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New Escapist Column! On How “Superman and Lois” Finds Superman Saving Smallville…

I published a new In the Frame piece at The Escapist this evening. Given the premiere of Superman and Lois this week, it seemed like a good time to take a look at the new show, and the new spin that it puts on the classic Superman mythos.

Smallville has always been an essential part of Superman’s backstory, even before it was named as such. When Superman was created, it made sense to bring some rural values into anonymous and hostile cities, with Superman importing many of the progressive ideas that he inherited from his adopted parents to the crime- and depression-ridden American cities. However, times have changed. Superman and Lois finds Clark returning to a version of Smallville that is at once unrecognisable and familiar. Superman and Lois shrewdly reverse’s the character’s classic journey.

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

Non-Review Review: Hillbilly Elegy

Hillbilly Elegy is misconceived on just about every possible level.

On the most superficial and surface level, Hillbilly Elegy is the most cynical form of Oscar bait. It is a vehicle for actors Amy Adams and Glenn Close to take a run at awards season, turning the inner dial on their performances up to eleven playing absurd caricatures of complex and nuanced human beings. There are moments when, entirely divorced from its form or substance, Hillbilly Elegy veers into the realm of self-parody, as Adams musters every dramatic bone in her body to shout “bad dog!” with as much conviction as possible, as if every moment could be an Oscar clip.

“Looks like we got ourselves a good old-fashioned act-off.”

It isn’t that Close and Adams are bad performers. Indeed, there’s a credible argument to be made that – on some level – Hillbilly Elegy might be “worth it” if it eventually allows Adams to take home what will effectively be a career award. However, everything in Hillbilly Elegy is a staggeringly ill-judged combination of heightened melodrama and earnest sincerity. Ron Howard directs the film with a solemn profundity that suggests he is peeling back the layers of the American heartland, as if viewing the film through the lens of Terrence Malick via the Russo Brothers.

However, underneath the surface, there is something more insidious and uncomfortable at place in Hillbilly Elegy. The film is based on the autobiography of J.D. Vance, a book that became a breakout sensation in 2016. The arrival of the book coincided with the election of Donald Trump, and so it became a cornerstone of a subgenre of literature built around understanding Trump voters – the kind of soul-searching that led to fawning profiles of white nationalists in The New York Times. (While Vance characterises himself as “a nationalist”, the film overtly avoids his politics.)

Ad-Vancing.

This context perhaps explains the assurance and self-importance of Hillbilly Elegy, which at every turn presents itself as a window into a different culture – the idea of the “forgotten” America or the “left behind” America. Unfortunately, it also explains the most horrific aspect of the film, the way in which Hillbilly Elegy treats its characters as exhibits in some grotesque zoo. While adapted from a book written by a character rooted in that community, Hillbilly Elegy often feels like an anthropological study constructed from second- or third-hand accounts.

However, the movie’s most egregious fault might be how profoundly it misunderstands Terminator 2: Judgment Day.

This Cagney and Lacey reboot is really something.

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Non-Review Review: The Devil All the Time

The Devil All the Time demonstrates that the adjective “novelistic” isn’t always a compliment.

Writer and director Antonio Campos is clearly aiming for an epic sweep to The Devil All the Time. The film unfolds over the course of several decades, following several intersecting lives in rural Ohio in the space between the end of the Second World War and the height of the Vietnam War. This is a tale that spans generations, with an impressive density. Small characters get huge arcs, dramatic twists hinge on chance encounters, and a large amount of the film’s plot is delivered by way of folksy omniscient narration.

Holland of the Free?

It is easier to admire The Devil All the Time than it is to appreciate it. Campos has drawn together a formidable cast to tell a story that explores a host of big ideas about small town life. The Devil All the Time clearly aspires to be a piercing study of religion, sex and violence in the American northeast. The film maintains an impressive atmosphere, in large part due to Campos’ moody direction and the work of Lol Crawley and the rumbling soundtrack from Danny Bensi and Saunder Jurriaans.

However, nothing in The Devil All the Time has room to breath. There are so many elements competing for narrative space that even films two-hours-and-twenty-minute runtime feels overstuffed. Characters are never allowed to stew or develop in a way that a story like this demands, instead reducing the movie to a series of plot points and thematic observations delivered in a rich and moody manner, but without any real substance to bind them all together.

Book ‘im.

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