Shang-Chi and the Legend of the Ten Rings (2021)

Destin Daniel Cretton | 132 mins | digital (HD+3D) | 2.39:1 | USA / English & Mandarin | 12 / PG-13

Shang-Chi and the Legend of the Ten Rings

Unless you’re a dyed-in-the-wool fan, keeping up with the MCU is beginning to feel more like a chore than entertainment. There’s just so much of it! No wonder it can feel like its fans never watch anything else, because getting through the myriad TV series and movies could conceivably fill most of your free time. That said, it’s obviously not doing the movies any harm (yet) based on the spectacular box office performances of No Way Home ($1.89 billion, the 6th highest grossing film of all time) and Doctor Strange 2 ($935.3 million and counting). And getting round to everything does have its benefits, because occasionally you find a diamond, and it’s not always one the critics or other viewers have flagged up. I mean, most of what I heard about the first Doctor Strange was that it was just the standard superhero origin story over again, but it’s one of my favourite films from the studio’s output, primarily thanks to the stunning visuals and a few other clever developments. Being another iteration of something isn’t always bad, especially if you’ve iterated closer to perfection.

Shang-Chi is the latest Marvel movie to fall into that camp for me. It is, again, a superhero origin story; but, again, one that’s been refined to a place where the hints of familiarity don’t really matter. It’s about Shaun (Simu Liu), an ordinary guy working as a valet in San Francisco… who it turns out isn’t such an ordinary guy, but is really Shang-Chi, the son of the magically-powered leader of a global crime syndicate known as the Ten Rings. Of course, events conspire to bring Shang back into contact with his estranged family, where he must choose whether to stand against his father’s evil plans.

The MCU publicity claim that any given film is “not just a superhero movie, it’s a [1970s conspiracy thriller / John Hughes comedy / whatever]” has, rightly, become a bit of a laughing stock. But I think Shang-Chi might be the first time it’s actually true. Yeah, it’s undeniably set in the MCU and, as such, plays by some of those rules (there are Blip references from early on, with the requisite cameos and mid-credit teaser scenes to follow), but the bulk of the movie itself is not really a superhero film as we normally think of them. Rather, it’s a martial arts fantasy-actioner. Now, maybe those are in the same ballpark — people with impossible abilities fighting each other — but I’d argue the style of it in Shang-Chi feels closer to something like Detective Dee or 47 Ronin (except good) than Iron Man or Captain America, or even the other fantasy/magic-based MCU sub-series like Thor or Doctor Strange.

A sticky situation

And for that, I loved it. Unfortunately, where it’s most like the MCU is in an ‘epic’ battle finale that, a few show-off moments aside, is mostly realised through CGI that looks like swirling mud. If it weren’t for that disappointment (and, to be clear, it’s not a disaster, just a bit of a let down), I might have given the film an even higher score.

I was also glad I bothered to track down the 3D version (only released on disc in Japan, I believe. I also believe Japanese imports are expensive. I wouldn’t know from experience, I’ve never bought one). I’m aware that 3D is an ever-dwindling format and that’s why major labels aren’t bothering with disc releases anymore (though it must be worth it at theatrical level, because they’re still shelling out for these post-conversions that cost millions of dollars a pop), but it’s a shame for those of us who enjoy it and still have the kit, because it’s as enjoyable as it ever was when done well. Shang-Chi may not be the height of the format, but lots of it looked nice with the extra dimension. Sadly, unlike many previous Marvel 3D releases, it didn’t have the bonus benefit of a shifting IMAX ratio. There is an “IMAX Enhanced” version of the film (it’s on Disney+), but, like the last two Avengers movies, it presents the entire film in IMAX’s 1.9:1 ratio, so no luck for us 3D fans there (or anyone bar Disney+ viewers, because it’s not included on the film’s 2K or 4K Blu-ray releases either).

4 out of 5

Archive 5, Vol.3

I have a backlog of 437 unreviewed feature films from my 2018 to 2021 viewing. This is where I give those films their day, five at a time, selected by a random number generator.

Today, everything from silent comedies to afterlife comedies to toy-licence-based adventure comedies (a burgeoning genre we’re sure to see more of in years to come). Plus a revisionist Arthurian legend for good measure.

This week’s Archive 5 are…

  • Guinevere (1994)
  • The Kid (1921/1972)
  • Defending Your Life (1991)
  • The LEGO Movie 2: The Second Part (2019)
  • Sherlock Jr. (1924)


    Guinevere

    (1994)

    Jud Taylor | 91 mins | digital (SD) | 4:3 | USA & Lithuania / English

    Guinevere

    This Lifetime TV movie is like an American Renaissance faire cosplay version of Arthurian legend. Its attempt at a feminist take on the famed stories is interesting, but deserves better writing, filmmaking, and accents.

    Most of Guinevere’s flaws come from its low-rent made-for-US-TV-in-the-’90s roots (the mediocre direction; the tacky music score), but that’s also its biggest asset, because when and for whom it was made means it was shot on film, which gives it a certain gloss (even when downgraded to SD) that taped or digital productions simply lack.

    Story-wise, the love triangle stuff from legend is there, but given a YA spin — it’s practically Arthurian Twilight. Are you Team Arthur or Team Jacob? The feminist bent is not subtle either, which, given changes in attitudes over the past few decades, makes you wonder if it’s ripe for a re-adaptation (it’s based on a trilogy of novels with magnificently florid titles like Child of the Northern Spring and Queen of the Summer Stars).

    You see, despite everything, I didn’t hate it. Maybe I should — it’s not good, by any means — but I liked what it was trying to do, even while it didn’t do it well (at all). It’s a concept someone should definitely take another run at.

    2 out of 5

    Guinevere was #209 in my 100 Films in a Year Challenge 2020.


    The Kid

    (1921/1972)

    Charlie Chaplin | 50 mins | DVD | 4:3 | USA / silent | U

    The Kid

    Charlie Chaplin’s first feature-length work as star and director sees his Tramp character caring for an abandoned child (Jackie Coogan). I say “feature length”, but when you combine a re-edit Chaplin performed in 1972 with PAL speedup, it runs just 50 minutes. I’ve gotta say, I appreciated that. I’ve felt some of Chaplin’s other films have gone on a bit, whereas this didn’t outstay its welcome. That said, I did feel the Dreamland sequence near the end was filler. That aside, it’s quite a nice film. Coogan is particularly effective — he has just the right look for the role, and was obviously very good at imitation and/or taking direction.

    Regarding the length, the original 1921 release was 68 minutes, but for a 1972 reissue Chaplin cut some footage, appears to have sped up the frame rate of the rest, and added a score and some sound effects too. It’s only this cut that gets released on disc nowadays (often with the excised footage included as deleted scenes). The original cut clearly still exists, and yet everyone just seems to overlook it — it’s only if you bother to read up on the film that you discover what most people are watching and reviewing as “a 1921 film” is actually a 50-years-later director’s cut. Imagine if we all just ignored, say, Blade Runner’s original version and just treated The Final Cut as— oh, wait. Never mind.

    4 out of 5

    The Kid was #60 in my 100 Films in a Year Challenge 2020.


    Defending Your Life

    (1991)

    Albert Brooks | 111 mins | Blu-ray | 1.85:1 | USA / English | PG / PG

    Defending Your Life

    Writer-director Albert Brooks stars as a loner advertising exec who dies and finds himself in a bureaucratic afterlife where he has to prove that he overcame his fears. While he awaits his trial, he finally meets the love of his (after)life, Julia (Meryl Streep).

    For a film that’s literally about life and death, Defending Your Life is rather gentle. Like, it’s rarely laugh-out-loud funny, but it’s often slightly amusing. And it’s unhurried, too: its 111 minutes aren’t tedious by any means, but it doesn’t rush anywhere. A fun side effect of this is how casual its world-building is. This is a very specific vision of the afterlife, an entire world with its own rules, and while that’s all explained, it’s not laid out in minute detail like a how-to guide. I feel like this is something movies used to happily do but has been eroded by the need for everything to be over-explained and -analysed.

    I liked Defending Your Life a good deal (I’ve picked up a couple more of Brooks’s films on Blu-ray off the back of it), and part of that is certainly its laidback style. Nonetheless, perhaps if it were snappier — quicker witted and paced — it might be a better-remembered film, comparable to something roughly contemporaneous like Groundhog Day.

    4 out of 5

    Defending Your Life was #113 in my 100 Films in a Year Challenge 2021.


    The LEGO Movie 2:
    The Second Part

    (2019)

    Mike Mitchell | 107 mins | Blu-ray (3D) | 2.40:1 | USA, Denmark, Norway & Australia / English | U / PG

    The LEGO Movie 2

    After the surprise success of The LEGO Movie, naturally a sequel had to follow. Unfortunately, it’s altogether less surprising, because it’s that old fashioned sequel thing: a less-good do-over of the first movie.

    The Second Part feels less focused than its predecessor. It still has a positive message (about not needing to grow up, and about playing together, or something), but it takes a while to get to it, rather than baking it into the entire experience. Maybe that’s intellectualising things a bit — this is a family-friendly adventure-comedy starring toys, after all. But still, the overall journey doesn’t feel as exciting or fun. There are fun little bits on the way, but, moment to moment, it lacks the spark of the first one.

    For a specific example, take the breakout hit of the first film, the irritating song Everything Is Awesome. That angle has been doubled down on, with multiple attempts at emulating the “irritating but kinda loveable” song formula; but while these numbers are annoying while they last, they don’t have the irrepressible catchiness of the first film’s signature achievement — a mixed blessing, to be sure (at least they won’t be stuck in your head afterwards). The end credits are accompanied by a song that jokes about the credits being the best part… but, in this case, the credits kinda are the best part.

    3 out of 5

    The LEGO Movie 2: The Second Part was #33 in my 100 Films in a Year Challenge 2020.


    Sherlock Jr.

    (1924)

    Buster Keaton | 45 mins | Blu-ray | 1.33:1 | USA / silent | U

    Sherlock Jr

    Apparently there are ever-raging arguments within the silent film fan community about who was the best comedian of the era. Charlie Chaplin’s got the most widespread recognition, but Buster Keaton and Harold Lloyd have their advocates, of course, and I guess there are probably people shouting in favour of smaller names too. I didn’t think I’d ever pick a ‘side’ in these debates — I’m certainly not about to go seeking them out and wading in — and, fundamentally, I do hold with the notion that the greats are all great and so why not appreciate them all? — but, from what I’ve seen thus far, I’m finding Keaton’s work more consistently enjoyable than Chaplin’s. Sherlock Jr. is my favourite of his that I’ve seen so far.

    Keaton plays a film projectionist who’s studying to be a detective on the side. When he’s framed for the theft of a watch, his apparent guilt doesn’t give him much chance to put his skills to the test. But when he falls asleep during a movie, he steps inside it and becomes the world’s greatest detective. And when I say “steps inside”, I mean it in the most literal sense possible: the projectionist walks through the screen and into the movie, and is suddenly subject to its whims — for example, he’s confounded whenever it cuts to a new location. The sequence is both thoroughly entertaining and technically faultless — and I say that viewing it nearly 100 years after it was made, after all the advances in technique and effects we’ve had in that time. Reportedly, the film’s cameraman, Byron Houck, went as far as using surveying equipment to ensure the camera was positioned correctly so the transitions were seamless. The effort paid off.

    The same is true in several other incredible sequences, like a billiards game filled with trick shots, which Keaton rehearsed for four months with a pool expert and then took five days to film. Or a motorbike chase with more I-can’t-believe-he-just-did-that death-defying stunts than one of Tom Cruise’s impossible missions. The technical skill is faultless and, even if you’re not wowed by how they pulled it off, the sequences are immensely entertaining in their own right. Maybe it’s just personal taste, but this is why I have a preference for Keaton: his skits are more ingenious, better paced, and backed up with impressive stunt work. When you mix those daredevil antics with genuine movie magic, as he does here, you get a majestic, unforgettable farce.

    5 out of 5

    Sherlock Jr. was #102 in my 100 Films in a Year Challenge 2019. It was viewed as part of What Do You Mean You Haven’t Seen…? 2019. It placed 3rd on my list of The Best Films I Saw in 2019.


  • The 100-Week Roundup XXIX

    The 100-Week Roundup covers films I still haven’t reviewed 100 weeks after watching them. Sometimes these are short ‘proper’ reviews; sometimes they’re only quick thoughts, or even just the notes I made while viewing.

    I’m cheating slightly in this roundup, because these are the final reviews from April 2019, a period that means I should also be reviewing Captain Marvel and Resident Evil: Apocalypse. The former I don’t have many notes on, so I’d like to make time for a rewatch and do it properly. The latter, well, as I’m in the middle of watching the whole RE series, I’ll either round it up with some of the other sequels or give it a standalone post. It wouldn’t have been the first time I included a mid-franchise instalment in a roundup, but it always feels a bit ‘ugly’ to do that.

    Anyway, enough about what isn’t here — here’s what is…

  • Scott Pilgrim vs. the World (2010)
  • Click (2006)
  • Mortal Engines (2018)
  • The Help (2011)


    Scott Pilgrim vs. the World
    (2010)

    2019 #63
    Edgar Wright | 112 mins | Blu-ray | 1.85:1 | USA, UK, Canada & Japan / English | 12 / PG-13

    Scott Pilgrim vs. the World

    Well, this is embarrassing: a film I ranked in my top five of the year, but I don’t have any notes to write up a full review — just like Heathers back in Roundup XI. Oh dear, again.

    In Scott Pilgrim’s case, it’s just about to be re-released in a restored/jazzed-up version (first in Dolby Cinemas, then on 4K disc), so I’ll surely rewatch it that way and hopefully try this again properly, maybe later this year. For now, in the spirit of these roundups (i.e. to clear old unreviewed films), here’s the paragraph I wrote when it ranked 4th on my list of The 15 Best Films I Saw For the First Time in 2019

    If I’m honest, I was prepared to dislike Scott Pilgrim — I mean, there’s a reason it took me almost a decade to get round to it. It always looked Too Cool; kind of too hipster-ish, though I guess in a geeky way. (Well, “hipster” and “geek” have been more closely linked than ever this decade, haven’t they?) I remember distinctly when it went down a storm at Comic-Con and so everyone believed it was The Next Big Thing, only for it to flop hard at the box office (providing a much-needed course correction on everyone’s view of the power of Comic-Con).

    But here’s the thing: it’s directed by Edgar Wright, and I should have trusted that. And so the film is everything you’d expect from the director of Shaun of the Dead and Hot Fuzz and Baby Driver — deep-cut references (this time to video games), piles of humour, but also a dose of genuine emotion. Best of all is how it’s ceaselessly, fearlessly, creatively inventive with its cinematic tricks. No other film on this list is so overtly Directed, but in a good way.

    5 out of 5

    Scott Pilgrim vs. the World was viewed as part of Blindspot 2019.

    Click
    (2006)

    2019 #64
    Frank Coraci | 107 mins | digital (HD) | 16:9 | USA / English | 12 / PG-13

    Click

    I am not, by an stretch of the imagination, an Adam Sandler aficionado. Besides this, the only films of his I’ve seen are Murder Mystery (which I watched in spite of him because I like murder mysteries), and Punch-Drunk Love and Uncut Gems, neither of which are “Adam Sandler films” in the widely-understood sense (and I didn’t much like either of them anyway). Indeed, the only reason I watched Click is because it’s on “most-watched movies ever”-type lists and I wanted to check it off.

    Sandler plays a workaholic family man, who’s missing out on time with his wife (Kate Beckinsale) and two kids while he strives for a promotion at work. But then he comes across a magic remote control that works on the world: he can mute arguments, rewind to the good bits, fast-forward to when he gets his promotion… He thinks it’s great — until, of course, it isn’t.

    From the very start, it’s clear Click isn’t running high on originality, with “gags” about having lots of remote controls and about a dog humping a soft toy. The former was surely already old-hat observational comedy by 2006, while the latter has always been on about the same level as fart gags. As Sandler watches the dog’s actions, he comments that it’s something his young kids shouldn’t “know about” for 10 years for the boy and 30 years for the girl. Within the first few minutes, Click has managed to be overfamiliar, underdeveloped, crude, and socially regressive, all at the same time. And then it throws some racism in for good measure, with a foreign prince whose name the characters mispronounce as things like “Ha-booby” and “Hubba-bubba”. This is all before the ten-minute mark. Never mind a magic remote control — you might be contented reaching for the real one.

    The film’s a Fantasy because it’s about a magic remote control, but the wish fulfilment definitely extends beyond that. I mean, Kate Beckinsale as Adam Sandler’s wife? Pull the other one. Plus, all the young attractive women in his office seem to fancy him, too. Someone’s ego was getting stroked here.

    The comedy continues in its thoroughly predictable vein until things inevitably start to go wrong, at which point they really pile on the tortuous misery. It’s such a sharp and drastic change in the second half that it’s liable to give you tonal whiplash. Plus, the film already felt like it was running too long, and this new avenue just piles on the minutes. They should’ve cut at least quarter-of-an-hour out of the whole thing. When it eventually drags itself to the end, that’s a terrible cliché too.

    Click does have its moments, although not too many of them, and they’re of the “this is adequate to lounge in front of” variety rather than anything fresh or invigorating. Fortunately, you don’t need a magic life-control to skip it.

    2 out of 5

    Mortal Engines
    (2018)

    2019 #69
    Christian Rivers | 128 mins | Blu-ray (3D) | 2.39:1 | USA & New Zealand / English | 12 / PG-13

    Mortal Engines

    Based on the first book in a series of beloved young adult novels by Philip Reeve, Mortal Engines is set in a post-apocalyptic future where towns and cities have been transformed into gigantic vehicles that roam the world consuming each other for scarce resources. On London, a young fugitive out for revenge, Hester (Hera Hilmar), ends up thrown in with an outcast (Robert Sheehan) as they uncover a world-changing conspiracy.

    Billed as being “from the filmmakers of The Lord of the Rings”, Mortal Engines is one of many would-be PG-13 fantasy franchises that have sprung up in the couple of decades since Rings and Harry Potter’s dual-pronged success at the end of 2001. And, like so many of them, it failed to find a theatrical audience and so stalled out after just one film. Fortunately, when Reeve wrote the original novel it wasn’t intended as a series, so while there was clearly opportunity for sequels, this nonetheless tells a contained story.

    In practice, “from the makers of Lord of the Rings” means it was adapted by that trilogy’s screenwriting team (Fran Walsh, Philippa Boyens & Peter Jackson), was filmed in New Zealand with Weta on design and effects work, and is the feature directorial debut of Christian Rivers, who previously served various art, effects, and second-unit roles on Jackson’s films as far back as Braindead. All of which means you can be assured the film looks fantastic — the production design, and the epic visuals that show it off, are consistently magnificent. Equally, the story has some bold and original ideas that are equally as exciting. So it’s a massive shame about the sometimes awkward dialogue and narrative choices, as well as the variable quality of the acting, and at least one subplot that was obviously butchered in post (what we see on screen is jumpy and clearly incomplete). By falling short in such fundamentals, it lets down the imagination on display elsewhere.

    Nonetheless, there’s enough to appreciate it in Mortal Engines that I enjoyed it a lot. Perhaps it’s a shame we won’t get to see the other books adapted, but at least the fact it works as a standalone movie means that, unlike some other failed franchises, it can still be watched and enjoyed as is. Maybe it’ll find an audience belatedly and, like other aborted film adaptations before it (A Series of Unfortunate Events; His Dark Materials), we’ll be treated to a TV do-over later this decade.

    4 out of 5

    The Help
    (2011)

    2019 #70
    Tate Taylor | 137 mins | TV (HD) | 16:9 | USA, India & UAE / English | 12 / PG-13

    The Help

    Jackson, Mississippi, the 1960s: society girl Skeeter (Emma Stone) returns from college determined to become a writer, so she decides to interview the black women who have spent their lives taking care of southern white families, to capture their view of the hardships they go through on a daily basis, starting with her best friend’s housekeeper (Viola Davis). Initially controversial in both white and black communities, as more maids come forward to tell their stories, everyone in town finds themselves unwittingly and unwillingly caught up in the changing times. — adapted from IMDb

    For some reason I thought The Help was based on a true story, but it’s actually just adapted from a novel. That makes accusations of it being a “white saviour” narrative worse, because it loses any defence of “well, this is what really happened” — it’s a creative choice. Instead, what if the maids had decided they needed to tell their own story, but had to use a sympathetic white woman as a front to get it published? Same general point, but it gives more agency to the black women in controlling their own story.

    Anyway, while there is plenty wrong here (too much focus on the white characters; aimless subplots, like a romantic one; the overt air of Worthiness), it’s still watchable and engaging, there are some very good performances, and it’s not as if the message isn’t an important one — and, sadly, still relevant.

    4 out of 5

  • Godzilla: King of the Monsters (2019)

    2020 #38
    Michael Dougherty | 132 mins | Blu-ray (3D) | 2.40:1 | USA, Japan, Canada & Mexico / English | 12 / PG-13

    Godzilla: King of the Monsters

    Five years on from the events of Godzilla, the world is very much aware of the existence of Titans, gigantic prehistoric creatures — or, if you prefer, monsters. These creatures are studied and, where possible, contained by the secretive organisation known as Monarch, and one of their scientists, Dr. Emma Russell (Vera Farmiga), has developed a device capable of attracting Titans and altering their behaviour. When Emma and her daughter Madison (Millie Bobby Brown) are kidnapped by a group of terrorists, Madison’s father and former Monarch employee Mark (Kyle Chandler) is re-recruited by Monarch to help track them, before the terrorists can unleash the Titans to wreak havoc on mankind.

    As well as a direct followup to the 2014 reboot of the Godzilla franchise, King of the Monsters is the third film in Legendary’s “MonsterVerse”. The in-between entry was 2017’s Kong: Skull Island, whose 1970s setting kinda leaves it adrift and standalone from the rest of the present-day-set films in this shared universe (although, following the Marvel template, Kong did have a post-credit scene designed to vaguely tee-up King of the Monsters). That said, it does have a role to play tonally. Whereas Gareth Edwards’ Godzilla was a fairly strait-laced, serious take on the concept of a giant lizard attacking mankind, Jordan Vogt-Roberts’ Skull Island took a more pulpy approach to the movie, playing like a monster B-movie with a modern spectacular effects budget.

    Here, Michael Dougherty’s offering feels like a combination of those two previous MonsterVerse films. As a direct sequel to Godzilla, it brings in plot threads and a couple of supporting characters from that movie (namely Ken Watanabe and Sally Hawkins as a pair of Monarch scientists, given more prominent roles here). It also adopts the dark visual style of Edwards’ movie, eschewing the colourfulness that was part of Vogt-Roberts’ contribution. But what Dougherty does retain is that pulpiness in the storyline. I mean, Godzilla showed us a world where the real-life (more or less) military had to scramble to find a way to respond to a giant lizard suddenly appearing.

    Puny humans

    Conversely, in King of the Monsters we find a government organisation that maintains multiple huge facilities around the world to research and contain a variety of giant beasties (one of whom is an alien, by-the-way), and a terrorist organisation that’s well organised and financed enough to break into several of those facilities and set about freeing the Titans. And that’s without mentioning a side quest into a vast sunken kingdom. If you wanted more of the real world Edwards gave us in the first film, sorry, you’re shit out of luck; but if you’re into some of the craziness that other kaiju movies have doled out down the decades, here we go!

    And, in some respects, that makes this the first MonsterVerse movie that truly feels like it’s in a shared universe of monsters. Sure, the previous films had monster antagonists — MUTOs in Godzilla, Scullcrawlers in Kong — but, frankly, they were kinda generic nasties to give our hero-monsters something to fight. In King of the Monsters, we finally get to see some of the big-name stars from Godzilla’s rogue gallery; namely: inventively-named giant moth Mothra, pterodactyl-like Rodan, and the baddest of them all, three-headed dragon Ghidorah. Okay, we haven’t been introduced to these creatures in previous movies, so it’s not technically a team-up / versus movie in that sense, but you can still feel these are headline-bout-worthy characters in a way the franchise’s previous villains just weren’t. Obviously there’s still no doubt about who the ultimate victor of these monster punch-ups is going to be (clue’s in the title), but the brawls are meatier and more impactful.

    I imagine that’s even more true for long-time kaiju fans, who’ll have a much greater familiarity with the ‘supporting’ monsters. Indeed, there’s a sense in which King of the Monsters has been made expressly for those fans, because it’s absolutely loaded with nods and references to the older films. I’ve not seen many classic Godzilla movies, so my knowledge of what was being referenced was second-hand at best — though one I’ll make room to highlight is composer Bear McCreary’s new realisation of Akira Ifukube’s classic Godzilla theme. It’s epic and awesome; a real hair-raiser when it kicks in.

    There can be only one

    Unfortunately, the parade of callbacks seems to have been a major problem for some viewers. Fans who got the references regard them as either hollow fan service or a pointless remix of past glories, while normal folk found it all a bit confusing and weird — because God forbid any blockbuster try to do stuff from outside your normal well-worn expectations. Clearly, these monster flicks aren’t for everyone. Even among those who like them, you don’t have to read many viewer’s rankings before you’ll have seen every possible iteration of which film is better than which, often accompanied by bafflement that anyone could hold an opposing view. It’s like an inadvertent case study for the fact that different people want different things. So it seems none of these movies please everyone, although personally I like the idea that each film is its own thing to some degree; that you might not love every film in the MonsterVerse, but hopefully one of them will hit the sweet spot for you. The MCU cookie-cutter format may be reassuring, but there’s delight in variety too.

    There’s certainly plenty of variety here. The MonsterVerse could’ve gone down the route of wheeling out these storied foes one by one, eking the franchise out across Godzilla vs. Mothra, Godzilla vs. Rodan, Godzilla vs. Ghidorah… Instead, we get them in one Titan-sized hit. If you’re in the mood for gigantic creatures thwacking each other, there’s something wholly satisfying about that.

    4 out of 5

    The 100-Week Roundup XXVI

    The 100-Week Roundup covers films I still haven’t reviewed 100 weeks after watching them. Sometimes these are short ‘proper’ reviews; sometimes they’re only quick thoughts, or even just the notes I made while viewing.

    This week’s selection, the final two films from March 2019, includes a pair of awards-worthy short animations — the first won an Oscar, the second was nominated for one. I was going to include more films in this week’s roundup (effectively bundle two weeks into one), but it felt like a disservice to this pair.

  • Paperman (2012)
  • Waltz with Bashir (2008)


    Paperman
    (2012)

    2019 #48a
    John Kahrs | 7 mins | Blu-ray (3D) | 1.85:1 | USA / silent | U / G

    Paperman

    This Disney short was originally released alongside Wreck-It Ralph (and can now be found on that film’s Blu-ray; as well as on Disney+, I presume) and, as I recall, attracted a lot of praise at the time, primarily for its visual style. That was an innovation in creating 2D-looking animation via a 3D system — so it seems a bit daft that I watched it in 3D. I have to wonder if the added visual dimension highlights the underlying 3D animation, because it’s quite obviously been created in 3D with a 2D style over the top.

    That said, it look gorgeous, however you cut it. There’s an inherent beauty in how it’s executed, while the chosen black-and-white style emphasises the apparent setting (’40s New York) and also gives it a timeless quality. The 2D/3D combination works well, giving it the fluidity and dynamism of CG animation, but with a certain roughness — a hand-made-ness — that comes from 2D cel animation. Of course, that’s artificial, injected via design choices (like scruffy outlines on the characters), but it feels authentic.

    As for the actual story, it’s a charming little romantic number involving paper aeroplanes… until those sheets of folded paper become sentient and omniscient, at which point it lost me with its silliness. But as an exercise in style: lovely.

    4 out of 5

    Waltz with Bashir
    (2008)

    aka Vals Im Bashir

    2019 #49
    Ari Folman | 87 mins | TV | 16:9 | Israel, France, Germany, USA, Finland, Switzerland, Belgium & Australia / Hebrew, Arabic, German & English | 18 / R

    Waltz with Bashir

    One night at a bar, an old friend tells director Ari Folman about a recurring nightmare in which he is chased by vicious dogs. They conclude that there’s a connection to their Israeli Army service in the first Lebanon War of 1982. Ari can’t remember that period of his life, so he meets and interviews old friends and veterans, hoping to discover the truth about that time and reconstruct his own memories of the conflict. — adapted from IMDb

    This search for the truth has led Waltz with Bashir to be labelled an “animated documentary”, which sounds like an odd idea, almost oxymoronic — you can tell a true story with animation, of course, but can you document something? Well, yes. Rather than talking heads, what animation allows is the visualisation of the narrators’ memories and dreams alike, and means we can flow between them, too. On a practical level, it allows the film to stage scenes that would be impossible in live-action without a huge budget, meaning it doesn’t have to compromise on the stories it tells. More thematically, having a shared style between ‘reality’ and ‘dream’, plus the distancing effect of it being drawn, not ‘real’ — of being unequivocally created, not just filmed — helps to underscore larger points about the reliability (or otherwise) of memory. The dreams are connected to the memories; are the memories a kind of dream?

    Given the time period being remembered, of course the film is about war and how that affects the mind of its participants, but it’s also memory in general, I think. You’d think such extreme, unique experiences would be unforgettable, and yet the workings of the mind and memory aren’t that straightforward. One strand I found particularly fascinating was the way people are haunted by the suffering of animals in the conflict, perhaps more so than by the human-related atrocities they saw. Is this just a coincidence of the people Folman spoken to? Is it a particular interest of Folman himself? Or is it a genuine phenomenon? I don’t know the answer, but (outside of, say, War Horse) I don’t remember it being such a clear thread in a war-related film or documentary before.

    I’ve seen people say they couldn’t connect with Waltz with Bashir because they didn’t know the history of the period well enough. Conversely, I felt that was part of why the film was so effective: not really knowing what was going on or what was being referred to, I was discovering it as the character did. Some parts along the way could perhaps have used further clarity or explanation for those of us entirely unfamiliar with the conflict, but there’s enough information disclosed to be going on with. I found the film’s ending to be powerful beyond words, and part of what makes it so shocking and impactful is not knowing about it, of learning about it for the first time with the characters.

    5 out of 5

  • The 100-Week Roundup XX

    Maybe I should’ve gone out of sequence and numbered this one XXX, given the pornographic content of a couple of these films from January 2019

  • The Stewardesses 3D (1969)
  • Experiments in Love 3D (1977)
  • La jetée (1962)


    The Stewardesses 3D
    (1969)

    2019 #6
    Alf Silliman Jr. | 93 mins | Blu-ray | 1.33:1 | USA / English | X* / R

    The Stewardesses in 3D

    If I asked you to guess the most profitable 3D movie ever made, what would you say? Avatar, probably. And, er, you’d be right (in terms of pure dollars earned, anyway). But what about before Avatar came along? You might opt for Jaws 3-D, or one of those ’80s horror franchise entries, like Friday the 13th Part III or Amityville 3-D. Or you might try Alfred Hitchcock’s shot at the format, Dial M for Murder; or perhaps the Universal horror classic Creature from the Black Lagoon. Well, all of those answers would be wrong. The correct answer — as you’ve no doubt guessed by now, because you’re not stupid — is The Stewardesses. Why?

    Boooobs.

    And, er, the rest of the female anatomy, quite frankly, because, yes, The Stewardesses is fundamentally a porno. Bow-chicka-wow-wow! Oh, but not, it would seem, one exclusively for the dirty mac brigade, as it had enough of a mainstream claim (it was advertised as being based on a novel. There was no novel) to be booked into regular cinemas as well as onto the grungy grindhouse and drive-in circuits. It ran repeatedly for decades, and was made for a pittance, so its cost-to-profit ratio just kept on going up. To be precise, off a budget of just $100,000 it’s reported to have grossed up to $30 million, a 30,000% return. (For comparison’s sake, Avatar’s return was 1,176%.) It was also technologically innovative: the director helped develop a simple and economical single-camera 3D system (the 3D films of the ’50s had been shot with two cameras and projected with two projectors), which was later used by major movies during the ’80s 3D boom, such as Jaws 3-D.

    But what of the film itself? It’s an odd mashup of porno and arthouse, with gratuitous sex and nudity bumping against mundane drama, sequences that seem more like an observational lifestyle documentary, and occasional experimental scenes. It’s hard to tell how much the film is aiming for realism and how much is just amateurish: there’s dodgy framing, weak performances, and Filmmaking 101 goofs (spot the mic), but something about the editing patterns, shot choices, and day-in-the-life subject matter feels influenced by cinéma vérité. But there are also random showcases of the 3D effect, including a game of pool and a fairground sequence, which includes point-of-view rides on a rollercoaster ride and ghost train.

    Sexy lamp

    The sex stuff is dropped in here and there around this. There’s a bit of fooling around in a cockpit at the start, although this is again played more for the 3D gimmick (some legs-akimbo feet protruding from the screen) and laughs (the old “someone left the mic on and everyone can hear” bit). But then it’s almost quarter-of-an-hour before there’s anything that could be genuinely described as pornographic (full frontal yoga); after that, it’s back to watching some of the girls go to a bar and another go on a dinner date. A surprising amount of time is spent watching girls brush their hair — sometimes topless, which makes sense in a laughably gratuitous way, but other times… not.

    The first truly explicit scene depicts a girl on an acid trip having sex with a lamp shaped like a classical bust, while superimposed inverted images show the body she’s imagining it has. I mean… you couldn’t make that shit up, right? It’s more like an experimental movie than a porno. Later sequences are more straightforward porn, not least a lengthy lesbian scene; but the final sex scene is far from titillating, returning to that odd artiness with shots of vases and statues, closeups of appendages and limbs, unhappy faces, and a disquieting score. It ends by taking an exceptionally dark turn, with a murder-suicide that seems almost entirely unmotivated by anything that’s come before. It’s certainly not how you expect them to wrap up a film aimed at titillation.

    It would seem The Stewardesses was a film of very mixed ambitions. The end result is objectively terrible, and yet also kind of fascinatingly enjoyable and thought-provoking. It’s certainly not dull, I’ll give it that.

    2 out of 5

    * It hasn’t been rated by the BBFC since a cut version received an X in 1973. ^

    Experiments in Love 3D
    (1977)

    2019 #6a
    Darrell Smith | 28 mins | Blu-ray | 1.20:1 | USA / English

    Experiments in Love

    Where The Stewardesses makes you wonder “is it porn or is it a drama with gratuitous sex?”, Experiments in Love prompts no such quandaries: it’s porn. And yet…

    A sci-fi comedy porno short, the plot (yes, there is a plot) sees a pair of “sexy scientists” experimenting with 3D cameras under instruction from a room-sized computer that speaks with a dodgy Japanese accent, so that they can use the cameras for a university project on human sexuality. In practice, it’s a bunch of 3D trick shots performed by a pair of women in very, very little clothing. Eventually, their sexy experiments overheat the system, which attracts the attention of a nearby handyman, and… well, I’m sure you can guess what goes on from there.

    While there’s no doubting the primary purpose of Experiments of Love, it has a knowing irreverence that makes it pretty funny, plus a cornucopia of great-looking 3D stunts, that make it worth watching for more than just the relatively explicit softcore sex and nudity. Whatever you want from it (based on reasonable expectations), you’re likely to get.

    3 out of 5

    La jetée
    (1962)

    2019 #6b
    Chris Marker | 28 mins | digital (HD) | 1.66:1 | France / French | PG

    La jetée

    And now for something completely different…

    Told via a series of still photos with voiceover narration, this is the story of a man in a post-World War III future who is subjected to a time travel experiment. While others have been unable to withstand the mental strain, scientists believe that the man’s obsession with a childhood memory will work in his favour if they send him back to near that moment. With the experiment a success, the man begins to develop a relationship with a woman in the past; but the scientists want him to find a solution for their post-apocalyptic woes…

    Probably most widely known as the work that inspired Terry Gilliam’s Twelve Monkeys, La jetée is a seminal piece of science fiction filmmaking in its own right. By limiting the visuals to photographs, writer-director Chris Marker creates an eerie, discomfiting atmosphere, wholly appropriate to a post-apocalyptic future of enforced experimentation. But it also fits thematically: this is a film very much about memory, and what is one of our primary prompters of memory if not photographs? “Nothing distinguishes memories from ordinary moments,” says the narrator at one point. “Only later do they become memorable by the scars they leave.” Genuinely, a pretty profound thought to chew over.

    La jetée is a film I definitely need to revisit: it’s one of those films that is preceded by such a reputation that one struggles to judge it fairly on a first viewing, when expectations are too high. Put another way: although I’m not giving it full marks, that is not to dispute its standing as a classic.

    4 out of 5

  • Tomb Raider (2018)

    2020 #143
    Roar Uthaug | 118 mins | download (HD+3D) | 2.39:1 | UK & USA / English & Cantonese | 12 / PG-13

    Tomb Raider

    In this gritty(-ish) reboot of the videogame-turned-movie franchise (inspired by a similar reboot they did in the games), Lara Croft loses her most famous twin assets — her dual pistols (also, her giant boobs) — instead replacing them with a bow & arrow (and muscles, respectively) for an adventure that sees her travelling to a secret island where her father disappeared seven years earlier while in search of an ancient curse surrounding a long-lost tomb. Well, natch — clue’s in the title.

    “Movie based on a game” used to be synonymous with “shit”, and to an extent that reputation persists — it takes time to turn such widespread prejudices around — but there have been a few in recent years to buck the trend, like trashy-but-fun Rampage and (apparently) Angry Birds 2. For my money, Tomb Raider is part of that movement. For one thing, it manages to actually feel like the games (or, at least, what I presume the games are like — I’ve never really played any of them), which is a noteworthy point for a genre that sometimes spectacularly failed to understand its source material. Tomb Raider successfully recreates the running, jumping, shooting, puzzle-solving action of its inspiration without too overtly abandoning real-life logic for video game logic. Well, I say “real-life logic” — it’s actually “action/adventure movie logic”, but I think that’s allowed in an action/adventure movie.

    As an entry in that genre, it’s fun enough. It’s not going to compete for greatest-of-all-time status with its urtext, the Indiana Jones films, nor does it quite challenge the heights of more-overt homages like The Mummy, but it’s not a bad couple of hours’ entertainment in their mould. On the downside, the amount of preamble the plot goes through before taking us to the island is a tad unnecessary, mainly because there are a couple of early set pieces that feel forced to make sure there’s some action in the first act. I can understand having one or two (as much as anything, it establishes that Lara isn’t completely unskilled in combat and physical endurance), but it feels like padding. Besides, we’ve come for an Indiana Jones-esque affair — a bicycle race around grey London isn’t quite the right tone.

    Hanging around

    Alicia Vikander is more than capable in the lead role, both as an actress and a physical performer — she’s clearly developed the physique for the part, and apparently did her own stunts. Unfortunately, her accent is a little all over the place, a blend of English and Swedish (rather similar to Rebecca Ferguson’s) with occasional flecks of Irish. It’s kind of charming in itself, and I guess it just passes as “English” to Americans, but it’s too distractingly ‘off’ to truly pass as the upper-crust English girl Lara is meant to be. She’s surrounded by a supporting cast of reliable performers — Walton Goggins (surprisingly understated as the villain), Dominic West, Kristin Scott Thomas, Derek Jacobi, Nick Frost (just a cameo) — but none leave a particularly large mark.

    A quick word on the 3D, which is fairly enjoyable. I’d heard bad things, but it’s not awful, just unexceptionally adequate — a bit like the film itself, I guess. It adds somewhat to the “hanging over a chasm” shots (of which there are more than a handful), if nothing else.

    The film ends with a massive sequel tease, which I thought was fairly well handled. I’ve often criticised movies that exist purely to setup sequels/trilogies/franchises, and there are clearly parts of Tomb Raider that have been designed to do that, but it’s managed well enough to not really intrude until the final scenes. That said, it’s an odd kind of tease, suggesting more “corporate espionage” than “tomb raiding”. Unlike so many sequel teases nowadays, this one will actually be acted upon: after some umming and ahhing (the film wasn’t a huge box office hit, but did respectably outside the US, particularly in lucrative markets like China and the UK), it’s going ahead… with Ben Wheatley directing! Colour me surprised. (It was scheduled for release in March 2021, but the shoot was meant to begin in April 2020 and, surprise surprise, got cancelled, so who knows.)

    Tomb raiding

    A lot of this review has wound up couched in disclaimers but, fundamentally, I enjoyed Tomb Raider. It may not have a surfeit of original ideas, but once it gets going it offers up solid levels of excitement — highlights include a protracted boat crash in a storm, Lara negotiating a plane teetering on a cliff edge, and the titular raiding of a tomb, which occupies the third act. If Wheatley can supplement that with a dash of his trademark oddness, the sequel might well be worth looking forward to.

    4 out of 5

    The UK TV premiere of Tomb Raider is on ITV tonight at 7:50pm.

    The 100-Week Roundup II

    I had a nice little introduction written for this post when T2 3D was going to be part of it, but then that got too long and I posted it separately. So, anyway, here are three other films I watched almost two years ago but haven’t reviewed yet…

    Laura
    (1944)

    2018 #93
    Otto Preminger | 85 mins | download (HD) | 4:3 | USA / English | U

    Laura

    This classic film noir stars Dana Andrews as a New York detective investigating the murder of an advertising exec and society girl played by Gene Tierney, the eponymous Laura. And there’s a good twist halfway through that completely turns the film on its head, so I’ll keep this vague. (We can debate the merits or otherwise of openly discussing plot points from 75-year-old films another time. Heck, go on Twitter — I’m sure someone’ll be ranting about it from one side or the other right now.)

    As a murder investigation, Laura is a decent little mystery — there aren’t a huge number of suspects, but enough to keep you guessing; though I did eventually wonder if it actually hangs together 100% as a case. But that doesn’t matter when everything else about the film plays out so well. For starters, it’s noticeably well directed by Otto Preminger, with some nice shot construction and editing. Then the screenplay (based on a novel by Vera Caspary, and penned by three credited writers and one uncredited, as per the interweb) boasts lots of great dialogue. It’s rarely show-off-ily snappy, but it is effective and sometimes witty. That’s only appropriate considering one of the characters (Clifton Webb’s Waldo Lydecker) has a rep as a wordsmith — that wouldn’t fly if he didn’t have plenty of bons mots to offer.

    The rest of the cast are similarly noteworthy. Tierney is very plausible as the kind of gal everyone would fall in love with, and Andrews is equally so as the solid copper. A key supporting role is filled by a young-ish Vincent Price. (Can we call 33 “young”? As someone who was born in 1986, I’m going to go with “yes”.) It’s an accident of history how effective his casting is — not that his performance is bad in and of itself, but his later reputation brings certain expectations about how things might pan out. Is that warranted? Well, you’ll have to watch it to see…

    5 out of 5

    Jigsaw
    (2017)

    2018 #104
    The Spierig Brothers | 92 mins | streaming (HD) | 2.35:1 | USA & Canada / English | 18 / R

    Jigsaw

    After seven films between 2004 and 2010, the Saw series seemed well and truly done. But nothing once-popular can stay dead for long in Hollywood, and so 2017 saw this revival (and this year will see another, pandemic permitting). It seemed to go down quite poorly, and I’m curious as to why. It’s a Saw film through and through — if you don’t like the series, there’s no reason you should like this — so, I mean, why would you want or expect a Saw film to not be a Saw film? Maybe it’s just people who don’t actually liking Saw films all that much but chose to watch an eighth one anyway? Well, it’s up to them how they choose to spend their time…

    Anyhow, as a Saw film, I thought it was one of the better ones. Not the very best (that’s still the first), but definitely top end. I liked the final reveal, which is a big part of these films’ appeal — what twist they’re going to pull in the final moments. Sure, I’d guessed part of it well in advance, but it still had some neat aspects. (I do wonder how many people were fooled into thinking Jigsaw was still alive, somehow? He died many, many films ago; he’s not coming back.) In terms of the whole series, it does raise a load of questions — but digging into them is really getting navel-gazing about the series’ continuity. I’m not sure it’s worth worrying about.

    3 out of 5

    Inferno
    (1953)

    2018 #107
    Roy Baker | 84 mins | Blu-ray (3D) | 1.37:1 | USA / English | PG

    Inferno

    3D and film noir aren’t things you readily associate with each other, but there are a couple of them — see here for a few. Some might count Hitchcock’s Dial M for Murder, too. Inferno here is another borderline case. The plot definitely has a whiff of noir — a husband left for dead by his wife and her lover, which cause her moral quandaries but him not so much — but the telling is more of an Adventure movie, some might even say a Western, with the husband struggling through an arid wilderness. Plus it’s all shot in brightly-lit Technicolor.

    Whether you count it as noir or not, it’s most noteworthy for its 3D. It was one of the last films made in the format during the fleeting ’50s experiment, especially as its studio, Fox, were backing CinemaScope as a TV-beater instead (well, I guess they were right). It doesn’t make blatant use of its 3D — there’s no stuff poking at the camera (until the punch-up finale) — but it often brings a nice sense of depth often, including to the wide-open desert vistas. It was well received, too, with the New York Times saying it was where “3-D comes of age”, and others comparing it favourably to other movies of the era, which treated 3D as no more than a gimmick and squandered its potential. All of that said, a climactic fight does indulge in all the in-your-face aspects we associate with classic 3D movies — but it was a late addition forced on the film by studio head Darryl F. Zanuck, who wanted to see more overt 3D action. In summary up, director Roy Ward Baker commented, “the critics gave it unanimous applause, largely because it has a good story to which the process contributed greatly, as opposed to the usual stereo films which were simply exploitation stunts. However, we did include a few of the cliches, at the behest of DFZ. I guess he was right at that.”

    It is a pretty good tale. Baker wanted to make a film in which “the leading character spends long periods alone on the screen, where the interest would be in what he does, rather than what he says.” Nonetheless, we’re given a voiceover narration from the hero, which gets a bit twee, albeit with an enjoyable dry wit now and then, and an interesting pragmatism about his situation. There’s some neat editing to juxtapose his situation with that of his condemners, too: when he’s starving it cuts to wifey enjoying a lavish meal; as he digs in the desperate hope of water it cuts to her lover casually fixing himself a drink. Said wifey is played by Rhonda Fleming, who apparently was known as “the Queen of Technicolor” because of her complexion and vibrant red hair. Everyone in the film is in love with her — even the cops who’ve just met her comment on it — and, yeah, I buy that. There’s an amusing bit where her lover is desperate to throw caution to the wind and visit her room that night simply because it’s “been four days”, wink wink nudge nudge. Men, eh?

    4 out of 5

    Terminator 2: Judgment Day 3D (1991/2017)

    2018 #103
    James Cameron | 137 mins | Blu-ray | 2.40:1 | USA & France / English | 15 / R

    Terminator 2: Judgment Day 3D

    When I’ve previously reviewed 3D versions of films I’d already seen in 2D, I haven’t given them a new number — so why did T2 3D merit one? Partly it’s a ‘feeling’ that comes from it not being the original version. Most of those other re-watches were films that had a 3D release concurrent with their 2D one, but T2’s is a years-later addition. Still, that’s a thin justification. More importantly, however, they chose to perform the 3D conversion on the film’s theatrical cut, which I’m 95% sure I’ve never seen. The extended Special Edition was first released in 1993, which is before I first saw the film, and some of the scenes that have most stuck in my memory are from the longer cut. Is it shorter enough, and therefore different enough, to warrant a new number? Not sure. But combine that with the new 3D and I thought, yeah, that’s pretty different all round.

    The film itself… well, it’s an action/sci-fi classic, isn’t it? But I needed to rewatch it to remember how good it is — I left it off my 100 Favourites a couple of years ago because I decided it was on the long-list just because you’d expect it to be there; but, rewatching it, I realise I do agree with the consensus on its greatness. The most interesting ideas in T2 aren’t what it contributes to the series’ sci-fi mythology (though a liquid metal robot is pretty neat), but how it chooses to develop its characters. The T-800 now being a good guy is the obvious one, but check out the humans: sweet innocent Sarah Connor is now a hardened military-vet-type locked up in a mental institution where she rails against the system; and her son, destined to become the great leader of humanity, isn’t a hero in waiting but instead an irritating juvenile delinquent brat. It’s these extra dimensions, not just the sci-fi and the action, that make T2 such a great film.

    “Get away from him, you bitch!” ...no, wait, wrong Cameron movie

    That said, I think there’s an argument to be made that T1 has withstood the test of time better than T2. The original film is a grounded sci-fi thriller, its low budget working in its favour to emphasise those qualities: it’s fuelled by both big SF ideas and the grittiness of its present-day setting. T2, on the other hand, is pitched as an action-and-effects blockbuster — it was the first movie to cost more than $100 million (according to some reports, anyway) — but in that respect it’s been continuously surpassed by numerous other summer spectacles in the intervening decades. As I said, there are other reasons it endures, but I think on balance I might prefer the first movie.

    And talking of preferences, I definitely prefer T2’s extended cut to the theatrical one. There are numerous nice grace notes added to the longer cut, but it really comes down to one scene: the sequence where they take the chip out of the T-800’s head and Sarah considers destroying it, which includes the famous mirror shot. For me that’s one of the most memorable scenes from the entire film. It’s both a good scene in its own right and it’s neatly mirrored in the ending, when the Terminator makes Sarah lower him into the molten steel. I’ve always found it an odd idea that it wasn’t always there, and I continue to feel that way. The film seems incomplete without it.

    Now, the 3D… As you might expect from a genuine 3D advocate like Cameron, a lot of the effect is quite subtle — it’s aiming for realistic spacing, not an in-your-face exaggeration of depth. That kind of subtlety is arguably a reason a lot of people feel 3D adds little, because its benefit isn’t obvious. Heck, sometimes you don’t even notice it’s there. Ironically, that’s sometimes amongst the best 3D, but you might need a direct comparison with 2D to notice it. Put a good subtle-3D shot against its 2D counterpart and suddenly you’re aware of the natural awareness of shape and depth the extra dimension is adding. Now, T2 3D is not a prime example of this — it’s a film that was originally shot and designed for 2D, after all — but it does have moments that I think demonstrate that kind of effect. And, at other times, the 3D is much more obvious; mostly during big action set pieces, as you’d expect.

    Oh, if he only knew how many times he'd be back...

    The big downside is that they felt they had to apply a hefty dose of DNR before doing the 3D conversion. I’m sure there are reasons why film grain would get in the way of a conversion, but sometimes the DNR is too heavy-handed. It’s never at the level of the infamous Predator Blu-ray, where everyone looked like a slightly-melted waxwork, but there are times here when people seem to have been formed from smooth plastic rather than the natural pore-covered texture of real skin. How much this matters is a case of personal preference, but there were one or two times I did find it distracting — the meeting between Sarah and Dr Silberman, for instance, where the DNR has smoothed his skin so much that it looks like he’s been de-aged. If this was just on the 3D version then, hey-ho, that’s a side effect of the process, but I believe the same scrubbed version has been put out as the film’s official 4K restoration. That’s very disappointing.

    So, this is in no way my preferred version of the movie; but it’s such a great film anyway, and this re-watch has reminded me of that, that it can be nothing but full marks.

    5 out of 5

    Spider-Man: Far from Home (2019)

    2020 #49
    Jon Watts | 129 mins | Blu-ray (3D) | 2.39:1 | USA / English | 12 / PG-13

    Spider-Man: Far from Home

    For those not keeping track (who can blame you?), Far from Home is the third Spider-Man 2. It follows in the footsteps of Sam Raimi’s Spider-Man 2 from 2004, widely regarded as one of the topmost examples of the superhero genre, and Marc Webb’s The Amazing Spider-Man 2 from 2014, widely regarded as one of the poorest examples of the superhero genre. (As you can see, they’ve ditched the numbers. Probably wise at this point.) Personally, while I agree with the accepted view of Raimi’s film, I actually rather enjoyed Webb’s sequel. That’s important to know when I say that I think Far from Home is my least favourite Spider-Man 2 so far.

    This one is the sequel to 2017’s Spider-Man: Homecoming… except Spidey’s in the MCU now, so it’s also a sequel to Avengers: Infinity War and Avengers: Endgame. And that’s not just a checklist of “other Spider-Man appearances”, either: the events of Endgame are absolutely vital to the storyline of this movie. It may be another Spider-Man 2, but more than that it’s Marvel Cinematic Universe: Episode XXIII.

    Some people criticised Homecoming for having too much Iron Man and going too far in making Spider-Man into Iron Man Jr. I felt they got the balance about right, all things considered — it’s not very true to comic book canon, but, as the third big-screen iteration of Spidey in the modern era, it made a reasonable change. Far from Home is where it becomes overpowering. It has to lean heavily on the overall continuity of the MCU, which means all the business of The Blip (as what we call The Snap is called in-universe) and Iron Man’s death is front-loaded into the movie. The former is waived away as quickly as they can; the latter weighs heavy on the entire rest of the plot.

    We'll always have Venice

    Meanwhile, Nick Fury is trying to get in touch with Peter Parker, who isn’t interested in the big world-saving antics that implies. He’s more concerned with going on a school summer trip around Europe. How a poor kid from Queens is supposed to afford a weeks-long vacation around Europe isn’t even one of my issues with the film, but if you’re a Spidey devotee it might be. But go on this vacation he does, only to have it interrupted in Venice by a giant water man/monster thing, which is battled by a new hero Peter’s classmates reckon is a cross between Iron Man and Thor, and name Mysterio. Turns out he’s working with Fury, and Fury wants Mysterio and Spider-Man to team up to fight the possibly world-ending threat. But Peter doesn’t want to because he’s on holiday goddammit and he has a plan to woo MJ.

    So far, so Spider-Man — the conflict between his personal and ‘professional’ life is a regular feature of the character. But it’s the way this story unspools that didn’t work for me, as it drags its heels through every storyline it’s got going at once, indulging in comedic asides from a whole range of characters. Having a comic relief character or double act is fine, but four or five of them? It just eats up screen time. The lack of focus robs the film of impetus or tension, as the characters and plot both meander around Europe and from set piece to set piece.

    At least some of those set pieces are quite good. The Venice one is a nice change of pace, because Mysterio is off doing the main fighting bit, so Spidey’s left to tidy up around him. It’s something a bit different in a blockbuster action sequence. The real highlight, though, is an illusion trap Spidey endures, which is imaginative and creatively realised. Tom Holland gives the title role his all, but Jake Gyllenhaal is the standout as Mysterio, waltzing into the film and stealing it out from under everyone else’s noses. His real-life alter ego, Quentin Beck, has a really nice relationship with Peter, pitched as a kind of mentoring, older brother type role, admiring of the kid’s ability but not blind to his flaws. Even better, if you watch the gag reel you get the impression Gyllenhaal is kinda treating Holland like Beck treats Parker, which is… amusing.

    Super friends

    Like every other MCU film, Far from Home is competently made with occasional flashes of inspiration, so manages to dodge being an outright disaster. But, speaking as someone who thinks Homecoming is pretty great and saw a lot of promise in this sequel’s trailers, I was disappointed by the end result. Future Spidey appearances in the MCU are assured (naturally there’s a post-credits tease for them), so I hope they can recapture more of that Homecoming spark next time.

    3 out of 5

    Spider-Man: Far from Home is available on Sky Cinema from this weekend.

    As Far from Home is officially the final film of the Infinity Saga (I guess it works as an epilogue; or perhaps the saga’s very own feature-length post-credit tease), here are links to my reviews of every other MCU film so far… except for one, which this has reminded me I’ve forgotten to write.

    1. Iron Man
    2. The Incredible Hulk
    3. Iron Man 2
    4. Thor
    5. Captain America: The First Avenger
    6. Avengers Assemble
    7. Iron Man 3
    8. Thor: The Dark World
    9. Captain America: The Winter Soldier
    10. Guardians of the Galaxy
    11. Avengers: Age of Ultron
    12. Ant-Man
    13. Captain America: Civil War
    14. Doctor Strange
    15. Guardians of the Galaxy Vol. 2
    16. Spider-Man: Homecoming
    17. Thor: Ragnarok
    18. Black Panther
    19. Avengers: Infinity War
    20. Ant-Man and the Wasp
    21. Captain Marvel
    22. Avengers: Endgame
    23. this one!

    I’ve also reviewed a bunch of the shorts and (sorta-)tie-in TV series, but I’ll let you track those down if you’re interested.

    …and, in keeping with the style of the MCU, here’s a surprise post-‘credits’ mini-review!

    Peter’s To-Do List
    (2019)

    2020 #49a
    Jon Watts | 3 mins | Blu-ray | 2.39:1 | USA / English | 12

    Peter's To-Do List

    Sony chose to bill this as a short film on Far from Home‘s Blu-ray release, so I’m going to treat it like one and review it. Let’s begin with a dictionary definition (from, er, a very real dictionary, honest) of “short film”…

    short film
    noun

    1. an original motion picture that has a running time of 40 minutes or less, including all credits. “The Silent Child won the Oscar for best short film.”

    2. a deleted scene long enough that someone thought they could get away with pretending it was conceived and created as an original motion picture. “The Spider-Man: Far from Home Blu-ray includes a short film called Peter’s To-Do List.”

    That pretty much sums up my reaction to this — it’s a glorified deleted scene. To be precise, it’s several deleted scenes, so really it’s a deleted sequence — Peter running various errands before his trip to Europe. If you watched any of Far from Home‘s trailers then you’ll have seen almost all of this already because it’s footage that was used extensively to advertise the movie. I believe they also did some kind of special re-release of Far from Home with this bit cut back into the feature (an option not available on the home release).

    So, it’s not a short film, but it is a fun-enough deleted scene. It wouldn’t’ve been out of place left in the movie, but considering the first act is already too long and a trudge as it is, I see why they wanted to lose some stuff.

    3 out of 5