I published a new In the Frame piece at The Escapist this evening. With the upcoming release of John Wick: Chapter 4, it seemed like a good opportunity to take a look back at the action franchise.
In modern Hollywood, the John Wick movies stand out from a lot of their competitors by embracing a very practical and material philosophy, leaning heavily on in-camera effects for maximum impact. However, the films are more than just a showcase for stuntwork as one of the industry’s most undervalued artforms. They are also an argument for stunt work as an artform unto itself, particularly in the way that they emphasis the importance of action as a means of storytelling and the way in which they frequently place their stunts in the context of more broadly-accepted forms of artistic expression.
You can read the piece here, or click the picture below.
I published a new In the Frame piece at The Escapist earlier this week. With The Last of Us wrapping up its first season, it seemed like a good opportunity to take a look back at the show, and in particular the way that the show tells its story.
The Last of Us is, in many ways, a study of violence. It’s a study of brutality and horror. What makes The Last of Us so interesting is the way that it chooses to portray such violence and brutality. Indeed, the show is remarkably restrained in its depiction of graphic on-screen violence. Instead, the show’s cinematic language focuses on the idea that violence ultimately wounds both perpetrator and victim. In many cases, it’s the people left behind who have to carry that with them.
You can read the piece here, or click the picture below.
We’re thrilled to be launching a fortnightly video companion piece to In the Frame at The Escapist. The video will typically launch every second Monday, and be released on the magazine’s YouTube channel. And the video will typically be separate from the written content. This is kinda cool, because we’re helping relaunch the magazine’s film content – so if you can throw a subscription our way, it would mean a lot.
This week, with the recent launch of Ant-Man and the Wasp: Quantumania, we took a look back at Marvel’s Phase 4, trying to make sense of one of the shared universe’s most disjointed and uneven phases.
I published a new In the Frame piece at The Escapist yesterday evening. With the new season premiere of The Mandolorian, it seemed like a good opportunity to look at the thematic ties that bind the series to Andor.
Much of the discussion around Andor has focused on how the show is fundamentally different from so much modern Star Wars. However, it’s also worth acknowledging the overlap that exists between Andor and The Mandolorian. Both shows are built around similar thematic ideas, the exploration of what it means to resist the emergence of fascism. In particular, both shows explore the idea that the biggest challenge facing those who would challenge fascism is factionalism and internal division.
You can read the piece here, or click the picture below.
I published a new In the Frame piece at The Escapist this evening. With the release and success of Creed III, it seemed like a good opportunity to look at what makes the film stand apart from what came before.
Actor and director Michael B. Jordan has been quite frank about the influence of anime on his approach to Creed III, and that influence shines through. However, it’s also part of a larger trend in modern Hollywood. The industry spent decades trying to directly adapt anime properties for American audiences, with minimal success. However, recent years have seen the emergence of a generation of artists who grew up with the form as a standard part of their media diet, and it’s bleeding through into works like NOPE, The Bad Guys and Puss in Boots: The Last Wish. It’s a fascinating trend.
You can read the piece here, or click the picture below.
I published a new In the Frame piece at The Escapist this evening. With the release of Luther: The Fallen Sun in theatres this weekend, it seemed like a good opportunity to discuss the feature film adaptation of Britain’s favourite trenchcoated detective.
For over a decade, there have been rumours that Idris Elba was a prime candidate to take over the role of James Bond from Daniel Craig, to the point that the actor has spent years talking about his shifting attitude towards the possibility in the press. Part of what’s so interesting about The Fallen Sun is that the movie feels like Neil Cross’ attempt to construct a James Bond movie around his leading man. More than that, to build a very specific James Bond movie: Skyfall, starring John Luther.
You can read the piece here, or click the picture below.
We’re thrilled to be launching a fortnightly video companion piece to In the Frame at The Escapist. The video will typically launch every second Monday, and be released on the magazine’s YouTube channel. And the video will typically be separate from the written content. This is kinda cool, because we’re helping relaunch the magazine’s film content – so if you can throw a subscription our way, it would mean a lot.
This week, with ongoing debates about the fidelity of shows like The Rings of Power, The Witcher: Blood Origin and The Last of Us, it seemed like a good opportunity to discuss the art of adaption. In particular, the question of whether faithfulness and quality are in any way related to one another.
I published a new In the Frame piece at The Escapist this evening. With the reports that Disney+ will only be streaming two Marvel shows this year and the decision to move The Marvels out of summer and into November, it’s interesting to contemplate whether we’re already past “Peak Marvel.”
“Peak Marvel” is a reference to “peak oil”, referring to the point at which production reaches its apotheosis, where there is so much content being produced that it is unsustainable for any number of reasons. The Marvel Cinematic Universe remains one of the most successful multimedia franchises ever, but it has been flooding the market for the better part of two years. There are signs, both in the wider industry and within the brand itself, that this model is not sustainable. The question is what comes next.
You can read the piece here, or click the picture below.
I published a new In the Frame piece at The Escapist this evening. With the release of Ant-Man and the Wasp: Quantumania this weekend, and how much of that movie is predicated on the introduction of Kang the Conqueror as the new “big bad” of the shared universe, it seemed like a good opportunity to take a look at whether the film accomplished this.
Quantumania fails to establish Kang as a credible threat, in large part because the movie is afraid of upsetting its audience. There are no stakes in Quantumania, no losses and no sense of ambiguity or compromise. The heroes survive their confrontation with Kang handily, easily overwhelming the villainous invader and even laughing at the idea of there being long-term consequences for their actions. Quantumania is so worried about potentially alienating fans of Ant-Man that it undersells its supposed big bad.
You can read the piece here, or click the picture below.
I published a new In the Frame piece at The Escapist this evening. With the release of Ant-Man and the Wasp: Quantumania, it seemed like a good opportunity to look at the movie’s thematic preoccupations.
Quantumania is something of a frustrating jumble of a movie. However, there are some interesting ideas nestled within it. Most engagingly, Quantumania feels like a movie that is about the legacy of foreign interventionism, dropping its characters into a strange realm that was forever altered by the pragmatic alliances made decades earlier. It’s a film about whether characters that call themselves heroes owe any obligation to help those less fortunate, particularly when that suffering is a direct consequence of earlier choices and actions. Quantumania doesn’t necessarily say any of this particularly well, but it tries.
You can read the piece here, or click the picture below.
RT @BudrykZack: James Gunn: We've got a bold new direction planned and I can't wait for audiences to fall in love with Blue Beetle
Zachary…...around... 5 hours ago
the m0vie blog 