Expanding the Universe: September 2021

You might think that with college beginning, I won’t have as much time for my typical viewing habits. To that I say, nonsense! I very easily struck a balance in being responsible with my work and doing my duties as a lover of pop culture -- and what a jam-packed month for those duties! What follows is what I watched in September 2021.

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

Viewed on: September 3

Rewatched on: September 19

Read my full review here.

The Princess Bride (1987)

Viewed on: September 4

It can be hard to imagine a more culturally iconic movie with more quotable lines than The Princess Bride. Based on indelible source material, the incredibly sweet, exciting, and absolutely hilarious film features Cary Elwes and Robin Wright as Wesley and Buttercup, a dynamic duo if there ever was one. Anchored by its heart and ability to balance timeless comedy and true drama (with some truly amazing performances to boot), a classic like The Princess Bride only comes along so many times...it would be inconceivable not to appreciate it! [Grade: A]

Jerry Maguire (1996)

Viewed on: September 4

Like Ted Lasso, Jerry Maguire is a sports story that isn’t really about sports. Tom Cruise is the eponymous disgraced athletic manager who attempts to gain relevance again by representing football player Rod Tidwell (Cuba Gooding Jr.). Jerry Maguire is a bit too long, but that isn’t unheard of for a sports film -- not to mention Cameron Crowe is in the writer/director behind it all. There’s sports, there’s romance, there’s comedy, but most of all, there’s heart. It may not be my favorite kind of genre-blending movie, but Jerry Maguire had me at hello. [Grade: A-]

Fight Club (1999)

Viewed on: September 6

The first rule of fight club is, and say it with me...you don’t talk about fight club. This is an unfortunate development, as I had hoped to review it in this post, but I suppose this will have to do. But...if we’re not allowed to talk about fight club, how did all those people find out about the fight club? Some mixed messages there (completely coincidentally, just like this movie)...hmmm... [Grade: A]

Sing Street (2016)

Viewed on: September 7

Being a teenager in Ireland during the Troubles can’t have been easy. Derry Girls offers a satirical take on the idea, and Sing Street approaches it from a more adolescent point of view. Conor (Ferdia Walsh-Peelo) starts a band to impress a girl, and that’s just about all there is too it. Sing Street is an undeniably good time, giving us characters we can easily empathize with and some stunning realized sequences, elevated by some really solid performances. Throw an excellent soundtrack into the mix, and you have a charming musical with heart to spare. That last bit seems to be a theme so far this month, doesn’t it? [Grade: A]

Their Finest (2016)

Viewed on: September 8

Broaching philosophical and ethical questions about the nature of honor during World War II is not the only thing Their Finest does well. The film examines a fictional story of Catrin Cole (Gemma Arterton), who helps craft the perfect propaganda film to boost the reputation of the Allies after Dunkirk. One thing I did not expect Their Finest to be is bitterly funny (mostly due to the out-of-work actor Ambrose Hilliard, playing impeccably by Bill Nighy), but it brings a particular attitude to the aspect of the war that most have forgotten about. I had never heard of this movie before watching it, and I believe more should see it. [Grade: A-]

Malignant (2021)

Viewed on: September 10

Read my full review here.

Black Mirror: Rachel, Jack and Ashley Too (2019)

Viewed on: September 10

Being the first Black Mirror episode I watched after a long break, I expected a dismal and depressing episode with an incredibly bleak ending (something anthology series seem to rely on). Instead, I was treated to a weirdly upbeat episode where Miley Cyrus plays pop superstar Ashley O. Angourie Rice and Madison Davenport co-star as teenagers who have to rescue Ashley when her parasitic aunt (Susan Pourfar) forcefully puts her into a coma. The episode definitely gets stronger with a better sense of story direction in its second half, but the performances really make the viewing experience what it is. If this were the last Black Mirror episode I watched, you would have no problems from me. Unfortunately, it was not yet September 23... [Grade: A-]

Twilight (2008)

Viewed on: September 11

Before watching Twilight, I genuinely thought the term “sparkly vampires” was an exaggeration, but no, it turns out it was a very literal description of the effect of the sun on Edward Cullen (Robert Pattinson) and his vampiric family. Kristen Stewart stars as Bella, the new girl in town, who finds herself falling for Edward, not caring about his true identity. Twilight was not nearly as bad as I was expecting, but it still presents itself as essentially a zero-sum movie. Despite the establishment of characters, nothing much happens. The conflict is jammed-in and secondary to everything else. Did I have to watch this series? Absolutely not, but I had to see what all the fuss was about. Let’s just get on with it. [Grade: C]

First Cow (2019)

Viewed on: September 12

The acting is undeniably fantastic and the character development is strong, but First Cow drags on endlessly. I suppose I should expect this from an A24 film, and hey, maybe The Green Knight was the exception. [Grade: B]

Lucifer Season Six (2021)

Viewed from: September 10-13

Read my full review here.

The Twilight Saga: New Moon (2009)

Viewed on: September 13

While it maintains a visual edge over its predecessor, New Moon is in no ways a better film. Robert Pattinson and Kristen Stewart still need acting coaches, but at least the fight sequences are marginally better and Michael Sheen makes a scene-stealing appearance. If the rest of the series continues in this vein, it might leave me dead in the water. Please help me with my vampire puns. [Grade: C]

Man with a Movie Camera (1929)

Viewed on: September 14

The innovation that has come in the last century is absolutely remarkable, and experimental documentaries like Man with a Movie Camera serve to further impress us as snapshots of what was possible way back when. Progressive documentarian Dziga Vertov (real name: David Kaufman) is behind the camera along with his brother Mikhail, and over a period of three years, they filmed pieces in three major Soviet cities. You will be genuinely amazed at some of their methods, and they still hold up to this very day. It just goes to show what a man with a movie camera can really do. [Grade: A]

I Love Sarah Jane (2009)

Viewed on: September 15

A small, contained story set during an evidently larger conflict, this short film debuted at Sundance, and I can only imagine the reaction it got. Every other piece of dialogue is a curse word, but it manages to incorporate a surprising amount of themes into its brief runtime -- including, but not limited to: boyhood, toxic masculinity, devastating loss, and fitting in. Future Disney star and del Toro darling Mia Wasikowska plays the titular Sarah Jane, whom young Jimbo (Brad Ashby) is smitten with. Zombies roam the world and they are surrounded by idiots, but Sarah Jane is the only thing that matters to him. Fantastic production design and makeup aside, I Love Sarah Jane is far too brief, but it certainly has its well-paced moments. [Grade: B+]

The Company of Wolves (1984)

Viewed on: September 17

Like Man with a Movie Camera and Sarah Jane, I watched The Company of Wolves in an academic context, but I still very much enjoyed it. The best way to describe it is as existential fairy tale horror, a tamely R-rated film crowded with metaphors about desire, willful repression and everything in between. We, as the audience, keep descending through layers of dreamlike narrative until the climax brings us a retelling of Little Red Riding Hood that is...odd, to say the least. Still, like Sarah Jane, the makeup is exceptional and the performances are solid. This is 1980s fairy tale if ever I saw one. [Grade: A-]

The Twilight Saga: Eclipse (2010)

Viewed on: September 15

I fear I am becoming numb to the mundanities these movies are subjecting me to. While Eclipse mercifully has some action built up and some actual skill behind the camera, there is still the undeniable fact that the leads are just blatantly uninteresting. Kristen Stewart, Robert Pattinson and Taylor Lautner have proven their acting skills elsewhere (Lautner less so), but they are still just so lifeless in their Twilight roles. My puns are getting better, right? Still, the plot moves slightly forward, and the love triangle between Bella, Edward and Jacob seems to be coming to a welcome end. Unfortunately, there are still two more movies, but this means the story has to start picking up steam, right? Right?! [Grade: C+]

Candyman (2021)

Viewed on: September 20

Read my full review here.

Rocky (1976)

Viewed on: September 20

I could do Sylvester Stallone impressions all day. Maybe not all day, but most of the day. To watch the movie (for the first time) that made him a star with the hindsight we have on his career now is truly astounding. Rocky is a victorious, self-contained power anthem disguised as a movie, and it really is Stallone that tethers it; as the writer and star, he has a personal tie to this movie that will not be ignored. I also did not expect to genuinely laugh at this movie as much as I was expecting to -- it definitely has charm to spare, which again can be contributed to its lead. Seeing Rocky in theaters must have been a true experience, even more so than watching it with retrospective. [Grade: A]

Las Hurdes: Tierra Sin Pan (1933)

Viewed on: September 21

Las Hurdes, also known as Land Without Bread or Unpromised Land, was directed by Luis Buñuel to showcase a village that is poor to such extremes that it is barely comprehendible. I will not spoil its true nature (do more research if you wish), but I believe it is better once looked at in hindsight. Its ethics are certainly debatable, but it remains a very interesting examination of poverty and suffering, no matter its presentation method. [Grade: B]

Star Wars: Visions Season One (2021)

Viewed from: September 22-25

Read my full review here.

Black Mirror: Men Against Fire (2016)

Viewed on: September 23

Subtlety is not the specialty of Black Mirror, and this became apparent when I watched Men Against Fire, the finale of the third season. A by-the-numbers story that follows a futuristic soldier (Malachi Kirby) hunting mutants known as roaches, Men Against Fire makes its message known very early and has no use for delicacy when addressing it. Unfortunately, though, that same message is as timeless as it ever has been, which is by no means a good thing. [Grade: C+]

Psycho (1960)

Viewed on: September 25

I can only imagine what it must have been like to sit in a theater and watch Janet Leigh get brutally stabbed in glorious black-and-white on the big screen sixty-one years ago. Psycho plays its cards close to its chest, all while masterfully setting up (sometimes albeit confusingly) an amazing twist that allows Anthony Perkins to show off his off-kilter, multi-varietal acting talent. Not only is it a convincing horror, Psycho is also a great mystery, capped off by one of the most unnerving and slowly exciting endings of the 20th century. [Grade: A+]

Dear Evan Hansen (2021)

Viewed on: September 26

Read my full review here.

The Twilight Saga: Breaking Dawn Part 1 (2011)

Viewed on: September 27

If you were looking for proof that Twilight was an extended metaphor for abstinence and caution, I present to you Breaking Dawn Part 1. In a movie that absolutely did not need to be the commencement of a two-part finale, Bella and Edward get married and have a baby, all in the span of a week. Everything you love to hate about the Twilight series is here, from the bizarre editing choices to the weirdly underperformed drama. The conflict is different but still feels exactly the same, and just like the last installments, I have absolutely no idea where the story can go from here. Also, I feel lied to -- the Netflix cover art for this movie featured Aro, played by the magnificent Michael Sheen, sitting on a throne in a pure white room. Not only does Michael Sheen make a brief ten-second appearance, but the throne was nowhere to be seen. I would be surprised if the last movie offers any sort of penance for the unfortunate mess the series not only started as, but has progressed further into. [Grade: D]

The Power of Ten (1977)

Viewed on: September 28

If you want to ponder our place in the universe and have a small existential crisis, watch The Power of Ten and take a good, long look inside yourself. No, seriously, watch it. [Grade: A+]

Venom: Let There Be Carnage (2021)

Viewed on: September 30

Read my full review here.

Review: “Visions” Offers Unique Interpretations of the “Star Wars” Universe

As any timeless franchise should, Star Wars continues to grow and evolve in the era of streaming, and suddenly we have instant access to more content than we’ve ever had before, including every movie, every series, every LEGO special and many more. Disney+ has begun to expand its Star Wars roster, and this endeavor includes a series that received only limited promotion — Star Wars: Visions.

Seven Japanese anime studios were given an allocated amount of time to tell a story set in the Star Wars universe, and the results range from remarkably entertaining to passably interesting. I should preface this by saying that I am not necessarily a fan of anime, but these shorts are, for the most part, accessible to those unfamiliar with the genre. Their involvement in the overall Star Wars universe varies as well, with some telling minimalist stories with one or two characters, and some introducing revolutionary ideas that could make their way into future stories.

Review: “Dear Evan Hansen” Brings Broadway to Cinema, with Mixed Results

There are certain things that are meant to be seen on the stage. Some of these translate very well to the screen — Into the Woods, Sweeney Todd and Little Shop of Horrors are prime examples — but unfortunately, Dear Evan Hansen isn’t one of them.

I've seen the stage play twice, and I’ve loved it both times. Upon its release, it received praise from critics and audiences alike for being an emotional, empathetic tale about growing up, facing the truth and the value of family — some very strong themes, that by all means should translate very well into any medium.

The film adaptation of Dear Evan Hansen brings original Broadway star Ben Platt back as the titular lead, and yes, it’s as jarring as you’ve heard. Platt is a 28-year-old playing a high school student, and that was all I could think about most of the time he was on screen. The aged-down makeup, involving some curly hair to disguise his age, is only partially successful, and it can be distracting. It doesn’t detract from his performance in any way, though — Platt is still the best part of the film, from his stellar vocals to his heartbreaking performance as a teenager struggling with deep-set (if at times stylized) anxiety.

Review: “Candyman” Returns in a Visual (and Visceral) Rebootquel

Horror sequels that feature a more modern take on the source material while simultaneously continuing the story begun by the original are nothing new. Leprechaun Returns, Halloween, Spiral (and, to a lesser extent, Wrong Turn) have all thrown their hats into the ring, with Scream, Texas Chainsaw and Jeepers Creepers all set to continue the tradition in coming years. Of course, the strategy makes sense — it needs to be accessible for new audiences, while also satisfying for longtime fans. It’s a tough balance to strike.

Nia DaCosta’s Candyman (also continuing the trend of having the same name as the original) isn’t sure what it wants to be. Is it a reboot? Is it a sequel? Does it want to maintain its unique spin on the villain, or keep reminding its viewers of the original killer, played by the incomparable Tony Todd?

As a standalone movie, Candyman is absolutely fantastic. Yahya Abdul-Mateen II gives another star turn as Anthony McCoy, a struggling artist living in the now-gentrified neighborhood of Cabrini Green, a prominent setting of the original Candyman. He becomes obsessed with the local legend of the titular hook-wielding murderer, even incorporating it into his art pieces.

Review: “Lucifer” Bows Out with a Bang

Somewhere, there’s a textbook that final seasons of established series use to chart out their conclusions. The sixth and final season of Lucifer doesn’t follow that textbook exactly, but it was definitely used as a reference guide.

One luxury that Lucifer can afford with its sixth season, especially with a Netflix budget and no runtime constraints, is being able to reflect on its progress through its five-year run (including flashbacks that show just how much Tom Ellis’s look has changed from the debut season), even poking fun at the formula that its procedural aspect has done to death. The show goes about this in clever ways and doesn’t skimp on giving every character a perspective, showing how far each of them has come throughout the show’s run. Even Dan (Kevin Alejandro) returns — a somewhat puzzling turn after his character conclusion in Season 5 — but it’s for the best, and it’s all in the name of tying up loose ends, another must-do in the textbook of final seasons.

Review: “Malignant” Shows Cinematic Horror is Back

Unfortunately, any hope of director James Wan abandoning his penchant for jump scares is abandoned in the very first scene of Malignant, which serves as a return to the genre for Wan (who hasn’t directed horror since 2016’s The Conjuring 2). However, Wan has proven himself to be a reliable measure for success — whether that holds up during a global pandemic is to be determined — and while I’m not thrilled about mainstream modern horror being mainly jump scare-focused, Malignant is effective in what it strives to do.

After a Saw-style intro sequence with very similar music, we meet Madison (familiar horror actor Annabelle Wallis), a woman trapped in an abusive relationship with her husband (Jake Abel). Without spending too much time on character, Malignant delves into horror very quickly — household objects begin moving, lights turn on and off, and weapons are fashioned from strangely-shaped decorations. Madison begins to see visions of some incredibly grisly murders, and from there it’s a hop, skip and a jump to deducing that she’s somehow connected to the victims.

Expanding the Universe: August 2021 (Part Two)

Read the first part of the article here.

Pirates of the Caribbean: Dead Man’s Chest (2006)

Even though it shows just how overcomplicated the Pirates franchise can be, Dead Man’s Chest still manages to be an enchanting adventure that properly utilizes the talents of its stars, most predominantly Bill Nighy as the fearsome CGI creation that is Davy Jones. It shows that the adventures of Jack Sparrow can thrive off of new ideas and the infusion of new lore, even if it wears itself thin more than a few times. [Grade: B+]

Avengers: Infinity War (2018)

Heroes converge from throughout the Marvel Cinematic Universe to stop a purple giant from wiping out half the universe. Infinity War never needed any big selling points -- its position as the culmination of the MCU was enough -- and yet it delivers on any expectations we might have had, giving us incredible action, flawless visual effects and great character moments that continue the storylines and arcs of the heroes we love. It may be a little overcrowded, but the fan service moments are rife and the emotional momenta hit hard, just as they should. [Grade: A]

Review: “Shang-Chi and the Legend of the Ten Rings” is a Mystical MCU Adventure

Just as light has darkness, yin has yang, Cheech has Chong, Quentin Tarantino has Samuel L. Jackson, Marvel movies have…clichés.

This isn’t, by any stretch, a bad thing. Movies sustain these clichés for one simple reason: because they work, and success is often borne from their use. Shang-Chi and the Legend of the Ten Rings, Marvel’s latest (and rather unconventional) film, is also an origin story for its titular hero, which further seems to limit its capacity for novel ideas.

Nearly every Marvel Cinematic Universe origin story, from Ant-Man to Black Panther and everywhere in between, has orbited the theme of family, mostly dysfunctional ones. As I mentioned, it’s a formula that works, but it’s gotten somewhat tiring over the years.

Expanding the Universe: August 2021 (Part One)

As you are reading this, I am heading off to college, so you might imagine that my last month living at home was a busy one. However, as the summer wound to a close, I still found time to sit down and enjoy movies (and TV series) alike. Without further ado, here is what I watched in August 2021.

Harry Potter and the Prisoner of Azkaban (2004)

Gary Oldman enters the fold as Sirius Black in the Harry Potter film that dares to go deeper, and darker, with its narrative. With new revelations come new villains, and the story is so compelling you might completely forget Voldemort is completely absent. David Thewlis is also an excellent addition to the cast, in a beautiful adaptation that has some of the best character moments of the franchise. [Grade: A+]

Scream 4 (2011)

While not the best Scream sequel, the franchise continues to honor its influences and pay tribute to the horror of its time with Scream 4. Sidney, Gail and Dewey are all back, and while the supporting cast is not nearly as delightful as the big three, Wes Craven still knows how to make a damn good horror movie. Not necessarily a scary one, but a fun one nonetheless. [Grade: A-]

Review: Mando and his Fan-Favorite Ward Return in “The Mandalorian” Season Two Premiere

Note: This review was originally published in The Cape Cod Chronicle in October 2020.

Even if you’ve never seen The Mandalorian, you’re undoubtedly familiar with its most iconic character: Baby Yoda, known in-franchise as ‘The Child,’ swept the nation with his cuteness and proved how unprepared Disney was with merchandising for the show. Star Pedro Pascal even described the Child as an “incredible scene partner,” showing he’s just as beloved on set as he is in our hearts.

Unfortunately, if you’re watching The Mandalorian solely for your Baby Yoda fix, you might have to wait a little while. The record-breaking series is back with a new season that will continue through to the end of the year. The titular Mandalorian (played by Pascal) returns, this time with a new mission that relegates Baby Yoda to a mere McGuffin, a plot device to drive the story forward. That’s definitely not a bad thing, though; it means we get more of Pascal and his ever-growing comfort in the role fo the Mandalorian.

Review: “The White Lotus” is an Intriguing Character Study

There’s a lot of weird TV out there, some fantastical and completely unrealistic, and others that feature strange and hard-to-believe characters, yet feel completely down-to-earth. HBO’s The White Lotus is a fantastic example of the latter.

Running only six episodes, The White Lotus is perhaps the most perplexing series I’ve had to review thus far. In the premiere, we meet a group of diverse guests who all happen to be staying at a Hawaiian resort called (you guessed it) the White Lotus in the same week. Throughout the season, we get to know these characters closely and intimately, though the brevity of the season leaves a lot to be desired. We’re seeing snippets of these characters’ lives, but I wish we got to dig a little deeper.

Review: Derivative “Reminiscence” Offers Nothing New

Have you ever heard the tale of Orpheus and Eurydice? It certainly has more to say than Reminiscence, in which Hugh Jackman, in the lead role, mispronounces the name of Orpheus’s wife on more than one occasion.

Written, directed and produced by Westworld EP Lisa Joy, Reminiscence is a science-fiction thriller that features Hugh Jackman as former soldier Nick Bannister, now running a facility where people can revisit their memories in a tank filled with water, fantastical technology explained away with a throwaway remark. Like in so many futuristic films, the “how” doesn’t matter here.

Does Reminiscence decide on a genre? Absolutely not. After some vague, nonspecific world-building at the start, it could easily be a buddy dramedy if the story focused more on the relationship between Nick and his colleague, Watts (Thandiwe Newton, desperately trying to disguise her accent). But no — enter Mae (Rebecca Ferguson, with a surprisingly excellent singing voice). She begins a fling with Nick, which culminates in her mysterious disappearance — hence the main conflict.

Review: “Titans” is Back, and Better Than Ever

If there’s anything that the first two seasons of Titans had, it was far too many comic book characters to keep straight. So of course, the natural course for the third season premiere is to introduce a whole host of new characters to contend with.

These include a post-Killing Joke Barbara Gordon (Savannah Welch), now taking her deceased father’s place as Commissioner of the Gotham City Police Department; an incarcerated Jonathan Crane, aka Scarecrow (Vincent Kartheiser), who works as a consultant for the GCPD; and the mysterious Red Hood, a new crime figurehead emerging in Gotham.

The first three episodes of Season 3 are largely dedicated to a single arc, which means that some characters are sidelined to make way for the narrative. Gar Logan (Ryan Potter), Conner (Joshua Orpin) and Kory Anders (Anna Diop) don’t get a lot to do, and Rachel Roth (Teagan Croft) is conspicuously absent entirely from the opening episodes.

Review: “Stargirl” Season Two is Off to a Rocky Start

After a successful and impactful first season, the CW’s Stargirl had nowhere to go but up. Its leads are captivating, the villains are creatively brought to life, and there's enough to satisfy comic book fans and casual viewers alike.

The second season premiere, the first in a “Summer School” arc, sees Courtney Whitmore (Brec Bassinger) obsessed with maintaining peace in Stargirl, even after the defeat of the Injustice Society of America. Courtney’s friends, though, are slightly burnt out after numerous night patrols and useless defending from an enemy that isn’t even there. I feel like this is a common trope in superhero shows and movies — the protagonist is obsessed with being a hero, and needs time off. Courtney’s “time off” comes in the form of summer school, which she is being forced to attend because of a sharp drop in academic quality.

Before all that, though, the episode starts off with a creepy, slightly anachronistic cold open set sometime in the mid-20th century. Aside from an easily missable name reference, the contents of the intro have no application in the episode, so I’m interested to see how (and when) it gets incorporated into the actual story.

Review: “Free Guy” is Unadulterated Video Game-Style Fun

If there’s anything Free Guy could’ve benefited from, it’s even more Ryan Reynolds.

In the film, Reynolds plays Guy, an NPC (Non-Player Character) in a hit video game character called Free City. If there’s one thing NPCs aren’t supposed to do, though, it’s wander off their pre-programmed daily script. That’s exactly what Guy does, much to the surprise and chagrin of the game’s programmer, Antoine (Taika Waititi). Despite some great Reynolds-isms (and renditions upon them) peppered throughout the film, he still oddly feels a bit restricted. As fun as Free Guy ends up being, I think there’s a case to be made for more of Reynolds’ signature charm.

That charm, by the way, is all over this movie. Even though he’s doing an innocent, happy-go-lucky, Will-Ferrell-from-Elf-type performance, the Ryan Reynolds we all know and love shines through, comedic sensibility and all. He’s easily one of the best parts of this movie — he has to be, as one of its main selling points.

Review: “The Suicide Squad” Shows Just How Great Comic Book Movies Can Be

One thing writer/director James Gunn is excellent at are conversations between intentionally quirky characters that come off as awkward at first, but end with a witty comment that make you smile and think that was amusing — what a clever dialogue that informs both characters involved. His new DC Comics film, The Suicide Squad, is absolutely chock-full of moments like these.

Keep in mind, I’m not complaining about these — they’ve been a Gunn staple since 2006’s Slither — but never have his style been so omnipresent than in The Suicide Squad. This is what happens when a director is given complete creative freedom on a no-holds-barred comic book film, and it’s absolutely glorious.

The cast of The Suicide Squad (which acts as a sequel/reboot to the 2016 film of a similar title) is littered with colorful characters, cherry-picked from the DC Comics by Gunn for their particular, oftentimes wacky, skills. TDK (Nathan Fillion), Blackguard (Pete Davidson), Savant (Michael Rooker) and Javelin (Flula Borg) are among the supervillains recruited by big-time government suit Amanda Waller (a returning Viola Davis) and Colonel Rick Flag (Joel Kinnamen) to liberate an island that recently experienced a violent coup and a change of leadership. No one is safe, and anyone could die at any moment — so don’t get attached.

Expanding the Universe: July 2021

Another month has come and gone, and the summer is drawing to a close. Blockbuster theatrical releases picked up in July 2021, but I still found plenty of time to revisit some old favorites. Here are succinct reviews of what I watched in July 2021.

Minions (2015)

By all rights, this movie should not have worked. Take the main characters: silly yellow talking fire hydrants who speak a nonsensical, hodge-podge language. How would you be able to stand 90 minutes watching them travel the world and romance actual fire hydrants? Somehow, though, Minions pulls it off, giving the titular characters motivations and *shudder* personality. Pierre Coffin does wonders as both director and the voice of the Minions, and there are entertaining visual gags aplenty. [Grade: A-]

The Boss Baby: Family Business (2021)

The Boss Baby: Family Business manages to top the original, cramming more inventive ideas in addition to an absolutely insane villain reveal. I can describe it as nothing more than typical action-packed family fun; there is always something happening onscreen, oftentimes too much. The themes cover family and growing up -- nothing new there -- but something about Family Business feels fresh. Perhaps the charm of a returning Alec Baldwin carries the film, but it is quite possible Family Business is simply a better film. [Grade: B+]

The Fear Street Trilogy (2021)

One advantage of the Fear Street trilogy, released by Netflix over three weeks and based loosely on novels by R.L. Stine, was that all three of the films were made sequentially with a singular, interconnected story in mind. Every revelation is intricately set up, references carry over and pay off, and the viewers are rewarded for catching little, seemingly superfluous details. Part One: 1994 is a stylized nostalgia fest undoubtedly made with a ‘90s ‘to do’ list side-by-side with the script. It introduces us to the mythology of the Sarah Fier, the so-called Witch of Shadyside, a town with increasingly bad luck and a growing number of bodies. Part Two: 1978 brings us back in time to show us a massacre at a summer camp, with awesome performances from Sadie Sink and Emily Rudd. Part Three: 1666 shows us the necessary context behind Sarah Fier and her curse, and does a great job of answering almost every question we have. The Fear Street series also has the benefit of being rated R, which means each one is a no-holds-barred gore fest. And to top it off, each one is better than the last, in a rarity for horror movie franchises. [Grade: A+]

Review: Welcome to the “Jungle Cruise”

I must admit, I was pleasantly surprised when Jungle Cruise, the latest Disney period film to be based on a theme park ride (but almost certainly not the last), opened with an orchestral arrangement of a Metallica song — performed by Metallica themselves! It’s a bit of an odd choice, but the music, courtesy of James Newton Howard, continues to be wonderful throughout the entire film — thank goodness for its strong start.

Jungle Cruise stars Emily Blunt as Dr. Lily Houghton, who travels to the Amazon with her brother McGregor (had to look that one up), played by the pathetically charming Jack Whitehall. In the Amazon, Lily meets Frank, the charismatic and witty skipper of a charter boat played, of course, by guaranteed franchise-starter Dwayne Johnson. The three of them navigate through the jungle (I wish Jumanji hadn’t snatched up “Welcome to the Jungle,” an orchestral cover would’ve been a dream come true) in search of a MacGuffin that will heal the world, or something. It’s all in the name of adventure — the destination is less important than the journey here.

Review: Courage and Honor Drive “The Green Knight”

The best word I could think of as I sat in the theater, watching the credits fly by on screen for David Lowery’s new film The Green Knight, was “wow.” My thought process was soon able to transcend that single word and I could form coherent thoughts. Here they are.

Adapted from the 14th century poem Sir Gawain and the Green Knight, this hybrid fantasy/drama features Dev Patel as the titular Sir Gawain, faced with a choice one day in King Arthur’s court. A knight (played by the unrecognizable, yet incomparable Ralph Ineson) offers a challenge, for any member of the court to lay a blow against him with his own axe. However, one year hence, the knight will be able to do the same to the brave one who dares face him. The brash Gawain, seeking glory and recognition, decapitates the knight, but of course that isn’t the end. For Gawain, the story has only just begun.

As a critic, this film is hard to review. As a viewer, time lost all control as I was pulled into a fully-realized, dirty, grimy, brutal fantasy world, in which the rules of magic are never explained and you aren’t sure what’s real and what isn’t until the film’s conclusion…and even then, not every question is answered. I would be lying if I said this film didn’t spark conversation with the people I saw it with — in fact, The Green Knight led to some of the best film discussions I’ve had in a while.

Review: “Blood Red Sky” Puts Vampires on a Plane

In another world, Blood Red Sky is a tale about finding the line between the human and animalistic parts of ourselves, and the sophistications of maintaining a balance between the two. In our world, on the other hand, it’s just about vampires on a plane.

I’m kind of glad we got the story that we got, though. It may not be that deep or intelligent, but Blood Red Sky pulls off its premise surprisingly well. German widow Nadja (Peri Baumeister), apparently suffering from leukemia, boards a plane to New York with her soft-spoken son Elias (Carl Anton Koch). The plane is hijacked mid-flight, and for a bit we follow the expected story pattern of terrorists taking control. This time, though, there’s an added twist — here there be monsters, and they’re hungry for blood.

It might sound delightfully absurd (á la Snakes on a Plane), and believe me, it is, but there’s so much more to it. The film plays everything completely straight, even the absolutely ludicrous concepts it continues to introduce. Writer/director Peter Thorwarth’s story makes the most of its premise and gives us exactly what it entails — an action-packed, hyper-violent thrill ride. Aeorophobics, beware.

Review: Shyamalan is Back on Top in Surreal Thriller “Old”

This afternoon, I tried explaining the entire plot of M. Night Shyamalan’s new thriller Old to my mother, who promised me she was never going to watch it. After doing the best I could, I realized how absurd and nonsensical it sounded coming out of my mouth. The story, but all rights, is relatively simple, so I had no idea why I couldn’t do it justice. Maybe I’m just bad at explaining the plots of films I enjoy.

Then I realized: Old is an experience. The eerie one-word title and promising plot twists don’t mean too much at all when you’re not watching them onscreen. Shyamalan’s films have always been twisty and turny, but Old is something else entirely — it’s visceral, profound, disturbing, depressing, and everywhere in between.

Review: “Space Jam: A New Legacy” is an Entertaining Diversion

There’s only so much star power a movie can have. Pulp Fiction and Interstellar show how to do it right — the cast gets their time to shine, and isn’t overshadowed by the sheer amount of talent involved. The opposite is true for Space Jam: A New Legacy.

While the sequel to the 1996 cult classic isn’t so much bogged down by the actors involved (though there are many), it mostly suffers from an influx of intellectual property (IP). Warner Bros, the studio behind about half of the movies and shows you love, has decided to throw all of their IP at the Space Jam wall and see what sticks. This movie is about the Looney Tunes playing basketball, but you’ll see cameos from King Kong, the Iron Giant, the Scooby gang, Pennywise the Dancing Clown, and many more. Too many, in fact.

Review: “Gunpowder Milkshake” is Just Another Day at the Office

Imagine a psychedelic 70s action movie, made in the present day. Now imagine that it was the most ridiculously violent thing you’ve ever seen.

Bingo. You’ve got Gunpowder Milkshake.

This new action/comedy from Netflix stars Karen Gillan as Sam, an assassin who loses the protection of a powerful guild after a job goes south. So she gives herself a new mission — protecting Emily (Chloe Coleman), the spunky eight (and three quarters) year old daughter of one of Sam’s targets. This is set in a world with a hospital, library and diner specifically for hitmen (and, more importantly, women) — very clearly inspired by John Wick and Hotel Artemis, just a few of the many influences that the film boasts.

Review: Ice Nine Kills is Top of Their Game with “Hip To Be Scared”

“This confession has meant…nothing.”

Horror-themed band Ice Nine Kills is a recent discovery of mine. Their best album (as “Hip To Be Scared” proclaims) is undoubtedly The Silver Scream, released in 2018. Most every song is inspired by a horror film, leading to some wildly inventive lyrics and brilliant melodies.

While they specialize in heavy metal, I enjoy Ice Nine Kills the most when they stray from that path. Their acoustic-only live album Undead and Unplugged, recorded at the Stanley Hotel in Colorado, is a favorite of mine, because it converts their usually fast-paced and loud songs into subtler, slower versions that I can get on board with.

Ahead of the debut of their new album, The Silver Scream 2: Horrorwood, INK (as they’re known by their fanbase) has released a single from the album entitled “Hip to be Scared.” It’s inspired by American Psycho, and features numerous lyrical references to specific events in the film. They don’t mean much to me at the moment as I haven’t actually seen the film, but what I can appreciate is that the song combines moments of heavy metal with a more subdued melody, fit in between musical skits that poke fun at the band itself. It’s INK at their most self-referential, irreverent humor yet, and I’m here for it.

I feel like this is the beginning of a reinvention, and The Silver Scream was the leap they needed to get here. If The Silver Scream 2 includes more songs like this, I’m fully on board. And if the devil makes exceptions, consider me an All-American Psycho. [Grade: A]

Review: The First Season of “Loki” Takes the MCU to Bizarre New Heights

There’s never been a better time to be a Marvel fan.

They’re spoiling us with content, honestly. Black Widow released smack dab in the middle of Loki’s run, and we have another Disney+ TV series coming in just under a month. And when you think of the sheer amount of films they have planned for the future…hoo boy.

But today, I’m here to talk about the first season of Loki, which changed the game of the Marvel Cinematic Universe yet again, introducing the Time Variance Authority, which is perhaps “the greatest power in the universe,” according to the Trickster God himself.

First of all, I’ll be discussing major spoilers in this review — I don’t know how I’d cover this show with mentioning some key plot points. If I discussed anything specific beyond episode one, I’d be branching into that territory, so I just figured I’d go full send, no holds barred. It’s what Loki would want.

I’m fresh off the season finale, so excuse any recency bias I may have. One thing that I can be sure of, confidently, if that Loki is the most creative MCU series thus far. WandaVision (which had the benefit of being first) did something completely different, and The Falcon and the Winter Soldier returned to the more straightforward MCU procedure. Loki once again threw away the playbook and elected to forge its own path…and damn, is it glorious.

The 2021 Emmy Nominations Celebrate what the Oscars Ignore

For decades, the Academy Awards have been largely about recognizing lesser-known films and performances. Be honest — how many average viewers saw Minari, The Father or Sound of Metal, in comparison with the 2020 nominations (Jojo Rabbit, Joker, Once Upon a Time in Hollywood etc). To be fair, there weren’t many high-awareness movies released in 2020, but it’s always felt to me like the Golden Globes and Emmys have been better about appealing to the masses, as opposed to solely the cinephiles.

This year especially, the Emmys have seen fit to recognize two big blockbuster franchises that the Oscars have largely ignored for years: Marvel and Star Wars. Sure, Black Panther got nominated for Best Picture in 2019, and John Williams was nominated for six of the nine Star Wars films he worked on, but they’ve always been an underrepresented part of awards — not to mention some of the most successful franchises the entertainment world has ever seen.

In the 73rd Emmys (which take place September 19), The Mandalorian and The Crown have received the most nominations, each with 24. The expected hits are nominated for Best Drama Series, including The Crown, The Handmaid’s Tale and This Is Us, but Amazon Prime’s The Boys has been unexpectedly thrown in there — another win for fans of the superhero genre (even though its chances of actually winning the award are slim to none, it’s great that it’s at least recognized for being a top-tier show).

Review: “Black Widow” Provides Closure for an Icon

When you Google Scarlett Johansson, you may notice that the first four films that pop up are from the Marvel Cinematic Universe, in which she plays Natasha Romanoff aka Black Widow. It’s arguably her most iconic role, and for good reason — she’s been part of the well-established universe for twelve years, and in that time her character has emerged from relative obscurity into mainstream pop culture knowledge. When compared with her Avengers co-stars, though, her story is very much lacking.

Now, Johansson is the third of the original Avengers to retire from the MCU, following in the footsteps of Robert Downey, Jr. and Chris Evans. It’s only now that Marvel has deemed it necessary to give Natasha a solo film, after her death in Avengers: Endgame. I suppose they hoped it would be more meaningful, retroactively giving the character more merit so we’re sadder to see her go.

In that regard, they’re partially successful. Because Black Widow is set between 2016’s Captain America: Civil War and 2018’s Avengers: Infinity War, it’s able to give Natasha a storyline worthy of her status as the “enigmatic, mysterious” Avenger. She’s trying to make peace with her past, an arc which is made more poetic and satisfying because we know that this is her last chance to do so, and the outcome is even more cathartic for that same reason.

“Teenage Bounty Hunters” Review: (Semi) Wholesome Fun, Grounded in Realism, Filled with Surprises

After a fun fantasy binge, I was in the mood to watch something a little more…grounded. Something down-to-earth, something that was fun, practical, and easy to understand.

So, I picked a show that was brand-new to Netflix. And it turned out to be one of the best decisions I’ve recently made.

Teenage Bounty Hunters has the premise summed up right in its title. The bounty hunters in question are fraternal twins Sterling (Maddie Phillips) and Blair Wesley (Anjelica Bette Fellini), who take a job with more experienced hunter Bowser (Kadeem Hardison) in order to pay for the damage they do to their father’s truck.

“The Witcher” Season One Review: Dive Deep into a New Fantasy World

Up until recently, I’d never played a video game, and I’ve never been knowledgeable of the subject, but I knew some of the major ones; and one that I’d always heard of but never paid much attention to was the Witcher games, adapted by the Polish fantasy novels by Andrzej Sapkowski. As with any other game, they never interested me…until Netflix announced a big-budgeted episode series based on the stories of the novels and games.

Now, this didn’t exactly catch my fancy, but I saw news about it. It was given a massive budget, Henry Cavill (known to me then exclusively as the DCEU’s Superman) campaigned for the lead role of Geralt of Rivia, and he eventually got it. Until its release, I put it on my radar.

The week that it was released, a bunch of my friends had already binged the entire series. It was winter break, and so everyone had more time on their hands. On the first day of the new year, I watched the first episode to see what all the fuss was about.

“Lovecraft Country” (Pilot) Review: A Timely Tale of Racial Terror

You’d think that a story apparently based on the stories of H.P. Lovecraft would be mostly horror-oriented. When Jordan Peele and JJ Abrams are involved, though, it turned out to be quite the opposite.

Aside from a signaturely weird HBO opening sequence and the final scene, the premiere of Lovecraft Country is entirely focused on a timely and important real-life horror: racism, in particular the injustices of the 20th century.

Set in 1950s white America, Black sci-fi fan Atticus Freeman (Jonathan Majors) sets off on a road trip with his uncle George (Courtney B. Vance), the publisher of the Safe Negro Travel Guide, and his childhood friend Letitia (Jurnee Smollett) to find his missing father and claim a birthright he never knew he had. It’s a basic premise, but one that lends itself to a number of potential paths. If the rest of the series is anything like the pilot, I very much like the one it settled on.

“An American Pickle” Review: Defying All Sorts of Expectations

Despite being a comedy, An American Pickle manages to defy Seth Rogen’s genre.

How, you might ask? How does this new streaming film challenge the typically-R-rated actor’s method of entertainment?

To start off, most of his films are “rooted in realism.” This doesn’t mean their contrived conflicts and insanity could (and would) actually happen, but they’re set in a familiar time, or political climate, that the audience can relate to.

Of course, there are some exceptions. Sausage Party and This is the End, among others, don’t exactly scream ‘relatable.’ However, An American Pickle isn’t a part of that group, but it wouldn’t find a place among his other films either. Instead, it’s in a league of its own.

“The Umbrella Academy” Season Two Review: The Seven Stages of Fun

Note: This review was originally published in The Cape Cod Chronicle in August 2020.

by Rowan Wood

Time travel is a tricky business, that arrives, much like the heroes in the latest season of Netflix’s The Umbrella Academy, with a whole host of questions: how do you avoid cliché time travel pitfalls? How can these characters grow and evolve, beyond their first-season selves? Most of all, how do you keep things original, and unique to the world you’ve created?

Thankfully, Netflix’s big-budget, ten-episode format is the perfect medium to tell the story that the show needed to tell. After the massive cliffhanger of the first season, the superpowered Hargreeves siblings are stranded at different points in the early 1960s, and must reunite to stop a world-ending apocalypse on November 25, 1963.