What The Slap? - My thoughts about Smith & Rock at the Oscars

 

    It may not surprise my beautiful readers that I didn't watch the Oscars this past Sunday night. Mostly because I happened to be at work at the time (I've been happily employed since last November), and also because, as I've mentioned on this blog before, I've stopped caring about them in recent years. While I still believe there is a glimmer of hope for Hollywood and modern cinema, it won't be found at the Oscars anytime soon. Not helped by what has become the most talked-about moment from this year's show. One with seemingly no identifiable lines, but make no mistake, they were crossed nonetheless. 

    For those who also didn't watch the show but only heard about the event off-hand, and for those who may need a quick refresher, early into the show, comedian & actor Chris Rock appeared on stage to present the Oscar for Best Documentary. He made a joke aimed at Will Smith's wife, Jada Pinkett Smith, during his introduction. The joke was, and I quote: "Jada, I love you, 'G.I. Jane 2', can't wait to see it!" The joke was aimed at Jada's choice of hairstyle, a shaved head, due to a condition called alopecia, which causes hair loss. Needless to say, the joke was not well received by at least some of the audience. 

    This, in turn, apparently caused Will Smith to snap as he stormed the stage, marched right up to Chris Rock, and slapped him across the face on national television. Upon returning to his seat, Will Smith yelled at Chris Rock, "Keep my wife's name out of your F**king mouth!" 

    Now, there is a lot to unpack there, and without proper context, I would not dare to speculate on precisely what either of those two men were thinking at the time. However, I believe I can comment on what we all saw based on the context of the moment. Which is precisely what I will do. 

    First, let's examine the joke itself. 

    Simply put: it wasn't funny! Not just for how outdated it was but also for how unquestionably tasteless it was. Of course, Chris Rock has a reputation for cracking unfunny tasteless jokes, especially at award shows. Back at the 2012 Oscars, he received some much-deserved vitriol for his "joke" about voice acting in animation. Proclaiming it to be the "easiest job in the world." This is easy to say when you're a high-profile talent getting paid millions of dollars to voice a character for a big-budget animated film, but not so easy for the hundreds of thousands of underpaid, unrecognized, underappreciated voice actors working practically nonstop. 

    But I digress; let us move on to the slap. 

    While I do agree that Will Smith was in the right to stand up, defend his wife, and let it be known how tasteless the joke was, there were a hundred better ways to have done so. Will Smith could have easily told Chris Rock how tasteless the joke was, asked for an apology, or maybe even told a better joke about himself to redirect. Assaulting another person on national television was, at least in my opinion, equally tasteless and uncalled for. 

    In my opinion, this entire incident is nothing more than the tipping point of two creative people who let their worst sides get the better of them. Chris Rock should not have told such a tasteless joke, Will Smith should not have expressed his disdain in such a violent manner, and everyone really needs to take a step back and calm down. 

    The past two years have been a tough time for us all, and this unfortunate event is but a small part of the end results. We are, all too easily, allowing ourselves to believe that quick actions and thoughtless words are the solutions to the many issues we face today. Yes, we are all frustrated, annoyed, and afraid, but knee-jerk reactions are not the solution; they are part of the problem. 

    Please take a step back, take a deep breath, and seriously think about how you choose to react to the situation before you. Be the better person. 

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

    

Rocky IV: Rocky Vs. Drago - Mostly Better

 

For rent on Apple TV, Google Play, YouTube, and Amazon 

    Sylvester Stallone's beloved classic, 1976's Rocky, has undergone a plethora of sequels, spin-offs, and fresh iterations. Rocky III has always been my favorite of the original five films, while the spin-off series, Creed, is close to a masterpiece in my book. While I'm not entirely sure how I feel about the broadway musical interpretation (yes, it actually exists), if Stallone wanted to do it, then who am I to criticize anyone's desire for artistic expansion? 

    Speaking of which, Stallone's latest franchise expansion, his director's cut of Rocky IV (retitled Rocky IV: Rocky Vs. Drago), proves itself a surprisingly marvelous step-up from the original cut. While aspects of the original theatrical release hold a memorable (albeit hilarious) place in my heart, this new version of the 1985 classic is an impressive improvement in terms of narrative and character. 

    Since this is a new iteration of a thirty-seven-year-old classic (oh, do I feel old), I'm not as concerned with spoilers as I otherwise might be. However, to maintain an enjoyable unique viewing experience for my beautiful readers, I will do my best to keep spoilers to a minimum. 

    For those who may not know or need a quick refresher, the story follows heavyweight boxing champion Rocky Balboa (Sylvester Stallone) and his best friend & former champion Apollo Creed (Carl Weathers) dealing with the possibility of having to face the music and hang up the gloves. Things take an unexpected turn when a brand new challenger enters the fray in the form of the Russian boxing powerhouse, Ivan Drago (Dolph Lundgren). So, Apollo decides to challenge Drago to prove he is still a good fighter, despite his advanced age. However, when things turn for the worst, Rocky must step up and take on the challenge. Who will be victorious? 

    The most noticeable and significant change I was most impressed by in this new cut of the film is a small but vital moment in the fight between Apollo and Drago. Without spoiling precisely what happens, all I will say is that it involves the timing of the towel. One version played this moment out in a way that, in my opinion, went against Rocky's character. While the other version cuts it at just the right moment to maintain the intended impact while also maintaining character consistency. A little moment can play a significant part in the overall story, and I was most impressed by that little difference. 

    Some of the changes made to the film I disagree with are part of the image clean-up effects. One of modern digital restoration technology's most prominent (and often annoying) aspects is noise removal. This is when editors and colorists take a digital scan of the original film print and process it to remove grain and other unsightly blemishes in the image. Sometimes, this can work in the movie's favor, as it can provide the director a better and more precise version of their original vision. However, it can also just as easily betray the integrity and characteristics of the original image. 

    In the case of Rocky IV: Rocky Vs. Drago, when Rocky arrives in the snow-filled land of Russia, the images have been completely blown out (overexposed) to the point that it becomes painful to look at. This was not a case of lousy exposure on the original film, as the cinematography in the original print was pristine and calibrated just right to accommodate the bright snow-filled landscapes. But when the new team decided to "adjust" the image for this new release, they didn't consider the consequences of their adjustments with these particular shots, or at least it seems that way. 

    There are times when digital clean-up is called for when restoring or re-editing a classic film, and this was not one of those times. 

    If you're a fan of the Rocky franchise or just a casual observer, I highly recommend checking out this new version of the classic symbolic victory of the cold war. It's a better-told version of the story with a few minor hiccups here and there.

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

March Memories - Wind River (2017)

 

(First reviewed on August 27, 2017)

Streaming on Netflix 

For rent on Apple TV, Google Play, Amazon, and YouTube 

    Wind River is one of those challenging films to watch but is essential for many reasons. Aside from the gripping murder mystery, the high caliber acting, and the eerie as hell music, its writing is some of the sharpest and most on-point, often challenging to find anywhere else. In my humble opinion, it is a crime that this film was never nominated for any Oscars nor received as much recognition as it genuinely deserves. And yes, I blame all of that on the slimy and repugnant actions of one of the worst excuses for a human being to ever walk the Earth, Harvey Weinstein. 

    For those who don't know or need a quick refresher, Harvey Weinstein was a movie producer and owner of The Weinstein Company, a production company with several memorable titles under its belt, such as The Kings Speach and Butter. Among other things, Weinstein was notorious for making outrageous demands of his movies and their pending releases. For example, he would often demand changes be made for seemingly no reason other than he had the power to demand it. Plus, he often deliberately held movies back from full releases, mostly to try and build up hype for award season. Which, at times, seemed to work. 

    Then, in 2017, right around the time Wind River was making its theatrical run, the news spread of Weinstein's crimes against women, and he was promptly charged and exiled from the cinema business world. And while he should forever be punished for his heinous and despicable acts, I believe he is wholeheartedly to blame for Wind River seemingly being ignored by the Acadamy, wrongfully so. And if you have a moment, I will gladly explain why. 

    The story follows a hunter named Cory (Jeremy Renner), who stumbles upon a dead body in the snow-filled Wyoming mountains. The victim turns out to be the daughter of his friend and Reservation resident. Seeking external assistance to investigate the case, the FBI sends a willing but ill experienced agent named Jane (Elizabeth Olson) to assist in the case. The first sign of problems shows up in the form of Jane's lack of preparation for the cold climate, arriving without any cold-weather gear. Further complicating matters is a lack of a designated task force (or any kind of proper investigations unit) despite the shocking overabundance of missing person cases reported on the Reservation regularly. With no backup or further assistance to speak of, Jane and Cory, along with the Reservation officer Ben (Graham Greene), must solve the mystery and bring the perpetrators to justice. Be it traditional or old-fashioned. 

    As I said, Wind River is a challenging film to watch, primarily due to its unfortunate and disturbing subject matter. It's one of those cases where a relevant story needs to be told to raise awareness and inspire action. It succeeds rather effectively by providing a compelling mystery with three-dimensional characters, sharp dialogue, and well-executed moments of tension. While it may not be one of those films that can be enjoyed regularly, it is well-crafted enough to warrant the occasional rewatch. And, in my opinion, more so than the similar film that did make it to the Oscars. 

    Wind River was released in August of 2017. Later that December saw the release of Martin McDonagh's semi-comedic drama, Three Billboards Outside Ebbing, Missouri, which was nominated for seven Oscars (including Best Picture) and won Best Leading Actress (Frances McDorman) and Best Supporting Actor (Sam Rockwell). While both films tackle the unfortunate state of the mistreatment of women and lack of proper justice, in my humble opinion, Wind River hits the point right out of the park, whereas Three Billboards hits a solid double at best. 

    Why is this, you may ask? One word: focus. 

    Wind River had at least one crucial point about the human condition and drove that point home with expert precision and absolute conviction. Three Billboards appeared to have one central point but then spent a big chunk of the runtime deviating to several other points for no narratively sound reason, other than the writer wanted to vent about aspects of modern culture he finds annoying or unappealing. Suppose Wind River is akin to a respected journalist providing vital information of an unfortunate situation engagingly. In that case, Three Billboards is akin to a politically charged stand-up comedian trying to moonlight as a philosophy professor. This is not to say that Three Billboards doesn't possess an impact with its story, just that it's not as well-thought-out as it could have been, at least to me.

    Wind River is one of the most underrated and under-discussed films of the 21st century. If you haven't seen it yet, I highly recommend doing so. Just be sure to watch something light-hearted afterward. 

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

Turning Red - Fluffy Fun

 

Streaming on Disney + 

    Gems like this are excellent examples of why separating art from the artist is so important. Because while Disney, as a corporate entity, has been (and likely always will be) a repugnant and unempathetic bully, they continue to produce works of entertainment of genuinely excellent quality. They tend to be best served as a distributor of people's talents more excellent than themselves like the ever-reliable PIXAR, whose reputation for excellence can best be summed up in two words, Toy Story. 

    PIXAR's latest offering, Turning Red, is committed to exploring different ideas and provides yet another fun and almost unique take on a classic idea. Yes, there have already been comparisons to Teen Wolf, and the apparent puberty metaphors are impossible to miss. Still, those classic story ideas are presented in an incredibly different direction not often seen in movies, let alone those produced by Disney. It's a loving tale of friendship, heritage, individuality, and getting to decide what being a grown-up actually means for you. 

    Set in Toronto in 2002 (for some reason), the story follows a 13-year-old Chinese-Canadian girl named Meilin (Rosalie Chiang), whose extraverted energy, along with her three best friends, gives her the confidence to do well in school and seek out her true self. Her only unintentional obstacle is her mother, Ming (Sandra Oh), a helicopter mom who means well but seems oblivious to how her "caring" causes more problems than they solve. Despite that, Meilin loves her family and does her best to do her part by helping out with the family business; a tourist attraction in the form of a family-owned ancient temple in honor of their great ancestor, whose connection to animals turns out to be much stronger than Meilin could have ever believed. 

    This becomes even more apparent when Meilin wakes up one morning to discover that she can transform into a giant Red Panda when struck by strong emotional responses. As it turns out, her ancestor imparted onto the women in her family a special "gift." To protect her home and children, she was granted the ability to transform into the Red Panda, and it has been passed down to all the women in Meilin's family ever since. While it may have been a blessing then, it has become more of an inconvenience in the present.

     The solution is to perform a special ritual on a specific day (one month from the time of discovery) to remove the Red Panda spirit from Meilin and transplant it into a talisman, keeping it forever at bay. The only question is will Meilin want to part with her gift when the time comes? 

    What makes this film work so well is the characters. Meilin, as a protagonist, is likable and incredibly relatable. Her connection to her friends and her efforts to genuinely appease her family (despite her clueless mother making things worse at times) make her struggle more human. Of course, I wouldn't expect anything less from PIXAR. 

    Unlike most teenaged protagonists in movies like this, Meilin isn't rebellious of her family, nor does she lack any appreciation for her heritage. Her story is more about finding the courage to let her mother see her for who she is rather than what she believes she ought to be. It's a relatable struggle of expectations vs. reality, which everyone can relate to somehow. 

    The MVP award goes to Meilin's trio of friends. They are, quite simply, awesome! They're supportive, endearing, and delightfully quirky in their own way. These are the kinds of friends we all should be so lucky to have. 

    The animation, as you might expect from PIXAR, is absolutely gorgeous. The more heavily stylized designs are delightfully fun, especially the design of Red Panda. It is so unbelievably adorable that it may inspire me to get a Red Panda plushy. Yes, I am that much of a sucker! 

    Turning Red is a classic coming-of-age story with enough modern twists and new takes on the subject to warrant high praise. With its lovable characters and relatable story, it is guaranteed to put a smile on your face. While it can sometimes be a bit too hyperactive for my taste (which, coming from me, is saying a lot), its overwhelming and heartfelt charm more than makes up for it. Few other films have the magic to provide warm fuzzies in so many ways. 

    Check this one out. 

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

TheNorm's Top 5 Unpopular Opinions

 

    I recently surfed YouTube for some entertaining videos to play while on my lunch break at work. After a bit, I found one from one of my favorite content creators, Professor Thorgi: a fellow nerd talking about comic books, movies, and video games. While looking through his channel, I came across one of his older videos, in which he laid out some of his unpopular opinions about horror movies. 

    Upon watching the video, it occurred to me that I never put out any content expressing my own unpopular opinions about movies. Oh, sure, I've reviewed some movies I've disliked that others have praised and vice versa, and I've explored a few aspects of filmmaking that I feel deserve more attention. Still, I don't think I've ever provided my thoughts on some areas of movies where the widespread consensus seems to be predominantly one direction. Like how much "inspiration" did Joss Whedon really take from Outlaw Star when conceiving his television show Firefly?

    I think it's time I provided a few of my thoughts that will likely fall into this category. 

    Ladies & gentlemen, it's TheNorm's unpopular opinions about movies and other related topics. 

#5 

Joker is still incredibly overrated. 

    Let me get this out of the way: yes, Joaquin Phoenix is a talented actor who delivered a genuinely astounding performance (even though he didn't deserve the Oscar for it), yes, the cinematography was absolutely gorgeous and appropriate, and yes, I understand what the movie intended to be; a deep and dark character study examining and commentating on the effects of apathy towards disabled and troubled people. I feel passionate about this unfortunate aspect of modern society as a disabled person myself. 

    I completely understand this film; I just don't wholeheartedly agree with it. 

    My issues with Joker have less to do with the quality of the film itself and more with how it chose to present and establish itself. Everything Joker is and tries to be has been delivered significantly better and more nuanced in other movies. Not to mention how utterly pretentious the whole thing comes off as to me. Also, the entire affair feels like an attempt to emulate Martin Scorsese's classic films Taxi Driver and The King of Comedy without actually understanding either of those films nor the intentions of the director. 

    This wasn't helped by the director, Todd Phillips, making a complete ass of himself on social media before the film's release, putting out statements proclaiming how he made a "real" movie disguised as a comic book film. Plus, while I completely understand where he was coming from when he commented how, and I quote: "...outrage is a commodity," and I do agree that the film itself was never in any danger of "encouraging" evil behavior from anyone, I don't believe that Todd Phillips is talented enough, nor wise enough, to understand what he actually made. 

    Todd Phillips is under the impression that he created a profound work of art that puts its protagonist onto a pedestal and says, "look at what you've done, society!" In actuality, all he's really achieved is showcase what happens when film students watching Martin Scorsese's movies in class, who don't pay enough attention and completely miss the point, are given a budget. 

    Joker is not a movie; it's an expensive fan film for 1970s cinema trying to appear more profound than it actually is. If you're looking for a film that succeeds in showcasing the effects of an apathetic society on a disturbed individual, check out Nightcrawler. That's a movie that actually gets under your skin!

#4 

Michael Bay is a talented director. 

    Many people, myself included, have referred to Michael Bay as a talentless hack. I was wrong. Michael Bay has talent, but he's still a hack! 

    I enjoy a few of Michael's earlier films like Bad Boys (the film that arguably elevated Will Smith to movie stardom) and The Rock, one of my favorite action movies starring the late great Sir Sean Connery, and a worthy entry into The Criterion Collection. 

    Michael Bay's early career is where he shined the most. Then he got cocky and started producing his own movies, and everything went downhill from there. 

    You see, the thing about Michael Bay is that he's a talent who delivers quality stuff when he's guided by producers who are more talented and knowledgable than himself. Because his talent is best utilized in small bursts. 

    When Michael Bay began working after film school, he made commercials. Some of his most famous ads were for Victoria's Secret, Chevrolet, and one of the most recognizable and parodied "Got Milk?" commercials. His unique talent is creating visuals with high-intensity impact in every single frame, reinforcing recognition in the item and/or name being advertised. His commercials deliver a massive punch to the viewer and leave a lasting impression, ideal for advertising. 

    The problem with Michael Bay is not a lack of talent; he just doesn't know how to channel it outside of his comfort zone. 

    Michael Bay has never been able to think outside what he does best. So rather than try and examine what technique is best suited for each subsequent scene in a narrative, he just executes every single moment in the exact same high-impact punchiness. That's why it is often challenging to remember what happens in most of his films; every moment is treated with constant high-octane execution with no amount of variety or nuance. Nothing stands out and feels worth retaining when every scene is presented the same way. 

    While Michael Bay can create some fascinating visuals, he has never learned how to tell a story. All he can do is make everything look as awesome as it can, even when a scene doesn't call for it. For further proof, recall his failed attempt at making a romantic drama. 

#3 

The ending for Shang-Chi worked. 

    A common and understandable criticism towards Marvel films, especially recently, has been their apparent overreliance upon massive CGI-filled action climaxes. On the one hand, I understand where folks are coming from. Many Marvel films have been well-executed stories with three-dimensional characters, and to end on such massive extravaganzas sometimes feels out of place. But, on the other hand, it's a Marvel movie! So, of course, it's going to end on a gigantic CGI action sequence. Why would you expect anything else? 

    I kid, of course. I don't intend to belittle or insult anyone who takes issue with how Marvel tends to end their stories. Even so, while Shang-Chi is guilty of this, it's not entirely without merit nor narrative justification and emotional impact. 

    For me, the ending for Shang-Chi worked beautifully, not because of the action, but for the narrative and symbolic reasoning behind it all. It is a case of how to best externalize an internal conflict. 

    Shang-Chi and the Legend of the Ten Rings is, among other things, a story about family, heritage, and the importance of knowing where your real value lies. The villain of the film, Xu Wenwu (Tony Chiu-Wai Leung), is driven by his desire to reunite with the love of his life. Because he believes that he can't continue to be a better person without the presence of his wife. He is under the false impression that his value and growth come from physical objects and the presence of other people who see his true self. As evidenced by the continued use of his magical weapons and motivations. 

    However, he doesn't realize until it's all too late that his value was never measured by what he had but rather by what he learned. In his grief, he allowed himself to lose sight of his lessons and follow a path of eventual destruction: both of himself and those around him. It's not until he finally faces the consequences of his folly that he relinquishes his power unto his son. In doing so, he effectively gave his son the means to make amends for his mistake. 

    Shang-Chi then uses the lessons of his parents to become a better person and embrace his true value. 

    This internal struggle against hostile forces is properly externalized with incredible battle sequences featuring magical weapons and Dragons, the latter of which are always fantastic and instantly enhance the quality of everything it touches.

    While I do agree that Marvel can stand to occasionally have different kinds of endings to their movies from time to time, I am okay with giving Shang-Chi a break. Because every aspect of it worked in its favor both narratively and thematically. At least, it did for me. 

#2 

Black Panther and BlacKkKlansman should have shared Best Picture. 

    There is no denying that the Best Picture winner of 2019, Green Book, was not only a mediocre film (at best) but was ultimately not worthy of the Best Picture Oscar. Its historical inaccuracies are insulting, its cultural impact was practically non-existent, and it's yet another movie about racism with a white savior figure who, according to the film, is responsible for helping a black man "reconnect with his culture." 

    Remind me why critical race theory is so scary to most white people. 

    The winning of the Best Picture Oscar is incredibly frustrating compared to its two more considerable and more relevant competitors in Marvel's Black Panther and Spike Lee's BlacKkKlansman. Both films succeeded in providing a significant impact on modern culture, historical examination, and judicial representation. 

    The fact that the Academy tried to mitigate Black Panther's impact by offering a "separate but equal" award (in the 21st century) rather than outright offering it the nomination shows just how close-minded the Acadamy still is, and a sad reminder of how little seems to have changed. 

    Giving both Black Panther and BlacKkKlansman the Best Picture Oscar would not only have been the right thing to do, but it would also have shown that actual progress had been made and promised a brighter future not only for modern cinema but for society as a whole. Instead, the powers that be decided to keep burying their heads in the sand and ignore their own problems rather than actually address them.

    Times like this make me wish Wakanda was an actual place or that Disney would at least hurry up and build a Wakanda section in Disneyland. I mean, we all know they won't, but I can dream, can't I? 

#1

Star Wars needs to branch out more. 

    Star Wars is and always shall be an essential part of my geekhood. I love the movies, television shows, and other such spin-offs to spawn from this incredible property. There is so much that can continue to be done with this little world that could, so why isn't anyone doing anything more with it? 

    Yes, The Mandolorian is a great series, and some of the other shows in the works seem like they'll be fun in their own way, but they all appear to remain firmly in the realm of space adventure. And while I acknowledge that's part of its identity, I have to ask, must it remain the most dominant? 

    Star Wars has become a universe in and of itself, populated by people with many cultures and lore ripe for expansion. Not just in new stories to tell but also in different genres to play with. 

    Star Wars stories no longer need to be confined to space adventures; we can have all kinds of movies set in the Star Wars universe. Everything from crime dramas, romantic comedies, even Mark Hammil, Luke Skywalker himself, has expressed interest in seeing a Star Wars horror film with force ghosts. It can totally happen! 

    If Star Wars is to grow as a franchise and a relevant part of geek culture, we need to demand more different takes on the world presented therein. I, for one, would love to see what Mike Flannagan would do with a Star Wars ghost story. Make it happen, Disney! 

    There you have it, folks. Some of my unpopular (likely) opinions about movies. If you found any of these thoughts interesting in some way, please let me know. I enjoy discussing different perspectives. 

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

Dog - Not As Predictable As You Might Think

 

For rent on Apple TV, Amazon, Google Play, and YouTube 

    More often than not, elements like narrative formulas and reused plots become easily noticeable over time. Once you've seen one movie about a hardened man who loosens up and becomes better through an unexpected friendship with an animal (typically a dog), you can usually count the minutes to every plot beat with military precision with every subsequent movie from then on. 

    Even so, as I mentioned in one of my more recent blog entries, originality does not stem from the story itself but in how you tell it. Dog may not have the most original story, but it's told with a decent amount of maturity, and just the right amount of charm, that it succeeds in surpassing expectations (most of them, anyway). 

    The story follows a former Army Ranger named Jackson Briggs (Channing Tatum, who also co-directed the film). After receiving a medical discharge from combat-related injuries, he is eager to return to active duty. Pleading with his former captain, he is tasked with an unusual assignment. One of his former unit buddies (their K9 handler) recently passed away, and the family has requested his dog friend, Lulu, be present for the funeral. Briggs has one week to drive Lulu to their mutual friend's funeral in exchange for possible redeployment. Along the way, they will both learn a few important things about themselves and, in doing so, discover an unusual bond they don't yet realize. 

    What sells the movie is the believable and entertaining chemistry between Briggs and Lulu. They are both broken characters who find the answers they are looking for from their time together. The chemistry between the characters felt believable and genuine enough to add charm to the story, often challenging to achieve. At times, I was reminded of some of my other favorite dog-related films, like Turner & Hooch or Love and Monsters. 

    Probably the only real nitpick I have with the film is the title. While there is a narrative justification for it, I can't help but feel like it's too generic and straightforward for the movie's own good. Dog, as a title, is too open-ended and lacks any kind of intrigue, as opposed to something like Lulu, the dog's name in the movie. That already provides a better sense of individual identity to the film. It is a minor thing, I admit, but the title of your story carries a more significant impact than you might suspect. 

    Dog is a classic story of learning to live with PTSD, loss and finding connections in the unlikeliest places. While it may not be groundbreaking or profound, it is a well-crafted feel-good story that is precisely what we need at the moment. Remarkably few things can't be enhanced somehow with the presence of an adorable and likable animal. Reid Carolin and Channing Tatum should be proud of their successful and promising directorial debut. 

    I'm looking forward to seeing what comes next for them. 

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

Book Update

My beautiful readers, 

    I thought you might like an update on the book's progress. Much has happened since I announced its upcoming release this July.

    As of this writing, the book has nearly completed the editing process. Afterward, it will be finalized and formatted for publication. Pre-order details will be made available sometime in April. 

    All additional content, including some original works from a few fellow creators, has been collected and implemented into the book. 

    There is an animated commercial presently in the works for the book. Once completed, it will air on YouTube and Hulu. And, if luck permits, a few public television programs. 

    I will be discussing the book in an upcoming podcast. Details to follow soon.

That's all for today. I hope you are as excited about this as I am.  

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

TheNorm's Top 5 Original Movies Inspired by Classics

 

    The modern state of mainstream cinema is mostly a sad one, albeit somewhat fascinating. At the risk of sounding like an elitist, Hollywood has become too reliant upon remakes, sequels, reboots, reimaginings, and whatever other action that begins with "re." There are many reasons why but none are as relevant nor as predominant as this: the value of name recognition and nostalgia. 

    To put it simply, Hollywood executives are terrified to produce anything that doesn't have some kind of recognizable name value attached to it. They can no longer see the potential in new ideas, only the potential profit in the nostalgia market. 

    This kind of practice extends to all sorts of media. Not too long ago, a friend of mine created a concept for an original television series (heavily inspired by some seminal works of science fiction) and, according to him, the producers he presented it to refused to consider it because there was no "pre-existing material" to market the show off of.  

    The idea that all new material must be somehow directly connected to a pre-existing concept is incredibly limiting, emotionally draining, and creatively bankrupt. This mindset is, quite literally, the only reason a movie based on the board game Battleship exists...and it's just as terrible as you would expect. 

    Yet, despite what most Hollywood executives would have you believe, there are ways to take what was once familiar and present it in a unique and, dare I say, original way. I know this because it has been done before. It has worked in the past, and I can prove it. And it can be done again if those in power would only have the stones to take a chance. 

Ladies & gentlemen, I present TheNorm's Top 5 original movies spawned from other creative ideas. 

#5 

Nosferatu (1922) 

    F.W. Murnau's classic film from 1922 may very well be one of the earliest examples of reshaping an idea for the benefit of creative vision. From the beginning, Murnau wanted to directly adapt Bram Stoker's classic novel, Dracula. However, he was unable to acquire the rights from his widow at the time. So, he changed the character names, aesthetics, and plot aspects to create his vision and avoid legal issues. While his attempts ultimately failed, prompting the termination of most original prints, Murnau's film has risen to the highest ranks of classic cinema. 

    Whatever you may choose to believe (if Murnau tried to steal Bran Stoker's story or not), there's no denying how influential and visually striking the film is. It became the foundation for reworking classic ideas moving forward and has inspired countless cinephiles ever since.  

#4 

Robocop (1987) 

    Not many people know this, but Paul Verhoeven's satirical action classic wasn't always what it is today. 

    Initially, the script began as an attempted adaptation of the long-running British comic book series, Judge Dredd. However, over time, the script was reworked, rewritten, and reedited so much that it eventually mutated into the story we know and love. This wasn't a case of unobtainable character rights so much as a case of a more exciting and original idea inspiring its way out of the ether. 

    While the similarities between Judge Dredd and Robocop remain reasonably obvious (a crime-ridden city with a heavily armed badass in a helmet dispensing instant justice), the movie remains a classic in its own right and another fine example of what happens when creativity is granted the opportunity to grow and change. 

    Not to mention one of the best lines in cinema history: "You're move, creep!" 

#3 

Darkman (1990) 

    In the 1930s, a prevalent fictional character was featured in pulp novels and, most famously, portrayed by a young Orson Wells on a serial radio show. He was a man with the power to cloud men's minds and read their thoughts, stalking the night seeking out evil-doers and delivering justice. He was known as The Shadow! 

    Then, in the late 1980s, director Sam Raimi, known for The Evil Dead and Crimewave, expressed interest in making a brand new feature-film adaptation of The Shadow, one of his favorite characters. 

    Only one problem; he couldn't afford the rights to it. 

    So, rather than quit, he took some inspiration from the beloved character and built a brand new one. Thus, Darkman was born! Becoming a cult classic and inspiring many other kinds of anti-heroes. Not to mention providing some of the building blocks for Sam Raimi's eventual take on another famous superhero, Spider-Man. 

    While the two characters are polar opposites from each other (philosophically and tonally), there's no denying where Darkman got his style. It's challenging to look at that long coat, covered face, and fedora without hearing the immortal phrase, "Who knows what evil lurks in the hearts of men? The Shadow knows!" 

    This is one movie that definitively proves a classic never dies. 

#2 

Watchmen (2009)

    This movie makes the list on a technicality. While the film itself is a direct adaptation, it's based on a graphic novel that had a different concept entirely. 

    According to Wikipedia, comics writer Alan Moore originally conceived the story of Watchmen as a revisionist book, following the exploits of a handful of obscure and underutilized characters in the DC Comics library. Some of the characters included The Question (who eventually became Rorschach) and Peacemaker (who eventually became The Comedian). However, while the editor of DC Comics at the time, Dick Giordano, liked the general idea of the story, he refused to allow Moore to use his desired characters. He insisted that Moore reshape the story with different ones. 

    Undeterred by this roadblock, Moore set about creating new characters heavily inspired by those he originally wanted to use. Resulting in a groundbreaking graphic novel that provided one of the most insightful, albeit satirical, examinations of superheroes in modern culture. This, eventually, led to one of the best movie adaptations in cinema history, even if only because director Zach Snyder didn't realize that the story was a satire. 

#1 

Star Wars (1977) 

    Before transforming into the grand space opera today, the original Star Wars began its life as something almost entirely unrelated. George Lucas, among other things, is a big fan of the late Akira Kurosawa, the Steven Spielberg of early Japanese cinema known for seminal works such as Throne of Blood and Ran. 

    Early into his career, George Lucas wanted to produce and direct an American remake of Kurosawa's classic film, The Hidden Fortress. As you might have surmised, Lucas was unable to acquire the rights. So, he took the basic plot, changed out Samurais with Jedis, and created an entirely original universe. 

    Aside from the general plot and other narrative elements, Lucas's admiration for Kurosawa can also be seen in the filmmaking techniques, such as the heavy use of telephoto lenses. 

    Star Wars is and always shall be the beloved creation of George Lucas, but let us not forget what inspired its creation in the first place. 

    Originality as a concept is still alive even today; it just needs to be nurtured and grasped at the right moment. While only a handful of stories in the world are regurgitated and retold, it is never the story itself that must be original; it is how you tell the story that ultimately matters most. 

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