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Everything old is new again. It was revealed this week that Warner Bros is currently considering rebooting The Matrix and making a new series of movies. Keanu Reeves had hinted at the possibility of returning for a fourth Matrix for some time. However, WB appears to be interested in forging a new path. In a world full of endless remakes, sequels and reinterpretations, a Matrix re-imagining seems wholly unnecessary. So let's explore why The Matrix needs to be revisited, but not rebooted. It shouldn't come as much of a surprise that a film as revered and respected as The Matrix would get a reboot. Even a film as treasured as The Lion King is getting a live-action do-over. So let's explore why The Matrix needs to be revisited, but not rebooted.
"Nature made me a freak. Man made me a weapon. And God made it last too long." Hugh Jackman has made nine appearances as the Wolverine over seventeen years. In that time, I don't think we've really ever gotten to know who Wolverine is until Logan this year. It is Jackman's definitive, and coincidentally final, performance as the feral mutant. It's hard to realize that it took nine movies and nearly two decades to finally understand what drives this hulking, angry loner. However, let's examine how Logan, even though it marks Hugh Jackman's final time playing Wolverine, actually feels like the first real Wolverine movie yet.
The trades were predicting it for a few weeks. Ben Affleck was even hinting at it for a while. Now it's official. Warner Bros and Ben Affleck announced together on Monday night that Ben Affleck will not be directing The Batman movie as previously planned. Affleck will remain on the project as a producer and star. With Affleck no longer directing the film, there's already a long list of possible candidates who could replace him. Variety reports that Warner Bros already has a shortlist, and there's going to be immense speculation as to who will be on that list. So we decided to put together our own dream list of directors who could replace Affleck on The Batman and make a kick ass, dark, yet different movie about the World's Greatest Detective.
At the climax of Batman v Superman: Dawn of Justice, Superman has literally fallen into the arms of his love, Lois Lane. The ending is far from romantic, however, as Batman and Wonder Woman stand beside the slain hero, heads bowed mournfully. Who knew this downer of an ending would signify more than just defeated heroes, it also acts as an analogy for the entire trajectory of DC Comics on film. By the time Suicide Squad rolled around, you could argue the DC Extended Universe had been put on suicide watch. For Ben Affleck, what started as a co-starring role has morphed into possibly being the DCEU's only saving grace.
DC's biggest heroes have been facing an adversary even bigger than Doomsday or Kryponite as of late: their own studio, Warner Bros. It was last month when it was revealed that director Rick Famuyiwa dropped out of directing The Flash, citing creative differences. This was a sizable loss for the film, as Famuyiwa's hiring was considered a major coup. His departure hints at trouble for DC on film, who has stumbled out of the gate when their films should be leaping over tall buildings in a single bound. Along with countless mixed to negative critical reactions to their last two offerings, Batman v Superman: Dawn of Justice and Suicide Squad, it's become clear Warner Bros is struggling to bring DC's finest to the big screen. But why?
When you think of auteur filmmaker Darren Aronofsky, you probably think of Requiem for a Dream or Black Swan. However, when I think of Darren Aronofsky, I can't help but gravitate toward what I think is his most underrated film: The Fountain, released in 2006. The science fiction love story, starring Hugh Jackman and Rachel Weisz playing essentially the same characters over three timelines, was released ten years ago today with little fanfare. The film was blasted by critics and made very little at the box office. However, I fell in love with the film from the moment I gazed my eyes on the first frame ten years ago. Let's explore why I think the film is an underrated masterpiece and one of Aronofsky's best in his filmography.
The journey for Star Trek on the big screen hasn't always been going at warp speed. For the most part, the films have had a difficult time appealing to both the general audience and to the hardcore faithful (known as Trekkies). That changed, however, in 2009 when J.J. Abrams rebooted the film series with the simply titled Star Trek. For the first time in a while, Star Trek was accessible to both mainstream audiences and hardcore Trekkies alike. However, as the series progressed with Star Trek Into Darkness, some Trek fans started to dismiss the new films as being too action-oriented, as well as missing the philosophical essence that made Star Trek the groundbreaking success it was when it first aired on this day 50 years ago. So as Star Trek celebrates its 50th anniversary today, let's explore why I believe that all changed with the latest installment, Star Trek Beyond, and why I believe it is the best Star Trek movie in nearly two decades.
With the 2016 summer movie season all but officially over, plenty of movie bloggers/journalists have been quick to say this past summer has been rather lackluster for film. I would argue otherwise – while some of the blockbusters have crashed and burned at the box office, this past weekend Suicide Squad and Sausage Party still performed strong at the box office. Marvel's Captain America: Civil War and Disney's Pete's Dragon were highlights of the summer as well. So why all the “doom & gloom”? That's likely because most audiences never really gave some of the best films of summer 2016 a chance. There were quite a few hidden gems out there waiting to be seen, if you were brave enough to give them your time (and money).
Last week, Star Trek Beyond star Chris Pine was interviewed in SFX magazine promoting the latest space adventure in the sci-fi series. When asked why the most recent films in the Star Trek franchise have been more action-oriented than thought-provoking – something the series has been traditionally known for ever since its inception in 1966 – he responded: "You can't make a cerebral Star Trek in 2016”. Well, I'm here to say you can. Let's take a look at why that's still possible. Pine's intriguing quote encouraged me to write some of my own thoughts about the Star Trek franchise and how it can still be intelligent today.
"This is a rebellion, isn't it? I rebel." Who would have thought that line, spoken by actress Felicity Jones' character Jyn Erso in the Rogue One teaser trailer, would have such great significance for the actual film itself? According to several unconfirmed sources, Rogue One might've rebelled a tad too much. That's the story that has been sweeping the internet this week with major rumors that the first film in the Star Wars Anthology series, Rogue One: A Star Wars Story, will undergo significant reshoots after initial internal test screenings at Disney apparently failed to impress senior executives. Let's examine why I think that might not bode well for the spin-off and why the film should rebel against the famous Star Wars formula.
"Is film criticism still relevant?" That is a question I have been hearing a lot lately. Conversely, I think the more important question is, "Is film criticism relevant to you?" In the interest of full disclosure, it should be noted that I don't consider myself to be a film critic. I don't have a journalism degree. However, I don't hate film criticism. As a matter of fact, some of my favorite writers are critics. I grew up reading the reviews of Roger Ebert, Michael Phillips and A.O. Scott. When I was younger, I wanted to grow up and become a critic. As an adult, it feels like that dream has changed and the significance of film criticism isn't quite what it was. As of late, I have noticed a strange disparity among casual moviegoers and online film criticism when it comes to some major films this past year. This isn't some new trend that only started in 2016 (see this article or this one); it is something I believe has been happening for some time. If the rocky relationship between critics and audiences is a marriage, I think it's safe to say some audiences have filed for divorce.
I'll never forget seeing movies the summer of 2000. I was 11 years old and I was impatiently awaiting this one summer blockbuster that honestly looked unlike anything I had seen before. I remember seeing adverts for the movie in Circuit City. Does anyone remember the original teaser trailer for the film? The tagline teased "Change is coming". I don't think anyone had any idea what that could possibly mean sixteen years later. While Blade and the success of that film made a huge impact just two years earlier, Bryan Singer's X-Men and its sequel X2: X-Men United arguably jump-started and helped define the entire superhero genre as we know it. Let's take a look at how the genre has changed and evolved nearly two decades later.