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“We’re Not Soldiers”: The Cautious Superhero Optimism of “The Avengers”…

Before it was a Bomb, the Bomb was an Idea. Superman, however, was a Faster, Stronger, Better Idea. It’s not that I needed Superman to be “real,” I just needed him to be more real than the Idea of the Bomb that ravaged my dreams. I needn’t have worried; Superman is so indefatigable a product of the human imagination, such a perfectly designed emblem of our highest, kindest, wisest, toughest selves, that my Idea of the Bomb had no defense against him.

– Grant Morrison, Supergods

There was an idea, Stark knows this, called the Avengers Initiative. The idea was to bring together a group of remarkable people, see if they could become something more. See if they could work together when we needed them to to fight the battles we never could.

– Nick Fury, The Avengers

In hindsight, The Avengers looks like a sure bet; a bunch of recognisable characters from successful properties bound together to create a blockbuster.

It is a testament to how profoundly The Avengers has reshaped the media landscape in its image that this appears almost a given. In a world that has seen the release of Avengers: Infinity War and Avengers: Endgame, the original film in the franchise seems almost quaint. Only six heroes? Only one primary villain, and one who was previously defeated by Thor in Thor? Sure, Thor is “the strongest Avenger”, but that seems almost quaint in this era of universe-spanning crossovers that fold on the expansive casts of films like Ant Man or Black Panther or Guardians of the Galaxy. Perhaps it is an ode to the power of  the idea that The Avengers feels so small in hindsight.

At the same time, there’s a maturity and reflection in the original Avengers that is largely lacking from Infinity War and Endgame. One of the most frustrating aspects of Infinity War and Endgame is the way in which the films devolve into unquestioning power fantasies; stories about great men who wield the power of gods for their own benefit with little regard for the obligations or responsibilities that come with that power. The characters of Infinity War and Endgame never question the use of their power for their own benefit, never contemplate their right to hold the fate of four different universes in their hands. Banner never questions the appeal of living as the Hulk forever, just as Thor insists on abandoning his people to have wack adventures with the Guardians of the Galaxy cast.

In hindsight, what is most striking about The Avengers is how fascinated it is with the question of what superheroes are, and what function they serve. Perhaps in keeping with the general enthusiasm of the Marvel Cinematic Universe, or perhaps reflecting his own affection for the genre, Joss Whedon keeps coming back to the suggestion that superheros represent an idea and an ideal. They represent an idealised manifestation of American power and identity, quite literally contrasted at the end of the film with the horror and majesty of the atomic bomb.

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New Podcast! The Time is Now – Season 1, Episode 1 (“Pilot”)

The wonderful folk responsible for The X-Cast have launched another podcast, covering another beloved Chris Carter property, and I’m thrilled to be a guest on it.

Millennium is a massively underrated (and largely underseen) show. It is one of the most striking television series of the late nineties, and a show with an impressive cultural footprint and reach. I’m on record as arguing that the second season of Millennium is one of the best twenty-odd-episode seasons of television ever produced, but the first season also has a lot to recommend it.

Tony has already recorded a primer or introduction to Millennium, but I’m honoured to be the guest invited on to discuss The Pilot. Indeed, The Pilot is a remarkable piece of television, and one of the most striking pieces of television that Carter ever produced. Millennium struggles a bit in the first half of the season to establish a sense of tone and to figure out how to tell the stories within this framework.

You can listen to the episode here, subscribe to the podcast here, or click the link below.

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128. The Avengers (-#68)

Hosted by Andrew Quinn and Darren Mooney, and this week with special guest Phil Bagnall, The 250 is a (mostly) weekly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users. New episodes are released every Saturday at 6pm GMT.

This time, Jeremiah Chechik’s The Avengers.

When the sinister Sir August de Wynter discovers a way to harness the weather for his own monstrous ends, there is only one way to stop him. Sophisticated secret agent John Steed teams up with meteorologist Emma Peel in order to prevent the villain from bringing his fiendish plot to fruition.

At time of recording, it was ranked 68th on the Internet Movie Database‘s list of the worst movies of all-time.

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New Podcast! Scannain Podcast (2019) #16!

It’s time for the Scannain podcast!

This week, I join Jay Coyle and Grace Duffy to discuss the week in film. There’s a lot to discuss. As one might expect given the big release of the week, there’s a lot of Marvel Cinematic Universe talk; The Incredible Hulk, Avengers: Infinity War, Thor: Ragnarok and Guardians of the Galaxy. There’s also time to discuss Tropic Thunder, Catch Me If You Can and The Shallows. In terms of film news, Lorcan Finnegan’s Vivarium is screening at Cannes and the IFI is hosting a Trish McAdam season in May.

The top ten:

  1. Hellboy
  2. Five Feet Apart
  3. Little
  4. Pet Sematary
  5. Captain Marvel
  6. Wonder Park
  7. Greta
  8. Wild Rose
  9. Shazam!
  10. Dumbo

New releases:

You can listen to the podcast directly here.

Star Trek: Voyager – Prophecy (Review)

The big surprise with Prophecy is not that Star Trek: Voyager is doing a Klingon-centric story, despite being set on the other side of the galaxy. The big surprise with Prophecy is that it took the series so long to get around to it.

Of course, there are lots of very good reasons why Voyager should never have had to resort to a Klingon-centric story. After all, Voyager is a series about a ship stranded half-way across the galaxy. The whole premise of the series is to get away from the familiar and established Star Trek aliens, to take a break from the familiar and iconic races like the Romulans or the Klingons, and to introduce new aliens like the Kazon, the Vidiians, the Hirogen, the Malon. Caretaker threw the crew into the Delta Quadrant to give the show a clean break.

Klingon in there!

However, the pull of the familiar is strong. Voyager wasted little time in building episodes around familiar alien menaces; Eye of the Needle featured a Romulan, Death Wish featured Q, False Profits featured two Ferengi, Blood Fever reintroduced the Borg as a potential menace. Few Star Trek aliens are as iconic as the Klingons. Even the most casual of audience members knows the name “Klingon” and probably has an understanding of how the culture works. Next to Vulcans – and even then, arguably just Spock – Klingons are Star Trek to casual viewers.

Indeed, Prophecy is far from the first time that Voyager has indulged its fascination with Klingon culture. Torres was split into human and Klingon halves in Faces. Holographic Klingons played significant roles in episodes like Day of Honour, The Killing Game, Part I and The Killing Game, Part II. Ronald D. Moore only worked on Voyager for a very short time, but – with the assistance of Bryan Fuller – helped to send Torres to the Klingon afterlife in Barge of the Dead. Indeed, even Endgame will feature recurring actor Vaughn Armstrong as a secondary Klingon character.

“You can’t make a mess in here, this is the mess hall!”

All of which is to say that while Voyager took its time to do an episode built around a major guest cast of new flesh-and-blood Klingon characters, the series had a long-standing interest in these most memorable and distinctive of Star Trek aliens. In its own weird way, the inclusion of such an overtly Klingon-centric episode plays into the seventh season’s weird fixation on the perceived “Star-Trek-ness” of Voyager, a strong desire to assert the aspects of Voyager that connected it to the larger Star Trek canon.

However, as with a lot of these recurring “Star-Trek-y” elements in the seventh season of Voyager, there is a strong sense with Prophecy that the production team have no greater understanding of the Klingons than their long-standing connection to Star Trek lore.

Today is a good day to try.

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“… Because That’s What Heroes Do”: The Curious Definition of Heroism and the Politics of Power in “Infinity War” and “Endgame”…

Note: Obviously don’t read this if you haven’t seen both Avengers: Infinity War and Avengers: Endgame.

Superhero films are the most ubiquitous form of twenty-first century blockbuster.

The summer season is increasingly crowded by blockbuster superhero releases. This year is actually a fairly tempered year for Marvel Studios. Only Captain Marvel and Avengers: Endgame are on the docket from the company, with Sony handling the release of Spider-Man: Far From Home later in the summer. However, the space between the two Marvel Studios releases included films like Shazam! and Hellboy. Later in the year, X-Men: Dark Phoenix will effectively close off Twentieth-Century Fox’s superhero blockbuster slate before it is folded into the Disney machine. Indeed, even the non-brand superheroes look to have had a fairly decent year; other releases this year include Glass and Brightburn, both movies with original characters playing with genre tropes.

There are lots of discussions about why the genre has become such a dominant feature of the pop cultural landscape. Perhaps it is simply down to technology, with advances in computer-generated animation allowing for more convincing depictions of the scale and drama expected in these sorts of stories. Guardians of the Galaxy would have been very difficult to make even a decade earlier, when it would have been next-to-impossible to animate Rocket Racoon on a workable budget. However, it may also be cultural. The rise of the modern superhero blockbuster film roughly coincided with the War on Terror, a connection rendered explicit in films like Batman Begins, The Dark Knight and Iron Man. Old-fashioned heroism was undoubtedly appealing at a time of political crisis.

This is interesting in the context of Endgame. In many ways, Endgame looks to be an event of biblical proportions. There is a reasonable chance that Endgame could become the most successful movie of all-time. There is a good chance that Endgame could have a one billion dollar opening weekend. Within hours of opening, the film film had already placed (highly) on the Internet Movie Database‘s list of the top 250 movies of all-time. Endgame is a bona fides pop cultural phenomenon. It is a film that shakes the world underneath its feet. It is the culmination of a twenty-odd film journey, but it is also something of a conclusive statement on (at the very least) the modern iteration of the Marvel Cinematic Universe, the most high-profile example of the superhero in modern cinema.

What is that statement? What is the film actually saying? To be fair, this was an issue with Avengers: Infinity War. It was very difficult to distill a singular thematic point or moral thesis from Infinity War, largely because the film was structured in such a way as to deny its central characters any agency or autonomy within the narrative. Infinity War was a breathtakingly cynical piece of corporate logistics, occasionally veering into downright nihilism. After all, the climax of the film unfolds in the way that it does simply because Stephen Strange sees that it is supposed happen that way. No choice that the characters make has any impact on what happens, because there is only ever one way that it could happen.

Endgame is interesting in how it builds on this. In particular, how Endgame chooses to define its central characters. If Endgame is to be the defining superhero story of the modern era, its definition of “heroism” is very esoteric.

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Non-Review Review: Avengers – Endgame

It says a lot about the state of contemporary pop culture that the biggest movie of the year is essentially a clip episode.

Pop culture has always been vaguely nostalgic, evoking an idealised past and reminding audiences of times when the future seemed brighter. After all, much of the New Hollywood canon is explicitly nostalgic, sixties and seventies films that pay loving homage to the thirties and the forties, often explicitly; The Sting, The Godfather, Paper Moon, Chinatown, Bonnie and Clyde. The past has always had a certain allure for cinema, perhaps because that’s what pictures have always been; individual moments captured on film and frozen in time, removed from their original context. Film is simply those frozen images run together to create the illusion of movement and life. Every film is a time machine, some are just more explicit than others.

Assembly line.

However, there is something fascinating about the modern wave of nostalgia, the speed at which pop culture is consuming itself. Recent waves of seventies, eighties and nineties nostalgia are still cresting. Earlier this summer, Captain Marvel channeled some of this nineties nostalgia into blockbuster (and Blockbuster) form. However, it also feels like nostalgia is getting closer and closer to the present, brushing up against the current moment. In some respects, the success of Lady Bird is indicative here. After all, Lady Bird is a film that is explicitly nostalgic about the post-9/11 era, evoked through footage of the Iraq War and the sounds of Justin Timberlake playing at a teen house party.

Avengers: Endgame is a strangely nostalgic beast. It is not strange that the film is nostalgic; after all, this is something of a coda to a decade of superhero films. However, it is strange how that nostalgia brushes up against the present, the climax of the film feeling very much like a loving homage to Avengers: Infinity War, a film that only premiered one year ago.

Stark raving mad…

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New Podcast! Scannain Podcast (2019) #15!

It’s time for the Scannain podcast!

This week, I join Jay Coyle and Grace Duffy to discuss the week in film.  As usual, we talk about what we watched this week, including another in-depth discussion of Brie Larson’s directorial debut Unicorn Store, the cynicism of Netflix’s The Silence, the enduring appeal of Road House, the insanity of Jupiter Ascending, and the strange nostalgia of Hotel Artemis. In film news, there is a lot happening. Close to home, the IFI is hosting a season dedicated to memory on screen and has added The Loopline Connection to the online IFI Player. In international news, the latest Star Wars movie has a name and a trailer, Avengers: Endgame spoilers sweep across the internet, and the Cannes film festival announced its line-up.

All of this plus the top ten and the new releases.

The top ten:

  1. Missing Link
  2. Captain Marvel
  3. Peppa Pig: Festival of Fun
  4. Hellboy
  5. Little
  6. Pet Sematary
  7. Wild Rose
  8. Wonder Park
  9. Shazam!
  10. Dumbo

New releases:

An August Tribute: “The Avengers” and Deconstructing Bond…

This Saturday, I’ll be discussing The Avengers on The 250, the weekly podcast that I co-host discussing the IMDb’s Top 250 Movies of All-Time. However, I had some thoughts on the film that I wanted to jot down first.

This is not a defense of The Avengers.

There is no defending The Avengers. The film is legendary and spectacular failure. There is no belated reclamation project under way, no attempt to salvage its reputation twenty-odd years after it landed in a smoking crater. The film’s production history is storied, and disastrous. The film was subject to internal power struggles within Warner Brothers, falling between a changing of the guard and sabotaged at a test screening with a hostile audience. Twenty-five minutes of the film were unceremoniously cut out, and the score was radically rewritten. The result is monstrous.

More than that, there is little to indicate that The Avengers could ever have been a good film, even its pristine and uncut state. The flaws with the movie run deeper than those definable absences. The two leads share no chemistry, despite the fact that the film hinges on their dynamic. The plot is complete nonsense, haunted by the shadow of countless rewrites rather than simply lost in the edit. The film’s surrealism is halfhearted rather than committed, flirting with deranged brilliance but always landing somewhere on the uncomfortable side of mere camp. The Avengers is bad.

And, yet, in spite of all that, something interesting beats at the heart of The Avengers. Part of this is a result of the movie’s intrinsic late-nineties-ness, the way that it captures the mood of that moment. It is very much a post-Cold War story, its stakes framed in environmental terms that reflect the anxieties of the cultural moment. (Remember when mankind healed the hole in the ozone layer?) Similarly, the movie’s flirtation with the surreal and the notion of collapsing reality echoes (better) films like The Truman Show or The Matrix or Dark City or eXistenz or Fight Club.

However, the most interesting aspect of the film remains its central performance from Sean Connery. At the time, Connery had just successfully reinvented himself as a box office draw in the late nineties, building off the success of his collaboration with Michael Bay and Nicolas Cage in The Rock. The late nineties were were busy time for Connery, with projects including Entrapment, Playing by Heart and Finding Forrester. The actor was undergoing what might be characterised today as a “Conneraissance.”

In the middle of that “Conneraissance”, there is something rather strange about The Avengers, in large part because it’s a performance that exists in dialogue with his most iconic role. Of course, there’s no getting around Connery’s time as James Bond. The Rock rather heavily implies that Connery’s character was a version of James Bond arrested around the time of Diamonds are Forever. However, The Avengers goes one step further. The Avengers doesn’t just cast Sean Connery as a Bond villain. The Avengers casts Sean Connery as James Bond as a Bond villain.

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127. Akira – Anime April 2019 (#249)

Hosted by Andrew Quinn and Darren Mooney and with special guests Graham Day and Marianne Cassidy, The 250 is a (mostly) weekly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users. New episodes are released every Saturday at 6pm GMT.

This year, we are proud to continue the tradition of Anime April, a fortnight looking at two of the animated Japanese films on the list. This year, we watched a double feature of Hayao Miyazaki’s Kaze no tani no Naushika and Katsuhiro Ôtomo’s Akira.

This week, the first part of the double bill, Akira, set in the then-distant future of 2019.

In the streets of Neo-Tokyo, an entire generation is left to fend for itself. Against a backdrop of reckless violence and urban chaos, as the city seems ready to burn to the ground around them, teenagers Tetsuo and Kaneda have forged a friendship rooted in desperation and necessity. However, everything changes when Tetsuo has a fleeting encounter with a strange child, and opens doors to possibilities that were previously unimaginable.

At time of recording, it was ranked the 216th best movie of all time on the Internet Movie Database.

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