Author Archives: David Dunn

Marvel Creator Stan Lee Accused Of Sexual Misconduct

CREATIVE COMMONS

No, Stan Lee. Not you too.

Continuing a string of sexual assault allegations sparked after the ousting of film executive Harvey Weinstein in October last year, Marvel creator Stan Lee is the most recent celebrity caught in the crosshairs to be accused of sexual misconduct.

The accusation comes from Lee’s former nursing company, which claims that Lee groped and harassed multiple nurses who were employed under him last year. The claims specify that these instances involved asking for oral sex in the shower, walking around naked, and wanted to be “pleasured” in the bedroom.

Despite these claims, the company has filed no police complaint, nor any lawsuits against Lee. However, Lee’s attorney Tom Lallas did send a cease-and-desist letter to the company, accusing the “false and despicable” claims as attempting to defame Lee’s character.

“Mr. Lee will not be extorted or blackmailed, and will pay no money to anyone because he has done absolutely nothing wrong,” Lallas said.

An insider on the accusations said the owner of Lee’s former nursing company has openly stated that Lee has sexually harassed every single nurse that went to his house, and that she even complained directly to Lee about the accusations. The source said that Lee has “lost his filter.”

However, Julie Wozniak, spokeswoman for Lee’s current nursing company Vitale Nursing Inc., defended Lee, saying he’s a kind and respectful man, adding that it’s been a privilege to take care of the comic-book author. This is Lee’s first sexual harassment accusation during his long career in the entertainment industry.

Creator of many notable superheroes including Spider-Man, the Hulk, and the X-Men, the 95-year-old publisher is a pop culture icon adored by the comic-book and moviegoing community alike. The Marvel Cinematic Universe, which is heavily based on many of his characters, is the highest-grossing film franchise of all time at $13 billion, with Lee making cameos in many of the associated films. His wife of 70 years Joan passed away last year from stroke complications. Their daughter Joan Celia is their only child.

This story will be updated as more details are revealed in the coming weeks.

– David Dunn

SOURCE: The Daily Mail, Comicbook.com

Top 10 Films of 2017

2017, you suck. From the bottom of my barely-beating black heart, you suck.

You have done nothing this year to give anyone recompense for the misery you put them through the year before, nor have you restored anyone’s already-lack-of-faith in humanity. The hurricanes that ravaged Texas, Florida, and Puerto Rico. The wildfires burning California to a crisp. The mass shootings from Sutherland Springs all the way to the Las Vegas strip. North Korea’s Nuclear-powered temper tantrums with the United States. The rise of the white supremacist snowflakes. All of the sexual assault scandals ranging from Harvey Weinstein to Roy Moore. Not to mention the retweeter-in-chief sitting in the oval office right now.

I thought 2016 was bad. 2017 was so horribly deformed that Father Time looked down at it next to all of his yearly children, broke down weeping, and cried out “What have I done?!”. Thank God the movie theater was here to give us some relief from this year’s misery and nonsense.

A few housekeeping items before we get into this year’s top 10. First of all, as a general disclaimer, this list only includes movies that I have seen in 2017. I realize that movies such as The Shape of Water and Lady Bird may very well deserve to be on this list. However, I have not seen those movies, and I am not going to give unearned praise to movies that I have not reviewed on my own.

Second, this is a list of my personal favorite films from 2017. As this is the case, there are going to be absentees from this list that you’re going to be frustrated by. I know you thought Split and Dunkirk were the greatest films of the century and won’t survive unless you lick the film stock every two seconds, but I’m afraid to tell you that both of those movies sucked. A lot of films from the year have had a lot less to work with, yet have done a lot more with their material. They’re the ones that are going to be recognized on this list; not Mr. and Mrs. Oscar bait.

Speaking of having less to work with, let’s recognize this year’s special prize selection before we get into my top 10. Every year, I select one limited release film that did not get as much attention as many wide releases did, and yet achieved more thematically despite their smaller viewership. This year, my special prize goes to…

Special Prize: Your Name

SOURCE: Toho

A beautifully animated and emotionally poignant portrayal of love, joy, heartbreak, soul-searching, and the human connection that all of us share. Makoto Shinkai’s phenomenal animated film tells the story of Taki (Ryunosuke Kamiki) and Mitsuha (Mone Kamishiraishi), two Japanese teenagers who switch bodies every week against their will. This exploration of perspective and identity is integral in learning these character’s relationships, and as their soul intertwine, we come to learn and care more about these characters and their plights. And the animation is colorful, vibrant, and gorgeous, transforming seemingly simplistic sights into breathtakingly extraordinary ones. There have been many incredible animated films released this year, including Coco and Loving Vincent. Yet none are as inventive and captivating as Your Name is.

Now enough with the formalities. Let’s get into the only 10 good things to come out of 2017, starting with:


10. Star Wars: The Last Jedi

SOURCE: Walt Disney Studios Motion Pictures

The most recent film in the Star Wars saga, a film about our heroes letting us down, our expectations not being met, and our resolutions failing to be reached. When Rey (Daisy Ridley) finally comes face-to-face with Luke Skywalker (Mark Hamill), she seeks his guidance in training her to become a Jedi and help save her friends from the tyranny of the First Order. The visual effects and the action are nothing short of gorgeous, with the X-Wings, TIE Fighters, lightsabers, droids, and creatures across the galaxy reaching out to you and placing you vividly in the moment of any scene. Frontrunners Daisy Ridley and Mark Hamill shine in the film’s key roles, with Hamill specifically reprising Luke in a grimmer, more mournful façade. A great addition to the Star Wars saga, but one that nonetheless challenges your identity as a fan of the series. The Last Jedi will definitely be a heavily-talked about conversation topic for Star Wars fans for years to come. Three and a half stars.

9. Baby Driver

SOURCE: TriStar PicturesA sleek, stylish, and electric action-drama booming with nostalgia, in-cheek humor, and a hot-blooded soundtrack to boot. When a getaway driver named Baby (Ansel Elgort) decides he wants to get out of the criminal life, he has to go through his boss Doc (Kevin Spacey) and assassins Buddy (Jon Hamm) and Bats (Jamie Foxx) to save his girlfriend Debora (Lily James) and hit the road running. Elgort is a powerhouse in the lead, portraying a conflicted young man guided by a moral compass in a place where it points nowhere. The action and comedy blend together perfectly, with writer-director Edgar Wright framing the film as a homage to classic 1980’s espionage films. And the soundtrack is infectious in its appeal, with featured artists such as The Beach Boys, Queen, and Simon and Garfunkel here to keep your feet tapping. The year’s biggest surprise hit. Three and a half stars.

8. Logan

SOURCE: 20th Century FoxHugh Jackman’s last outing in a role that he has served well for more than 17 years, a finale that is equal parts violent, action-packed, emotional, heartbreaking, and powerful. When Logan (Jackman) is approached by a little girl named Laura (Dafne Keene) asking for his help, he teams up one last time with his mentor Charles Xavier (Patrick Stewart) to save Laura from the men that are after her. Refusing to shy away from the bloody, hard-R violence that made Deadpool a mainstay, Logan is the most emotional, the most vivid, and the most grounded story told in Wolverine’s saga. Instead of the action and the visual effects, writer-director James Mangold chooses to focus on something more practical to Wolverine: his humanity. Like The Dark Knight and Spider-Man 2, Logan relates to us on a more human level as opposed to a fantastical one, and the characters deal with real struggles as human beings, not as superheroes. Jackman and Stewart also give the most defined performances of their careers, playing their characters in their most vulnerable, broken appearance to date. Time will remember Wolverine for the hero. I will remember Logan for the man. Three and a half stars.

7. Get Out

SOURCE: Universal PicturesA strange, surreal, and deeply unusual horror film, but also immediately relevant to its intended audience. When an interracial couple goes to visit the girlfriend’s parents for a weekend getaway, they discover that her parents aren’t all that they seem: and neither are their neighbors. “Key & Peele” co-creator Jordan Peele comes forward here in his directing debut as a masterful storyteller, deconstructing and elaborating on white privilege and the devastating effects it can have on individual lives. Daniel Kaluuya and Lil Rel Howery respectively delivers the films most climactic and comedic moments, with Kaluuya particularly impressive in portraying a character that is confused, scared, and victimized in a situation where no one is coming to help him. Get Out is one of the most creative, compelling, riveting, and darkly humorous films I’ve seen in years. It works across the board as horror, comedy, drama, or satire. Take your pick. Three and a half stars.

6. Thor: Ragnarok

SOURCE: Walt Disney Studios Motion PicturesMarvel’s standout of the year, a movie that has absolutely no business being this good or memorable. When Thor (Chris Hemsworth) starts getting visions of Ragnarok, the prophesied destruction of Asgard, he has to team up with Valkyrie (Tessa Thompson), the Hulk (Mark Ruffalo), and Loki (Tom Hiddleston) to stop Hela, the Goddess of Death (Cate Blanchett) from destroying Asgard. Packing five different genres into one unorthodox mess of perfection, Thor: Ragnarok is a funny comedy, a thrilling action movie, an exciting adventure, a heartfelt drama, and a groundbreaking superhero epic all at once. The comedy hits exactly the right notes with the right lines. The drama, while at times a little too brisk, strikes with the emotional chord that it needs to. The action scenes are thrilling. The visual effects, mesmerizing. The music, synthesized and catchy. Even the Easter Eggs are infectious in their appeal. I haven’t had this much fun in a superhero movie since The Avengers in 2012. Yes, I’m comparing Thor: Ragnarok to The Avengers. Don’t knock it until you try it. Four stars.

5. It

SOURCE: Warner Bros. PicturesA terrifying and insightful personification of fear made possible by the brilliantly mad mind of Stephen King. When a group of kids discover an omniscient being disguised as a clown haunting their hometown, the children decide to team up and put an end to it’s villainy once and for all. The cast takes center-stage in a horror film fueled by complex emotions and ideas, with Bill Skarsgard perfectly embodying the madness and bloodlust that the iconic character Pennywise the dancing clown would possess. Director Andy Muschietti also smartly compares and juxtaposes human nature with that of a predator’s nature, asking us if these two concepts can exist in the same society. It is visually dynamic and haunting, with the makeup and costuming on Skarsgard being among the best work I’ve seen in years. A thoughtful, captivating, and intensifying look into the psychology of fear and how it affects our flawed perceptions of life. Four stars.

4. Detroit

SOURCE: Annapurna PicturesA cruel, horrifying, and maddening fact-based account of one of the most egregious cases of police brutality in American history. During the 12th Street Detroit riots of 1967, a team of rogue cops infiltrate their way through the Algier’s Motel and pin the inhabitants against the wall, demanding to know if they’re hiding any weapons inside the building. As the hours pass, the teenagers soon realize that this is not a run-of-the-mill police checkup, but instead a fight for survival between themselves and the men who are supposed to be upholding the law. Thoroughly researched and accurately dramatized from the Academy Award-winning team of screenwriter Mark Boal and director Kathryn Bigelow, Detroit is one of the most riveting and essential pieces of cinema you can watch this decade. The details of this real-life account are haunting and tragic, and the cast equally commits to recreating this monstrous night with passionate urgency. Newcomer Algee Smith especially shines as a troubled R&B musician, a terrified kid caught in this confusion of racial prejudice and hatred that permanently damages him for the rest of his life. Don’t turn away from Detroit. Watch and be horrified by our nation’s history. Four stars.

3. Wonder Woman

SOURCE: Warner Bros. Pictures

A blessing to both cinema and gender equality, a film that propels its female protagonist as not only just as capable as the men around her, but in many scenes is better suited for more difficult tasks. Gal Gadot reprises her role as Diana Prince, an Amazonian born on the hidden island of Themyscira where her and her Amazonian sisters reside. When Ares the God of War makes his return to wreck havok on the planet, Diana suits up in Themyscira’s sacred armor, lasso, shield, and sword and sets out to defeat Ares and save the world. The action is fast-paced and enthralling, with Wonder Woman charging through German soldiers and toppling over buildings like the aftermath of a Superman battle. Yet, the softer moments leading up to the action is what captures us the most, with Diana finding her place in a constantly shifting world ruled by male conflict and ego. Gadot remains emotionally persistent throughout the picture, while director Patty Jenkins handles both visually spectacular scenes and emotionally grounded moments with a surprising amount of finesse. In a day and age filled with cold, bleak, heartless blockbusters, Wonder Woman is a breath of fresh air we all desperately needed. Four stars.

2. The Big Sick

SOURCE:

One of the most pure, honest, and heartfelt experiences you can have at the cinema this decade. Telling the story of how comedian Kumail Nanjiani met his future wife Emily (Portrayed by Zoe Kazan), The Big Sick shows their love story starting off in a comedy club, to a hospital wait room, to New York as this magical film shows us how love transcends all cultural barriers. Nanjiani is an open book here as a writer and as an artist, telling a part of his life story with the sincerity and honesty needed to make it work. He spits out clever one-liners like they’re coming out of a comedy machine, yet he also embodies the emotional turmoil needed to make his story tragically believable, not just entertaining. Director Michael Showalter directs the entire cast impeccably here, making every scene feel genuine and down-to-Earth. If The Big Sick feels real, that’s because it is. Four stars.

1. War for the Planet of the Apes

SOURCE: 20th Century Fox

An epic and emotional conclusion to this prequel trilogy that functions as a summer blockbuster, a war drama, and a somber tragedy all at once. When the apes’ forest home is raided and the apes are left broken and displaced, their leader Caesar (Andy Serkis) sets out on a journey for vengeance against the humans who took the lives of his primate brethren and end this insufferable war. Featuring a masterful performance by the motion-capture king Andy Serkis himself, War for the Planet of the Apes is an intimate, intense personal drama disguised as an action blockbuster, equal parts powerful, emotional, and morally conflicting. Writer-director Matt Reeves pulls inspiration from all of the greatest war classics in this inspired, original take on the Planet of the Apes franchise, throwing his characters through compelling, thought-provoking scenarios as opposed to mindlessly action-packed ones. The visual effects are also at their best in the series, not only accurately animating the apes’ physical characteristics and mannerisms, but also their facial expressions and emotional reactions. The best Planet of the Apes movie out of the series by far, and my pick for film of the year. Four stars.


That’s all for this list, folks. Thank you for spending part of the new year with me and my favorite films from 2017. Tune in next year for when I rate the top 10 nuclear missiles that Kim Jong-Un will inevitably fire at us.

– David Dunn

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“STAR WARS: THE LAST JEDI” Review (✫✫✫1/2)

SOURCE: Walt Disney Studios Motion Pictures

Let the past die.

In Star Wars: The Last Jedi, Luke Skywalker (Mark Hamill) tells Rey (Daisy Ridley) that there are three Jedi lessons that she needs to learn, but he only teaches her two of them. I don’t believe that was a mistake, but rather an intentional omission. That’s because Star Wars: The Last Jedi is a film about our heroes letting us down, our expectations not being met, and our resolutions failing to be reached. Such is true because such is life. How else would you explain the untimely death of our beloved princess, Carrie Fisher?

The Last Jedi picks up immediately after the events of The Force Awakens, when Rey realizes she too possess the force and needs guidance from Skywalker on how to use it. Meanwhile, Princess Leia (Carrie Fisher), Finn (John Boyega), and Poe Dameron (Oscar Isaac) are on the run with the rest of the resistance from the First Order, who is relentlessly hunting them after they blew up Starkiller base. While this is going on, Ben Solo a.k.a. Kylo Ren (Adam Driver) is in a power struggle with General Hux (Domhnall Gleeson) in between Supreme Leader Snoke (Andy Serkis), who commands them both. A lot of moving pieces here, a lot of things happening all at once. Just like every Star Wars movie.

Here is a film that works better aesthetically than it does literally. Spring-boarding off of the momentum that The Force Awakens started years ago, Star Wars: The Last Jedi is used mostly as a platform for nostalgia, calling out to earlier iconic moments in the series and bringing them into the fold while simultaneously challenging our ideas of these characters. Like any Star Wars movie, there were a lot of things that I loved watching play out here. Other times, I found myself frustrated and confused by some of the creative decisions being made in this film. But let’s slow down and digest one thing at a time.

First of all, the visual effects and the action are nothing short of gorgeous, with the X-Wings, TIE Fighters, lightsabers, droids, and creatures across the galaxy reaching out to you and placing you vividly in the moment, whether it involves big spectacular CGI-heavy sequences or smaller, quieter moments where we simply appreciate the breathtaking scenery. No doubt this visual prowess has director Rian Johnson’s hand in it, who years earlier directed the gritty and grounded sci-fi thriller Looper. In The Last Jedi, he takes a play from creator George Lucas’ handbook and designed the film through practical methods as opposed to computer-generated ones. The film reportedly had 125 sets created for its visual scope, with designer Neal Scalan claiming that The Last Jedi uses more practical effects than any Star Wars film to date. I wouldn’t be the least bit surprised if that were true. The vehicles, the costuming, the scenery, all of it evokes the sensationalism and world building that Star Wars is known for. On the visual front, The Last Jedi serves the Star Wars saga faithfully and beautifully.

And the cast, both old and new, are just as great in The Last Jedi as they’ve always been, with the best of these frontrunners being Daisy Ridley and Mark Hamill. Ridley once again brings the gravitas and the force (pun intended) that she first brought to us in The Force Awakens. Here she really comes into the forefront as a hero all her own, struggling with her own doubts and perceptions of not only what’s going on with her, but with who and what she really needs in her life for personal fulfillment.

Hamill is another story altogether. He doesn’t play the Luke that you remember from the original films; hopeful, adventurous, and believing in the best of everybody. Here he plays Luke with a grimmer façade, a depressing and frail old man filled with penance and regret for the things that he’s done. Like many other passionate fans out there, I didn’t know what to expect from Luke in The Last Jedi. I certainly wasn’t expecting this. Yet, even though he’s a different character, Hamill shows that he’s still got that Skywalker blood flowing in him that he embodied in the original trilogy. It’s a different portrayal of Luke for sure, but it isn’t a bad one. Not by a long shot.

As a whole, The Last Jedi delivers on the same sci-fi blockbuster fronts that all of the best Star Wars movies delivers on. The action, the heart, the humor; all of it evokes the same feelings you had when you watched the original Star Wars movies, and the nostalgic Easter Eggs only adds to the appeal. There was one cameo in the movie that had me just grinning from ear to ear, taking me back to when I was a kid watching Yoda training Luke for the first time in The Empire Strikes Back.

Yet, the story has made some dark, drastic changes to the Star Wars saga that severely impacts how the series is going to move forward. I’m not saying they’re bad changes. I’m saying they’re hard to adjust to. Like the prequel series, Star Wars: The Last Jedi turns the original trilogy on its head and challenges the way we perceive these characters and how they should act and behave. No, The Last Jedi is not as bad as The Phantom Menace. It does, however, challenge your identity as a Star Wars fan. I’ve seen the movie twice now, and there are still three or four scenes I’m still digesting on whether I liked them or not. I know most fans would just like to go into a Star Wars movie, turn off their brain, and let the experience wash over them ethereally. The Last Jedi makes you think a little harder about it, particularly with the scenes that surprised or shocked you the most.

Ultimately, I find myself conflicted with Star Wars: The Last Jedi. As a simple viewer, I know I enjoyed what I watched. As a critic, I know I was witnessing skillful filmmaking at work here. But as a fan, I couldn’t help but feel disappointed by some of the changes that were happening to some of my favorite cinematic heroes growing up. Perhaps that’s the point. Do these characters stay the same as the years pass them by, or do they change as time and tragedy slowly cripples them? Anakin Skywalker grew up to become Darth Vader, while his son Luke grew up to become the last Jedi. We can only imagine what will happen to Rey as she too faces the future.

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“COCO” Review (✫✫✫)

SOURCE: Walt Disney Studios Motion Pictures

Featuring her brave great-grandson, Miguel.

At around this same time last year, I remember a story circulating online about a daughter taking her father to see Rogue One, the most recent film in the expanding Star Wars saga. Her father, who spoke with a rich Mexican accent, noticed that one of the film’s leads Diego Luna also spoke with a thick accent. Her father asked how well the film was received. She said the film was the second highest-grossing movie of 2016, it opened up to critical acclaim, and fans of all ages loved the characters, especially Diego Luna’s Cassian. “My dad was so happy,” she wrote. “As we drove home he started telling me about other Mexican actors that he thinks should be in movies in America.”

I start my review of Coco describing this to show you how films like this can be so important to some people even before they watch the opening credits roll. Coco is a delightful film; colorful, vibrant, and joyous in celebrating Mexican culture and how meaningful it is to the people who represent it. I admittedly know very little about Día de los Muertos (indeed, I struggle to even pronounce it correctly), but I do have friends who celebrate it. When they talk about it, their eyes light up like the candles they leave out for their ancestors during la ofrenda. I can only think of one other time where their eyes might light up as much, and that is while they’re watching Coco.

Following a very large family in the small town of Santa Cecilia, Coco tells the story of the Riveras, a family whose history feels as long as Día de los Muertos itself does. A long time ago, Imelda Rivera (Alanna Ubach) and her daughter Coco (Ana Ofelia Murguía) is abandoned by her husband to become a musician. Heartbroken by his unfaithfulness, Imelda bans music in her family and opens a shoemaking business, which does so well that it ends up passing from generation to generation.

Enter modern-day Santa Cecilia to Miguel (Anthony Gonzalez), the youngest member of the Rivera family. A 12-year-old with dreams as big as his great-great-grandfather’s, Miguel loves music and wants to one day become a musician himself. His family, however, wants him to instead involve himself in their growing business, eventually to become a shoemaker himself. After one circumstance leads to another, Miguel finds himself in Tierra de los Muertos: the land of the dead. Now Miguel has to find a way back home to his family through the power of his guitar and his voice.

Every time I watch one of Pixar’s films, I constantly find myself impressed with what they visually do with the material set at their feet. Last year’s Finding Dory returned us to the sea, immersing us in this landscape of beautiful hues of blue and green, while the previous year’s Inside Out lit up a child’s mind like a McDonald’s Play Place. And yet, Coco remains to be the most visually splendid, lighting up the screen in warm, bright oranges, yellows, and reds as it paints an Autumn-esque vision of the land of the dead. Even in the first frame where we get a wide shot of the realm, I caught myself catching my breath as I watched Miguel doing the same thing while staring starry-eyed at his surroundings. I keep going into Pixar’s movies waiting to get disappointed by the animation. I’m still waiting.

And the music is surprisingly a standout element in the film, not just playing aimlessly in the background, but also serving as an emotional catharsis for the characters, their feelings and expressions. This makes sense since the film is based so much around Miguel’s musical ambitions. Still, I’m impressed at how well it’s done here. Of all of the biggest moments I remember from the film, all of them have something to do with singing and music. Miguel’s rendition of “Un Poco Loco.” Mama Imelda’s cover of “La Llorona.” Even the film’s lead single “Remember Me” nearly brought me to tears. All of it serves not only as a respectful homage to Mexican culture, but also as a deeper means of communication between the characters and their family. Musicals are often an overused cliché in most animated movies. Yet, Coco feels right at home in this stylistic choice.

As always, the biggest problems come in with the third act, which just has to catapult our heroes through pompous over-the-top action sequences that do nothing to raise the stakes or make characters’ actions feel more urgent. Yet, I was surprised to find conveniences in Coco’s third act that I would normally expect to find in another animated studio’s films, say, DreamWorks. The climax involves a series of coincidences that feel silly and removed, misplaced in a movie filled with such phenomenal visual and emotional ambition. I won’t give away what happens out of respect to my readers, but I will pose some rhetorical questions to you, such as:

If you’re surrounded by two alebrije that can fly, doesn’t it make the threat of falling seem less ominous?

If you’re a skeleton that can separate your bones, shouldn’t it be pretty easy to, oh, I don’t know, break away from an attacker?

And if you’re caught in the middle of a stage and are being chased by the bad guy’s goons, wouldn’t your first instinct be to GET OFF THE STAGE instead of breaking out into song and dance like you’re Selena Quintanilla?

The first two acts matched the storytelling and technical expertise that Pixar is well-known for. The third act takes it a drastic step back to being nearly generic. A shame of course, but not surprising. After all, many American audiences prefer pointlessly action-packed climaxes as opposed to more emotionally grounded and meaningful ones. Do these problems speak more to the filmmaker’s flaws or to us as viewers?

Still, for all of its contrivances, Coco remains to be emotionally and visually special: certainly one of the most unique films of the year, and one that does the Día de los Muertos culture justice. Pixar is all about inspiring their audiences with the stories they tell and the characters they create. Here is a wonderful Mexican fable where our young hero learns just how important our family history is and how our ignorance to it can lead to bigger problems. We could all learn a thing or two from Miguel, as well as his sweet Great-Grand-Mama Coco.

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Disney Set To Acquire Fox Assets, including X-Men and Fantastic 4

CREDIT: Ryan Reynolds

The Marvel Cinematic Universe is about to get a whole lot bigger.

After weeks of negotiating and speculating, Walt Disney finally announced their intent to acquire the rights to 21st Century Fox properties for $52 billion, according to a company press release. The deal gives Disney the rights to many properties previously owned by Fox, including X-Men, Deadpool, Wolverine, and the Fantastic 4. Owner Rupert Murdoch would retain ownership of Fox News Channel, the Fox broadcast network, and associated newspapers including The Wall Street Journal and The New York Post.

“I know a lot of people are wondering, ‘Why did the Murdochs come to such a momentous decision?’” Murdoch said of the merger. “Are we retreating? Absolutely not. We are pivoting at a pivotal moment.”

This news is a lot to digest, but let’s break down why exactly this is a big deal to the entertainment industry. In addition to a few of Fox’s Marvel properties, Walt Disney would also purchase the rights to Fox’s other film and television franchises, including Avatar, Home Alone, “The Simpsons”, “Family Guy”, and “This Is Us.” This means that not only would Disney control Fox’s film properties, but they would also control a big portion of Fox’s television assets as well.

In short, this means that Walt Disney would be exercising more control over the entertainment industry in its entirety. This is both a good and bad thing. Good because, in the case of Fox’s Marvel properties, they now can merge over with characters from the MCU, allowing broader opportunities in scope and storytelling. Can you imagine Wolverine, Magneto, and Deadpool all sharing the big screen with the likes of Spider-Man, the Hulk, and Doctor Strange? Such a collaboration is something fans have been hoping for a long time, and it looks like they may finally get their chance to see all of their favorite Marvel superheroes up on the big screen together.

On the other hand, this level of corporate consolidation gives Disney a nasty advantage over the rest of the market, and it may not fare well for Disney’s competitors. For one thing, this gives a sharp edge to Disney’s upcoming streaming service, which is expected to launch in 2019. Previously, Disney only had their own movies, Pixar’s, the Marvel Cinematic Universe, and the Star Wars franchise to stream on their platform. A solid gallery for sure, but nowhere near as expansive as Netflix or Hulu’s library. The Fox merger changes things. Now they have access to hundreds of titles to fill their library, including the Alien, Die Hard, and Planet of the Apes franchises. With this merger, Disney is now primed to compete with Netflix and Hulu’s streaming services. This merger will cost both of them a lot of business.

Second, because of this merger, Fox will be completely removed from the filmmaking business, leaving Disney as one of the only major film conglomerates left next to the likes of Warner Bros. and Universal. That much ownership is not healthy for a competitive business market, especially when Disney already owns four billion-dollar entities without Fox (Disney, Pixar, Marvel, and LucasFilm).

The mixed-bag of a merger is set to go before the U.S. Department of Justice next year, where they will review the deal and decide whether to approve or deny the sale.

– David Dunn

SOURCE: The Walt Disney Company, The Los Angeles Times

Battle For The Net

CREATIVE COMMONS

Net Neutrality. You’ve been hearing those words all week just as much as I have. But what do they mean? Simply put, it’s what allows the internet to be open and accessible to all of its users, allowing us the freedom to go wherever or whenever we want on the web. Many things that make the internet so integral to online communication and trade is because of net neutrality, allowing us to access online innovations such as Netflix, Skype, Steam, Facebook, and so much more. If repealed, the internet will become completely deregulated and everything you’ve come to love about it will cease to exist.

Sounds dramatic I know, but it’s true, especially in my case. Independent journalists such as myself live and die by net neutrality. In the face of major media conglomerates such as TIME, The Wall Street Journal, and The New York Times, writers like me are small fry compared to big fishes like them. And yet, net neutrality sets us on an even playing field because all of our data is treated equally on the web. Because of net neutrality, content creators like me always have an equal opportunity to reach web traffic, just as much as any of our competitors do.

So why does the Federal Communications Commission want to repeal net neutrality? The reason FCC chairman Ajit Pai claims is to “restoring internet freedom,” although you have to wonder if he’s talking about freedom for the internet or for its service providers?

“The federal government will stop micromanaging the Internet,” Pai announced in a statement last month. “Instead, the FCC would simply require Internet service providers to be transparent about their practices so that consumers can buy the service plan that’s best for them, and entrepreneurs and other small businesses can have the technical information they need to innovate.”

First of all, the service plan that’s best for its users is the one we already have now, where we’re charged with one bill per month for internet use. That’s directly because of net neutrality. If repealed, the one bill we have to pay would be split into multiple different bills, which would just make payment a lot more confusing for its users by the end of the month.

CREATIVE COMMONS

When you buy a pair of jeans, you pay one amount for the jeans, not multiple payments individually for the beltline, shins, legs, and pockets. The pair of jeans we’re wearing right now is the internet with net neutrality. If net neutrality is repealed, we would have to pay for all of our services individually, including social media, streaming services, email, online shopping, and more.

Second, there’s no evidence that the government is “micromanaging the internet” to begin with. That would imply that they dictate control over what content is available and what can or can’t be shared, to which they obviously do not. Don’t believe me? Then why hasn’t Donald Trump blocked The New York Times’ or CNN’s content on the web? Why didn’t Barack Obama put up a paywall for Fox News or Breitbart? Simple: it’s because they can’t.

However, while the government’s job isn’t to “micromanage” the internet, it is it’s job to regulate it, specifically via the FCC. Pai says that internet service providers will regulate themselves without checks and balances, but that couldn’t be more incorrect. Service providers have been trying to abuse the internet since 2005, from AT&T blocking Skype and FaceTime to Verizon and Sprint blocking Google Wallet. What stopped them from doing these things was the FCC. Why? Because it’s their job. When you put up traffic cameras on the street to monitor traffic, you’re not “micromanaging” the roads. You’re checking to make sure that drivers are being safe and responsible. When police officers put on body cameras while on-duty, you’re not “micromanaging” police work. You’re holding them accountable for unethical or illegal behavior they may engage in while wearing the badge.

The same applies to the FCC. It’s their job to monitor the internet and make sure it remains free and open, not restricted and limited. For an entity that’s supposed to regulate the internet, why on Earth would they want to deregulate it? That would be like a babysitter leaving the kids to fend for themselves while she’s out with her boyfriend. When the parents come home to find the house on fire, it would not be the kids’ fault. It would be the babysitter’s.

Third, repealing net neutrality would not empower free speech: it would potentially inhibit it. As I mentioned before, internet service providers are currently not allowed to treat data impartially on the web. But if net neutrality is repealed? Then it becomes a crapshoot. ISP’s can put up paywalls for certain websites in addition to the paywalls that may already exist, they can ban certain URLs, even block entire websites altogether.

With the internet as we have it now, we have an equal opportunity to digest and process different types of information at the same time. But take net neutrality out of the picture, and suddenly you have a whole sect of the internet you might not be able to access.

Net neutrality does not inhibit free speech. It protects it. Anyone who says otherwise misunderstands net neutrality and how it impacts our internet consumption.

So again, why does the FCC really want to repeal net neutrality? We can only speculate a number of reasons. It could be because they want to deregulate the internet to lessen the media’s resolve against the Trump administration. It could be because their donors are in the service provider’s pockets and their literal incomes might be on the line. Or it could be just to snow Obama again, as net neutrality was approved during Obama’s second term as president.

Either way, this is a serious issue in protecting our internet freedom and something everyone should be concerned about, whether you exist on the left or right end of the political spectrum. The FCC meets to vote on net neutrality on Dec. 14, and this is more serious than any other legislative issue going on this year. Why? It’s because we possess less of a say in it. Whatever you thought about legislation this year regarding healthcare, credit unions, and tax plans, we at least have a hand of influence in those decisions. That’s because no matter how your senators voted this year, they have to turn around and face your votes during the senate elections in 2018. Actions and consequences are attached to every decision politicians make, and they are delivered by the American people deciding whether or not their senators get to keep their jobs next year.

The FCC, however, is a different story. Unlike with senators and congressmen, voters like you and me don’t impact the employment of FCC commissioners. They are 100% employed by the president and his cabinet. Because of this, our voices matter now more than ever, and they need to be loud enough so every commissioner can hear them from miles away.

So before the FCC votes to repeal net neutrality on Dec. 14, don’t forget to call them on their direct line at 1-202-418-1000, or email the members directly at Ajit.Pai@fcc.gov, Mignon.Clyburn@fcc.gov, Mike.O’Rielly@fcc.gov, Brendan.Carr@fcc.gov, and Jessica.Rosenworcel@fcc.gov. Call them and email them once, then keep calling and emailing them up until the day of the vote. Otherwise you might not be able to access this web page the next time you type in my address.

– David Dunn

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Bryan Singer Fired From ‘Bohemian Rhapsody’

Bryan Singer’s time has come.

After a series of on-set tensions from the upcoming Queen biopic Bohemian Rhapsody, director Bryan Singer was fired from the production after being absent from the set for long periods of time. 20th Century Fox didn’t mince words with their statement on the subject, stating plainly that “Bryan Singer is no longer the director of Bohemian Rhapsody.”

So what exactly happened? According to The Hollywood Reporter, the problems started when Singer was missing from the set on several occasions. Frequent collaborator and cinematographer Thomas Newton Singel stepped in to both direct and shoot the film on days where Singer was absent. Actors Rami Malek and Tom Hollander were reportedly frustrated by Singer’s lack of professionalism, with Hollander even temporarily leaving production himself due to Singer’s absence.

Although Singer eventually returned under the watchful eye of Fox and a DGA representative, tensions were already heightened to the point where Malek and Singer had an intense confrontation while on-set. While it seemed that they had settled their differences and were ready to resume production, Singer went missing again during Thanksgiving break and did not return to the set. Siegel once again oversaw filming before Fox finally shut down production and fired Singer, reportedly looking for a new director to finish out the remaining two weeks of filming.

This story is perhaps one of the more unusual developments to come out of Hollywood this year. Notable for many successful projects, Singer has been at the helm of many cinematic hits, including The Usual Suspects, X2, Superman Returns, Valkyrie, and X-Men: Days of Future Past. You would think that his contributions to Bohemian Rhapsody would help the film’s production, not hinder it. And yet, Singer’s inclusion (or rather lack thereof) undoubtedly caused much on-set tensions and frustrations. This type of behavior is typically unheard of from Hollywood, especially from Singer.

Regardless, Singer is out and the project is in the market for a new director. Who should replace him? Personally I’m privy to Siegel himself, as he’s so far answered beyond the call of duty by managing much more of the film than he was originally expected to. It wouldn’t be much of a stretch to see him finish out the remaining two weeks of filming, but only if he really wanted to. Plus, it would be a nice addition to his resume as Bohemian Rhapsody would technically be his first directing credit.

If he wasn’t interested in director, who would be the next best pick? Steven Soderbergh? Surely he’s got Freddie Mercury’s moves down from Magic Mike.

– David Dunn

SOURCE: The Hollywood Reporter, Deadline

“JUSTICE LEAGUE” Review (✫✫)

SOURCE: Warner Bros. Pictures

Unite the Super Friends!

Before I review Justice League, I want to pay my respects to director Zack Snyder and his daughter Autumn who committed suicide in March earlier this year, coercing Snyder to step away from production so he and his wife could grieve in privacy. No parent should ever have to endure that, especially when they’re trying to make a film that is supposed to compete with Marvel’s The Avengers. So as I plunge ahead, please realize that my job as a film critic is to review movies, not people. I am judging Justice League based on its own merits as a film, not Zack Snyder as a filmmaker and especially not as a person.

After the death of Superman (Henry Cavill) during the events of Batman V. Superman, Justice League follows Bruce Wayne (Ben Affleck) and Diana Prince (Gal Gadot) picking up the broken pieces of their world as they try to assemble a team of meta-humans to protect the Earth in Superman’s absence. These meta-humans include Arthur Curry the Aquaman (Jason Mamoa), Barry Allen a.k.a. the Flash (Ezra Miller), and Victor Stone (Ray Fisher), a cyborg trapped inside a metallic body. Together these superhero misfits form the Justice League, protecting the world from criminals, aliens, and Gods of death alike.

Right out of the gate, reviewing Justice League is a challenge because it feels like we’re watching two different movies at once here. In a way, we are. When Snyder had to exit the production in May, The Avengers director Joss Whedon was brought in to help with re-shoots and post-production, reportedly re-writing some scenes to add his signature humor to the film. Since this is the case, it is impossible to view the film and fairly critique the right director, because we have no way of knowing for sure which scenes in the final cut belong to Snyder or Whedon.

Regardless, Justice League is a mess, from the writing all the way to the visual effects, only offering brief relief in the form of spot-on humor, fun characterizations, and dizzying action spectacles. When I spoke to one of my closest friends about the film earlier this week, he described it to me as “a beautiful disaster.” Yeah, that sounds about right.

The good news is that Justice League is a substantial improvement over it’s predecessor Batman V. Superman, a gaudy and unbearably stupid film that not even the most passionate comic book fan could defend. This is in large part because of the film’s casting, which is impeccable from the film’s most central roles to those less in the spotlight. Affleck continues to inhabit the double persona of Bruce Wayne and Batman well enough, while Gadot once again shines as the super-powered Wonder Woman that fans have come to know and love.

Yet, the newcomers are just as good as the veterans are, with many of them keeping up with Affleck and Gadot in both acting ability and presence. Mamoa brings a rugged bad boy persona to Aquaman, effectively breaking him away from his silly comic book origins. Fisher inhabits the tortured soul of Victor Stone brilliantly, with his portrayal coming off like the robotic Frankenstein’s monster of the group. And yet, the best of these new leaguers is definitely Ezra Miller’s Flash, who comes off as so excitable and happy that he doesn’t feel as much like a superhero as he does a superfan meeting all of his favorite comic book heroes at once. Be honest: if you were in a room with Batman, Wonder Woman, Aquaman, and Cyborg, wouldn’t your smile be as wide as Miller’s is?

These actors are great in their roles individually, and they really come together to make the Justice League work and feel believable as one entity. Unfortunately, the film’s greater failures have nothing to do with the actors, but with the screenplay they’ve been provided. Case in point: the film’s villain Steppenwolf, played here by “Game of Thrones” actor Ciaran Hinds. I’ve never been so bored by a villain in my entire life at the movies. He’s so stock and unappealing. He has no personality, no compelling motivation against our movie’s heroes, and nothing interesting to set him apart from previous movie villains. Say what you will about Jesse Eisenberg’s Lex Luthor or Cara Delevigne’s Enchantress: at least they were interested in their parts and played them up as best they could. But at no point does Steppenwolf rise the stakes the way he needs to nor does he even feel like a legitimate threat to our heroes. He feels more like a video game boss you have to beat at the end of the level to win the game. He looks like one too with how much gray-scaled CGI he has plastered all over his body.

Speaking of CGI, the effects are God-awful and among the worst visuals I’ve seen in any DC movie to date. Yes, I’m saying this is worse than the Kryptonian zombie in Batman V. Superman and the Mummy monsters in Suicide Squad. Everything is so underdeveloped in the picture, from the flying parademons that attack our heroes, to the Atlanteans that Steppenwolf fights in Atlantis, to even Superman himself. When Henry Cavill was asked to come back to the set for re-shoots, Cavill reportedly had a mustache that he couldn’t shave due to his role in Mission Impossible 6, so the visual effects team resorted to digitally removing his mustache in post-production. They would have been better off if they left it in. Cavill’s distorted, bloated face looks so strange and artificial, looking more like one of the Kardashians than he does the man of steel. And yes, I know this was the best solution the studio could come up with despite its production issues and re-shoots. That doesn’t change how ridiculous it looks on screen, or the fact that he looks better in an Edvard Munch painting than he does in a Justice League movie.

All in all, Justice League is your simple, by-the-books superhero team-up movie that has some great acting and action, however technically incompetent it may be. It has everything necessary to satisfy the hardcore DC fan. Everyone else? Not so much.

Yet I don’t blame Joss Whedon for what we see on the screen here. I don’t blame writer Chris Terrio either, as he wrote the film as best he could despite the limited criteria he had to work with. I don’t even blame Zack Snyder for this film, who very understandably was going through a lot during production. No, if anything I blame DC Films and Warner Bros. Pictures for their gross mishandling on the production side of these movies. It took Marvel five well-focused movies before they released The Avengers in 2012. Didn’t DC realize long ago that they couldn’t release Justice League with two good movies, one passable one, and one catastrophic one? Justice League gets two stars out of four. Autumn Snyder gets four.

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Unite the League: 10 Greatest DC Comics Movies Of All Time

It’s funny how DC Comics is struggling to break into the cinematic universe gig despite their vast influence over comic book history. We give Marvel creator Stan Lee so much credit for all of the creative and dynamic characters he’s brought us over the years, both on the panels of the comic book and on the big screen. Yet has anyone ever stopped to think about the inspiration that came before him? Jerry Siegel and Joe Shuster created Superman in the pages of Action Comics in May 1938. Bob Kane created Batman in 1939. William Moulton Marston created Wonder Woman in 1941. Even with all of his young promise, Stan Lee wouldn’t create the Fantastic Four until 1961, 20 years after Superman, Batman, and Wonder Woman were cemented as comic-book icons, influencing our culture several decades beyond their time. Stan Lee may have perfected the comic-book craft, but he did not start it. DC Comics did.

How ironic is it, then, that the DCEU is struggling both financially and critically five movies into their franchise, yet Marvel is skyrocketing with their 18th film due for release next spring? It’s a shame, really. DC has been a huge part of many childhoods over the years, mine included. The original Richard Donner Superman films starring Christopher Reeve. The Tim Burton Batman movies starring Michael Keaton. The “Batman” and “Justice League” animated cartoons. We’ve grown up with these characters for so long, hoping one day to see them all realized on the big screen. We got our wish, although it may not be what many were expecting.

For the record, I haven’t seen Justice League yet, and will not until later this week when I’ve recovered from my sinus infection. Regardless, I have had time to catch up on the nostalgia on some older DC movies, and boy are there many. Regardless of whether Justice League is any good or not, at least we’ll be able to look back fondly on these 10 DC Comics movies.

– David Dunn

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“THOR: RAGNAROK” Review (✫✫✫✫)

SOURCE: Walt Disney Studios Motion Pictures

We will, we will Ragnarok you.

Just when you thought Marvel had used all the tricks up their sleeve, they release Thor: Ragnarok, a movie that has absolutely no business being this good or memorable. Here is a picture which, by every metric, should have failed. It’s a Thor movie first of all, and it features the one Avenger so dull that a cardboard mannequin with a blonde wig is more interesting than him. His co-star is the Hulk, and that meshing of fantasy and sci-fi genres makes about as much sense as putting Harry Potter in a Batman movie. It’s the third part of a trilogy, which usually ends up being the worst in the series (See Spider-Man 3, X-Men: Apocalypse). On top of that, this film is a retro-comedy aiming for the style akin to Guardians of the Galaxy. How on Asgard could Marvel have pulled this off? Spectacularly, that’s how.

A sequel to both Thor: The Dark World and Avengers: Age of Ultron, Thor: Ragnarok follows our golden-haired hero Thor (Chris Hemsworth) propelled through the universe as he tries to prevent Ragnarok, the prophesized destruction of Asgard. He goes to Muspelheim to capture the fire demon Sultur (Clancy Brown), Midgard to find his father Odin (Anthony Hopkins), the Sanctum Sanctorum to meet Doctor Strange (Benedict Cumberbatch), Sakaar to fight the Hulk (Mark Ruffalo), and Asgard to face Hela, the Goddess of Death (Cate Blanchett). I’m telling you, this guy gets around. If he traveled anymore in the movie, he’d have to throw away his hammer and resort to montages for faster travel.

Here is a movie that, for the life of me, I don’t understand how it works. This film packs five different genres into one narrative, and that usually spells doom for any movie that tries to do that. Not here. Thor: Ragnarok is a funny comedy, a thrilling action movie, an exciting adventure, a heartfelt drama, and a groundbreaking superhero epic that hits every single note that it needs to. A movie this busy should not feel this simple, yet it flows and moves effortlessly, like how one stretches and plays with silly putty.

Where do I even start? The film’s director Taika Waititi executes his film chaotically yet masterfully, filling his characters with vibrant personalities and throwing them through action scenes resemblant of a little kid playing with his action figures. My main complaint with superhero movies (and really most action blockbusters in general) is that studios focus so much on the action and visual effects that they forget that character and personality is the driving force behind the successes of most major film franchises. For example, would the visual feats in Superman and Star Wars have felt as incredible if Clark Kent or Luke Skywalker weren’t as likeable of heroes to begin with?

Thor: Ragnarok takes cues from both of those movies as it emboldens its characters with electric personalities, playing off of their charisma and creating witty, comedic dialogue between each other. Chris Hemsworth continues to play the fratty, oblivious oaf in Thor as he always has, but here he does it with a self-awareness that makes him funny enough to pass it off as likeable. Ruffalo steals the spotlight in a mostly Hulk-dominated performance, yet rounds him out with a subtle arc that possesses its own somberness and tragedy within it. And Blanchett surprisingly offers up a menacing and diabolical performance in a franchise that is usually lacking in the villain presence, even though her motivations for fighting Thor are kind of weak in the film.

Everything else from the film is unorthodox perfection. Seriously. I haven’t seen anything like it. The comedy hits exactly the right notes with the right lines. The drama, while at times a little too brisk, strikes with the emotional chord that it needs to. The action scenes are thrilling. The visual effects, mesmerizing. The music, synthesized and catchy. Even the Easter Eggs are infectious in their appeal, with one cameo involving Tom Hiddleston’s Loki making me laugh so hard that my surrounding audience members started to look worried for me.

If I had any weakness to offer, it would be that the film’s tone is jarring compared to previous entries, with the series doing a complete 180 in genre from a Norse fantasy epic to an action-comedy so in-cheek that the “Who’s Line Is It Anyway?” troupe would wonder where their invite was. But to that I say screw consistency, this is a fantastic movie; one that flips one of Marvel’s most boring characters and somehow makes him the most interesting. Maybe I would be irritated by the change in aesthetic if they did this with Iron Man or Captain America, but that’s only because those characters already have an interesting arc and personality to them. Thor is more of a blank slate, and in realizing this, Waititi pulls out his paint cans and floods the screen with as much color and life as he can.

I haven’t had this much fun in a superhero movie since The Avengers in 2012. Yes, I’m comparing Thor: Ragnarok to The Avengers. Don’t knock it until you try it. While it doesn’t confront real-world issues and moral dilemmas like Iron Man, Captain America: The Winter Soldier or Civil War does, Thor: Ragnarok more than makes up for it with its stylish action, colorful visuals, brilliant self-awareness, and gut-busting humor so hilarious that it’s difficult not to pee your pants from laughing so much. This is a movie where Deadpool could appear in randomly halfway through the picture and it would still make complete sense.

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