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New Escapist Column! On How “Jurassic Park” Increasingly Feels Like a Warning About Itself…

I published a new In the Frame piece at The Escapist this evening. For no reason other than because I watched it this week, I took a look at Jurassic Park and how it feels strangely prophetic.

Jurassic Park is many things: a cautionary tale about science run amok, about mankind’s hubris, about dads. However, watched decades later, it stands out as a cautionary tale about the kind of movie that it is. Jurassic Park is one of the best blockbusters ever made, but it was also a game-changer. It seemed to herald a revolution in computer-generated imagery that fundamentally altered the blockbuster landscape. In that sense, the film’s anxiety about the unforeseen consequences of these sorts of innovations, and of bringing the past to life again, have aged very well.

You can read the piece here, or click the picture below.

Non-Review Review: The Little Things

The Little Things was reportedly written by John Lee Hancock in the mid-nineties, and it shows.

The film is largely set against the backdrop of October 1990. There frequent reminders that this is effectively a period piece. During the opening sequence, one potential serial killer victim sings along with Roam from the B-52s on her car stereo. Another victim has a pink flyer for No Doubt pinned up on her fridge and a poster for The Lost Boys hanging in her living area. There are repeated references to how Richard Ramirez, “the Night Stalker”, still lingers in the living memory of the Los Angeles Police Department.

A new release window.

However, The Little Things feels like a period piece in some more fundamental ways. Most obviously, there’s the fact that The Little Things exists as a star vehicle, its cast including Oscar winners Denzel Washington and Jared Leto, along with Oscar nominee Rami Malek. The film is not based on any existing intellectual property, even if it is highly derivative in other ways. More than that, it harks back to the serial killer boom of mid-nineties cinema, when big studio films were dominated by procedural thrillers and forensic meditation.

The Little Things is neither an exemplar nor a deconstruction of the genre, but instead a straightforward reminder of its tropes and conventions seemingly cobbled together to construct something close to the statistical mean. The common refrain with a film like The Little Things is to suggest that this is the kind of film that they don’t make any more. The more worrying thought is that The Little Things seems to illustrate why.

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Non-Review Review: Malcolm and Marie

The reactions to Malcolm and Marie have been divided, to the say the least.

On one extreme, some critics have been quick to laud Sam Levinson’s black-and-white character study as a surprise late addition to the awards race, a bracing old-fashioned character drama anchored in two compelling performances that interrogates a relationship that never seems certain whether it will implode or explode. It is the kind of film that invites comparisons to works like Who’s Afraid of Virginia Woolf?, The Boys in the Band or even something like Autumn Sonata: characters trapped in a confined space, with the drama ready to boil over.

On the other extreme, critics have been quick to argue that Malcolm and Marie is an indulgent mess anchored in a grossly unlikeable and shallow protagonist that never digs beneath the skin of its central characters. More than that, Levinson seems to use the film as an opportunity to work through his own issues as a promising (and privileged) young filmmaker who feels like he has not necessarily been given the critical respect that he deserves. Malcolm and Marie is a series of self-serious monologues delivered in the aesthetic of a (very pretty) Calvin Klein commercial.

As ever, the truth lies somewhere between these two extremes.

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New Podcast! The Time is Now – Season 3, Episode 12 (“The Sound of Snow”)

Last year, I was thrilled to spend a lot of time on The Time is Now discussing the second season of Millennium. Since the podcast has moved on to the third season, I have taken something of a step back as a guest. That said, I was flattered to get an invitation to discuss The Sound of Snow with the fantastic Kurt North and the wonderful Chris Knowles.

The Sound of Snow my favourite episode of the third season of Millennium, serving as a nice epilogue to the second season finale The Fourth Horseman and The Time is Now. It is an episode that is largely about grief and moving on, about coming to terms with loss and about working through it. In some ways, it feels like a necessary story for the third season of Millennium as a whole, and it is only a shame that it takes half a season for the show to reach the point where it can tell this story.

As ever, you can listen directly to the episode here, subscribe to the podcast here, or click the link below.

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New Escapist Video! On Power Without Responsibility in the MCU…

So, as I have mentioned before, I am launching a new video series as a companion piece to In the Frame at The Escapist. The video will typically launch with the Monday article, and be released on the magazine’s YouTube channel the following week. This is kinda cool, because we’re helping relaunch the magazine’s film channel – so if you can throw a subscription our way, it would mean a lot.

This week, I take a look at the power fantasy of the Marvel Cinematic Universe. With Captain America: Civil War, the MCU becomes a study in power without any responsibility.

New Escapist Column! On Why Chris Evans Returning to the MCU Would Be a Bad Idea…

I published a new In the Frame piece at The Escapist this evening. Last week, there were rumours that Chris Evans might be returning to the Marvel Cinematic Universe, following his departure in Avengers: Endgame.

This is interesting, because it potentially undermines one of the more interesting facets of the Marvel Cinematic Universe going forward. Comic books are largely shaped and defined by nostalgia, with beloved characters filling familiar roles in perpetuity, with any major change to the status quo eventually rolling back to the default. In contrast, a cinematic universe operates by different constraints: actors move on, age out and even die. This would force a long-form shared universe to evolve in a way that comics haven’t had to. This is a good thing, as evolution is necessary.

You can read the piece here, or click the picture below.

New Podcast! The Escapist Movie Podcast – “Why Ruin a Cap on a Perfectly Good Tenure?”

The Escapist have launched a movie podcast, and I was thrilled to join Jack Packard and Will Cruz for the third episode of the year. We talked about the announced Wonka prequel film from Warner Bros., the rumours that Chris Evans might return to the Captain America role, and the difference in watching in a pandemic.

You can listen to the episode here, back episodes of the podcast here, click the link below or even listen directly.

New Escapist Video! Diving Deep on “WandaVision” with “A Marvelous Escape”…

With a slew of Marvel Studios productions coming to Disney+ over the next six months, The Escapist has launched a weekly show discussing these series. I’ll be joining the wonderful Jack Packard and the fantastic KC Nwosu to break down WandaVision, Falcon and the Winter Soldier and Loki as they come out.

This week, we take a look at the third episode of WandaVision, including looking at spoilers, metatext, predictions, long games, inside jokes and the art of pacing of a serialised narrative like this.

218. Warrior (#162)

Hosted by Andrew Quinn and Darren Mooney, The 250 is a weekly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users. New episodes are released Saturdays at 6pm GMT.

So this week, Gavin O’Connor’s Warrior.

Brendan and Tommy are two brothers that have lived very different lives, but find themselves on a collision course. Brendan is a struggling teacher who is going to lose his family home, while Tommy is a war veteran with a mysterious past who seems to need a mechanism to work through his trauma. Both men find themselves embroiled in a brutal mixed martial arts tournament with a life-changing prize fund. However, the two might need to go through one another to earn it.

At time of recording, it was ranked 162nd on the list of the best movies of all time on the Internet Movie Database.

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New Escapist Column! On How “WandaVision” Finds the MCU Coming to (and For) Television…

I published a new column at The Escapist last week, but didn’t get a chance to share it. With WandaVision now streaming on Disney+, it seemed like a good idea to take a look at it.

The most striking thing about WandaVision is how immersed it is in the language of television. Previous attempts to bring the MCU to television treated it as secondary to movies; Netflix shows like Daredevil or Iron Fist were treated as thirteen-hour movies, while Agents of S.H.I.E.L.D. and Agent Carter lived off scraps from the films that drove the shared universe. In contrast, WandaVision is not just a thriving celebration of television as a medium, it’s also an exploration of it. This is very firmly and very definitely the MCU coming to television.

You can read the piece here, or click the picture below.