    Whatever else can be said about Zack Snyder, I will say that his talent for selecting songs for needle drops is pretty awesome. Not only does he seem to have genuinely good taste in music, but he chooses songs to accompany his visuals surprisingly well. Again, this aspect of his talents is best showcased in Watchmen. Even so, his choices of songs for his original vision of Justice League feel appropriate and oddly poetic. 

    This also applies to the new score for the film. Rather surprising when you realize that the composer is Junkie XL, credited in The Snyder Cut as Thomas Holkenborg. Junkie XL has rarely hit me in the right spot with his music. Most of the time, he has the tendency to hit overly dramatic notes and repeat his melodies over and over again. His music often comes off less like he's trying to enhance the visuals and more like he's trying to distract from them. As if he's demanding more attention. 

    However, in The Snyder Cut, his music feels much more appropriate and sounds incredibly satisfying. To the point where I may consider downloading the soundtrack to the film. The use of drums and vocals throughout the score is especially delightful to me. 

    Okay, now that we've gotten the few good things out of the way, let's move on to the more fruitful section of this review. The parts that didn't work and I couldn't stand. 

There's too much damn stuff in this movie.

    One of the many problems that plagued Warner Brothers with their attempt at building their own superhero cinematic universe was their desire to play catch-up with Marvel. By the time they finally decided to hunker down and build up a cinematic universe with their own superhero licenses, Marvel had already completed their first phase and made over a billion dollars with their first Avengers film. This prompted Warner Brothers to finally get the ball rolling on their own superhero movie franchise. Unfortunately, they made a few choices that ultimately damaged their intentions. 

    You see, a big part of why Marvel was so successful with their first team-up film was because they had spent years building up to it with separate movies starring the individual characters. Iron Man, Thor, Hulk, and Captain America all had their own movies produced and released before their first team-up. This created a universal sense of anticipation and delivered a satisfying payoff when they finally joined forces as The Avengers. Which was, and still is, one of the greatest theatrical experiences of my life.

    However, the guys over at Warner Brothers decided that they didn't want to waste their time properly building up their own universe with their own characters and decided to put all of their "build-up" into only two movies. This mentality of cramming in as much mythology and backstory into as few movies as possible would continue into the Justice League film, as the plot in both films required the introduction of a handful of characters who had not yet had their own individual films. Mainly Cyborg and The Flash. 

    On top of that, Warner Brothers, and by extension Zack Snyder, decided to put all of the build-ups to their "epic event" storyline within two movies or less. This results in a set of films loaded with references, callbacks, future characters, and foreshadowing that do nothing but pad the runtime with uninteresting context. In other words, Zack Snyder's DC films both demand that you be familiar with the history of the characters and comic events while at the same time insisting on reimagining them all into drastically different versions. It's a classic case of wanting to have its cake and eat it too, and it fails miserably! 

    Not to mention the number of scenes and build-up moments that could easily have been shortened, removed, or placed at different moments in the edit. But that would take too long to summarize. So, let's move on. 

The presentation is pretentious. 

    I typically take caution when using the word "pretentious" while reviewing movies because it is often overused in criticism. More often than not, modern film critics, especially younger ones, tend to use the word as a means of criticizing things about movies they don't like, not because of a lack of narrative structure or compelling themes & characters, but because the critic in question simply doesn't understand the film as a whole. It's a case of a critic simply saying, "I don't get it; therefore, it's terrible!" This form of criticism is lazy, overused, and completely defeats the purpose of criticism. 

    However, in The Snyder Cut, pretentious is absolutely appropriate! 

    For one thing, his choice to shoot the entire movie on 35mm celluloid film and IMAX, both analog formats, is completely misguided when you consider that well over 90% of the images on the screen were created with computers and digital technology. While Snyder's argument that celluloid film is a superior format that delivers beautiful images is valid, that argument quickly loses its validation when watching the final product. Rarely are there any scenes (or individual shots for that matter) that were not artificially created using algorithms and computer animations! You can't praise the superiority of one format while relying upon its "competition" to create your vision. This is not a matter of personal taste or artistic preferences; it's about attitude. 

    Another piece of pretentiousness from the film is his choice of aspect ratio. Some of you may recall my blog entry about the unusual choice of aspect ratio for the film and why this creative choice was made. The short version is that Zack Snyder shot the film in a format that was better suited for IMAX and other larger screen presentations. This in and of itself is not a bad idea; however, its timing and the ultimate destination of the film make it so. Because it is still not yet safe to enjoy the movie theaters, the choice to present the film in its intended theatrical ratio only makes the presentation less enjoyable because we're not gaining the intended theatrical experience. Furthermore, watching a movie intended for epic proportions presented in such a small aspect ratio somehow makes the proceedings significantly less epic. If you want to create an epic presentation for home viewing, which is the ultimate destination for all films, present it in an aspect ratio that will encompass most of if not the entire screen! 

Enough with the damn slow-motion! 

    Another recurring aspect of Zack Snyder's films is his obsessive use of slow-motion. As I stated before, Snyder tends to prioritize visual impact with his movies. As such, he tends to use slow-motion as a means of giving the visuals greater impact. The problem is that he's too reliant upon this technique. Many of his films are as long as they are because at least half of the runtime is taken up with scenes playing in slow-motion, and Justice League abuses this technique to a "T." The film is four hours long, but if you were to remove most if not all of the slow-motion used, the film's runtime would likely be cut in half at the most. 

    The excessive use of slow-motion not only affects the runtime but also its general impact as a technique. When you overuse a specific cinematic trick, it quickly loses the enhanced impact you wanted. This is why most other filmmakers will use slow-motion when they want to emphasize a specific moment for narrative impact. Zack Snyder uses it every thirty seconds (seemingly), resulting in a presentation that feels less like a story and more like an invitation to a deadly drinking game. Take a shot every time slow-motion is used. You'll die of liver failure before you reach the halfway point. 

Conclusion.

    While there are still many elements of this film that I have issues with, all I can say about it now is that I'm glad Zack Snyder got to finish his intended vision, even though I did not completely enjoy it. Artistic integrity and closure are both noble things to pursue, and I'm glad that one of Hollywood's biggest talents (however misplaced that talent is) got to complete his creation. 

    Having said that, unless you are at all curious to see how Justice League might have been, this four-hour beast of a film is not really worth your time. If you still intend to give it a look, I recommend watching it in sections rather than a single sitting. The film is kind enough to provide noticeable chapters for break times. 

    I can't say this movie is good, but I also can't say that it didn't do a few things better than before. As a curiosity, it might be worth a look. Otherwise, let's all just wait for when Warner Brothers and DC Comics inevitably retcon/reboot their entire superhero franchise with the upcoming Flashpoint film. 

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

Thursday, March 18, 2021

Why Shakespeare?

 


    The works of Shakespeare are both fascinating and unusual. Some find his works too difficult to understand, while others have coined him "the most universal writer." Others, myself included, consider him to be one of the first students of the human condition. Yet, for many people, his works only sound like random generated "old-timey" words that no one uses anymore and therefore have no place in the modern age. Well, what if I told you that his works are much simpler and easier to understand than you might have heard? 

What kind of a guy was Shakespeare? 

    Despite Shakespeare's modern prestige as an "elite" artist whose works can only be appreciated by the "superintelligent" and the "privileged," Shakespeare himself was none of these things. He was, for all intents and purposes, a regular dude who did what he loved. He was a middle-class guy without an expensive education who wrote for the theater while managing a malt-selling business. Shakespeare's life was less like a Hollywood producer living fat off his royalty checks and more like a talented, humble theater enthusiast. It just so happens that his works maintain a profound impact in many ways. 

Why do some people believe he didn't actually write any of his plays? 

    People with a lackluster grip on reality tend to believe that whatever exists outside of their bubble is only there due to a lack of wealth, higher education, and a general false sense of supremacy. People have claimed that because Shakespeare's works feature things like Falconry and Italy, which were often exclusive to Noble birth folks, they must have been secretly written by someone of their class using Shakespeare's name and face as a front. 

    However, this claim quickly loses any and all footing when you actually examine Shakespeare's works. Because if he really was of Noble birth, he should have known that Padua does not have a Harbor, Bohemia does not have a coastline, France does not have Lions, and Ancient Rome did not have clocks. At least, not the kinds of clocks we tend to think of. 

    The truth is that Shakespeare's works are so universal that anyone can apply them to any context, making them some of the most adaptive and relatable plays ever created. This brings me to my next question. 

Why and how are Shakespeare's plays so adaptable? 

    When Shakespeare was writing his plays, the theater was much simpler than it is today. In his time, theater consisted of a simple stage with little to no set pieces, a handful of props, simple yet elegant costumes, and maybe a few musicians. Oh, and of course the actors. Because of this bare-bones approach, Shakespeare's plays often relyed upon character relationships, comedic interactions when applicable, and witty dialogue. 

    Since they were originally written for such an open concept, they remained timeless (save for the classical choices in grammar) and openly applicable to nearly any given theme or presentation. There is no limit to how Shakespeare's works can be adapted to any given medium or theme. Even if you don't utilize the original text. 

Case in point: 

Romeo & Juliet 

Richard III

The Tempest 

Macbeth 



    None of these films are adapted directly from Shakespeare's works, but they take enough inspiration and play with the same general themes and ideas to make the connection clear. Believe it or not, Shakespeare has had an influence on storytelling in more ways than one. 

How can I better understand Shakespeare? 

    One way to understand Shakespeare is to see his works in action. Provided you attend a decent theater company with a talented cast and director, the play should speak for itself. For a more in-depth approach, it can help to examine some of the histories of his time. Having a better understanding of what life was like in Shakespeare's time will provide plenty of context for why and how Shakespeare wrote his plays the way he did. You don't need a master's degree, just a decent understanding of the time. 

    Of course, the best way to understand Shakespeare, at least in my opinion, is to perform it. Rather you're volunteering at a local theater, reading some lines with friends, or reciting a sonnet in the shower, when you take some time to put the words into action, their meaning and relevance will become clearer. That is one of the many beauties of Shakespeare; gaining understanding through action. 

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

Wednesday, March 17, 2021

The Mauritanian - Never Forget

 


Rent it on Amazon, Google Play, Redbox, and YouTube 

    The tragic and unforgivable attack on humanity that was 9/11 is an event that we must always remember. However, we must also be sure to never forget the many tragedies and inhuman actions that followed in the process. In the face of incalculable devastation of any kind, it becomes all too easy to abandon our own humanity under the guise of patriotism and security to ensure it never happens again. It's a classic case of the dangers associated with becoming a monster to fight monsters, a line seemingly so easy to cross that, most of the time, we tend to prefer believing that we're better than that. And the harsh truth is...we're not. That does not mean we're inherently awful, just flawed, and our folly is denying those very flaws that make us human. 

    Today's subject, The Mauritanian, is a film that reminds audiences just how easy it can be to cross that line and how dire the consequences can be. It is a film that can be difficult to watch, but it deserves your attention nonetheless. 

    Based on the book Guantánamo Diary by Mohamedou Olud Slahi, the film chronicles Mohamedou's (Tahar Rahim) experience as a prisoner of Guantánamo Bay accused of being an Al-Queda recruiter. After a few years of incarceration with no charges presented to him, an ACLU attorney named Nancy (Jodie Foster) and her assistant Teri (Shailene Woodley) decided to represent Mohamedou to appeal for his freedom. They are preparing to present their case against the military prosecutor, Stuart Couch (Benedict Cumberbatch), who intends to make this alleged planner of 9/11 face justice in every possible way. However, as both sides prepare their cases, it becomes all too clear what their situation really is, forcing them both the reevaluate what it is they're fighting for. 

    This film is, quite simply, remarkable. While it is difficult to watch at times and covers a rather heavy but important subject matter, the film succeeds in presenting everything in a manner that is easy to digest (for want of a better word) and allows the events to speak for themselves. Which, in this case, is probably the best thing to do. 

    The cast is remarkable all around. Featuring the livewire professionalism expected from Jodie Foster, along with a few surprising performances from a few people you would not expect playing specific parts, such as Zachary Levi (the guy who plays SHAZAM) playing a surprise dark character. Even so, the best performance is from Tahar Rahim as the prisoner. He makes every moment he is on-screen burst with life and emotion that can only come from tremendous commitment and conviction. Apparently, he was nominated for a Golden Globe for his role in this film, and I'm upset that he didn't win. 

    The Mauritanian is a challenging film because it will make you angry at humanity, but it needs to be seen nonetheless. Furthermore, it needs to be played in history classes when discussing 9/11. It may make you upset, but it will also remind you of the importance of vigilance, the price we must continuously pay for our freedom. 

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

Coming Soon - Shakespeare Month

 


    It's been a while since we had a fun theme month on this blog, hasn't it? Since The Bard was born in April, this seems like the perfect time to prepare for one. In addition to my regular blog entries and general movie reviews, you can expect many additional reviews of films based on The Bard's plays come this April. As an actor and Shakespeare enthusiast, it's high time that I shed some more light on the works of Shakespeare and why they will always remain relevant in the modern age and for future generations to come. 

    I also admit that there may or may not be some ulterior motivations behind this theme month, but that will be revealed at the proper time. Until then, I hope you will all join me next month in exploring the many screen adaptations of Shakespeare, both great and not so great. Even if you're not a fan of his plays, I assure you, some of the films based on his works will surprise you. 

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

Monday, March 15, 2021

Why you should consider getting HBO Max

 


    In my previous blog entry where I reviewed the entertaining and timely film, Locked Down, I mentioned that it was a good reason to consider signing up for HBO Max's streaming platform. I also mentioned that I had once considered complaining about the overabundance of streaming services on the market. While I still have some issues with the overwhelming amount of comparative streaming platforms available today, especially when it comes to what I believe to be unnecessary exclusivity, HBO Max has warmed my heart on the subject exponentially. Of the six streaming platforms I find myself using, HBO Max is slowly becoming my new favorite. 

    I would like to take this opportunity to ensure my wonderful readers that this is my opinion formulating from my own volition. HBO and Warner Brothers are not paying me anything to express this mostly positive advocacy for their streaming platform. Like anything else in life that we come to love, they are not without their flaws. These are purely my thoughts and mine alone. 

    Here are just a few reasons why you ought to consider signing up for HBO Max. 

Variety of Content

    HBO Max offers a surprisingly wide variety of content for all kinds of media enjoyment. In addition to its original content, it also features content from various networks that either had their own streaming service at one point or were unavailable anywhere else. Because of its partnership with Warner Brothers, a ton of their content is available here. Including Turner Classic Movies, CrunchyRoll, and DC Comics. 


Big New Releases for the Whole Year

    In case you were not aware, Warner Brothers announced a little while ago that they would be releasing all of their upcoming films to theaters and HBO Max simultaneously. While this upset many filmmakers in Hollywood, especially folks like Christopher Nolan and Quentin Tarantino, given the unfortunate circumstances of the continued troubling COVID-19 pandemic, it's only logical that some movie studios adapt to the needs of the moment. The best part is, unlike another premium streaming service that shall remain anonymous (*cough* Disney+ *cough*), new releases will not require an additional charge for viewing. If you pay for the subscription, you get access to new and old content, with no questions or exceptions. 

    This kind of release schedule and format has been right around the corner for a while, but nobody wanted to be the first ones to get there. While I understand this choice of release strategy and further appreciate that it still involves releasing to movie theaters, I find it rather upsetting that it took a world-wide pandemic for someone to get the ball rolling. While I will continue to advocate the movie theater experience, I will also continue to remind folks that it is not quite safe enough yet to do so. Until then, we have this delightful alternative at our disposal. If you ask me, Warner Brothers made the right move. 

Decent Deals 

    HBO Max has a small but versatile amount of options for pricing. When I signed up for my account, I purchased a deal for six months worth of service for about the price of four months. There is still a great deal of free trial offers when purchasing some Warner Brothers films on disk and on the platform itself. 

    Of all the streaming platforms outside of Netflix, HBO Max is, so far, proving its money's worth. I have enjoyed this platform the most out of all the ones I currently use. Give it a shot if you're feeling up to it. This little platform just might surprise you. 

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

Happy Streaming! 

Juror #2 - Unexpected

  For Rent on Apple TV, Amazon Prime, and Microsoft     Cinema royalty Clint Eastwood is a director who works best when presented with a sol...