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Non-Review Review: Spider-Man – Far From Home

Spider-Man: Far From Home cannot help but exist in the shadow of Avengers: Endgame.

Indeed, one of the problems marketing Far From Home was the manner in which the entire emotional premise of the film served as a spoiler for Endgame, which meant that the film had to wait quite late in the game to release its second trailer. This sets up an interesting tension with Far From Home, which finds itself in the the seemingly contradictory position of being both the last movie in the current “phase” of the Marvel Cinematic Universe and also a film actually being produced by a company other than Marvel Studios.

Masking his feelings.

This weird push-and-pull runs through Far From Home, which seems caught between existing as a coda and epilogue to Endgame and working as a Spider-Man movie in its own right. To a certain extent, this was always going to be a tension within Far From Home, even before Endgame set its sights on becoming the biggest movie of all time. Endgame was always going to exert a gravity on Far From Home, given its plot mechanics and its character decisions. Writers Chris McKenna and Erik Sommers, along with director Jon Watts, were always going to be reacting to narrative and character choices that they never made.

As such, the most interesting thing that Far From Home can do is to literalise that tension.

Night Monkey Moves.

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125. V for Vendetta (#153)

Hosted by Andrew Quinn and Darren Mooney, 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, James McTeigue’s V for Vendetta.

Accosted by “finger men” for breaking curfew, Evey Hammond is rescued by a mysterious stranger who only introduces himself as “V.” As Evey finds herself drawn deeper into the world of this violent vaudevillian figure and as she discovers more and more of his plot to topple the country’s totalitarian regime, Evey finds herself wonder whether this masked figure is a vigilante or villain.

At time of recording, it was ranked the 153rd best movie of all time on the Internet Movie Database.

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Non-Review Review: 2 Fast 2 Furious

I’m rewatching The Fast and the Furious for a separate project, as solidarity with fellow film critic Jay Coyle for his “Cinema of Experience” project to look at the changing face of cinema in the twenty-first century. He’ll be writing up his account of how the experience of watching movies has changed in the past twenty-or-so years, but I found my rewatch of The Fast and the Furious interesting enough to write a longer-form review of it.

The Fast and Furious franchise exists somewhere in the space between The Fast and the Furious and 2 Fast 2 Furious, but is never quite caught on camera.

The Fast and the Furious is a late nineties undercover urban western about lawlessness in turn-of-the-millennium Los Angeles, of the dead end of the American Dream where young men (and occasional women) drive fast cars in circles to nowhere in particular, living their lives “one quarter mile at a time” without any purpose or any escape. It is a moral quagmire, a tribal wasteland in which law and order mean nothing. The film centres on a police officer sent to infiltrate this world of fast cars, who ultimately cannot bring his target to justice – because there is no justice in this empty and nihilistic world.

2 Fast 2 Furious is effectively a soft Miami Vice reboot. It is a bright and colourful thriller which follows former undercover police officer Brian O’Conner and his old friend Ramone Pierce as they are tasked to infiltrate a drug kingpin’s organisation in Miami. It is a much more conventional and delineated film, and also a much less existential. There are clearly defined good guys and bad guys, and O’Conner has absolutely no ethical objection to bringing in this particular criminal. The film is also appreciably brighter, both be virtue of its heavily saturated surroundings and by an increased emphasis on neon.

Watching 2 Fast 2 Furious, there’s a real sense that the production team had no idea what a hypothetical sequel to The Fast and the Furious would look like, only that it should exist… and maybe it should have some cars in it. Indeed, 2 Fast 2 Furious is pointedly at its most ridiculous when the script is forced to shoe-horn the “obligatory racing bits” into a conventional “undercover Miami drug bust movie.” There’s a weird disconnect between the two films, that goes beyond the absence of Vin Diesel.

Even with Paul Walker present and few small continuity references, there’s little to tether 2 Fast 2 Furious to The Fast and the Furious. It recalls the sort of old-fashioned Hollywood cynicism that produced sequels like Die Hard with a Vengeance, when familiar characters would be clumsily bolted on to a completely unrelated script to create a new franchise installment. Of course, with Dom Toretto in the wind, 2 Fast 2 Furious doesn’t even really have that many familiar characters to anchor it. Brian O’Conner was never going to be the franchise’s breakout character, after all. 2 Fast 2 Furious only has the name.

In some ways, the spark that would drive the Fast and Furious franchise is found in neither The Fast and the Furious nor 2 Fast 2 Furious. After all, the later blockbuster installments of the franchise feel like a completely different breed than either film; espionage-style superhero films involving the fate of the world. That spark is found in the gap between The Fast and the Furious nor 2 Fast 2 Furious, in the cynical idea that just about any kind of movie can be a Fast and Furious movie if you stick enough cars in it.

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37. No Country for Old Men (#171)

Hosted by Andrew Quinn and Darren Mooney, The 250 is a fortnightly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users. New episodes are released every second Saturday at 6pm GMT, with the occasional bonus episode between them.

This time, Joel and Ethan Coen’s No Country for Old Men.

Lives are thrown into chaos when a drug deal in Texas goes horribly wrong. Llewelyn Moss stumbles across two million dollars in drug money, and finds himself drawn into a world of violence and chaos as cartel hitman Anton Chigurh is on his trail. If this is not the mess, it’ll do ’til the mess gets here.

At time of recording, it was ranked the 171st best movie of all time on the Internet Movie Database.

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Star Trek: Deep Space Nine – Inquisition (Review)

Inquisition is a superb piece of television, and a highlight of the sixth season of Star Trek: Deep Space Nine.

It is a very clever extrapolation of various themes and ideas that have been bubbling across the length and breadth of the series, particularly concerns about what happens when incredible power is concentrated in institutions that find themselves under threat. One of the underlying assumptions of the Star Trek universe is that mankind is somehow different than any other sentient life form, somehow more enlightened and more idealistic than the other major powers that make up the broader shared universe.

Luthless.

Deep Space Nine has always been wary of this assumption, in part because it is frequently made with no real exploration of what specifically makes mankind more evolved and more compassionate than the Romulans or the Klingons. More than that, Deep Space Nine has been openly suspicious of that idea because of the moral complacency involved. If Star Trek assumes that mankind is so special and so unique that it has evolved past all of its darker impulses, the franchise has a massive blindspot that could be readily exploited.

This is nothing new. Although the first season of Star Trek: The Next Generation leaned heavily into the idea of mankind as a hyper-evolved species with much to teach the wider cosmos, that series really came of age when it followed this train of thought to its logical conclusion in The Measure of a Man. A society that deems itself beyond moral reproach is capable of anything, because it lacks the introspection to really consider the moral weight of its actions. Even in peacetime, the Federation was only a single court case away from re-instituting slavery.

Imperialist leather.

Inquisition is very much a logical extension of this idea. Beyond the sprawling epic six-episode opening arc, the sixth season of Deep Space Nine arguably works best when it sits outside the Dominion War and explores the impact that the conflict has beyond the space battles. Statistical Probabilities ponders the war in numerical terms. Honour Among Thieves inquires about life in the underground and at the margins. In the Pale Moonlight touches on the backroom politics and the moral compromises. Inquisition looks at how the Federation itself has been changed by the war.

Like Homefront and Paradise Lost, Inquisition has aged well. Less than half a decade after the episode originally aired, the United States would be trying “enemy combatants” in secretive military tribunals, detaining suspected terrorists without trial in secretive holding facilities, and engaging in “enhanced interrogation” including sleep deprivation to make subjects more pliable. Although the production team could have no idea at the time, the image of a dark-skinned man being paraded in irons is a lot more evocative two decades after the fact.

“Not quite the parade that I had in mind.”

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The Dark Knight Rises (and Falls) in 2016

As it draws to a close, there has been considerable reflection on the fact that 2016 has been a very “strange” year.

Of course, “strange” is perhaps a polite way of phrasing that sentiment. “Harrowing” might be another. “Depressing” could also fit. The year has been physically and emotionally draining for virtually everyone. It was the year that audiences around the world bid farewell to talents as diverse as David Bowie, Prince and Leonard Cohen. When it was determined that December 2016 would receive a “leap second”, it felt almost like an insult. Why should 2016 last one second longer than it absolutely has to? (Not that 2017 promises to be better.)

The hole in things.

The hole in things.

However, the biggest shocks of 2016 were political. Brexit and the election of Donald Trump shook the world to its core, and not just because the pollsters somehow failed to predict them. Those public votes were seen as stern rejections of liberalism and progressivism, of an angry and disenfranchised class striking back at what had been seen a disconnected and aloof elite. It was presented as a strike back against the establishment, against vested interests, an expression of rage – whether racial or economic.

Some of the best films of the year helped to capture that sense of anxiety and resentment. The Hateful Eight suggested that perhaps the United States had never reconciled itself following the end of the Civil War and perhaps it never would. Green Room suggested that there was still a primitive savagery lurking just off the main roads, nestled snugly in the heart of the country. The Girl With All the Gifts dared to suggest that those who reacted with panic and fear to change were likely to find themselves consumed by it.

Everything falls apart.

Everything falls apart.

However, the movie that most successfully embodied 2016 was not released in 2016. It was released four years earlier. That film was Christopher Nolan’s The Dark Knight Rises, the conclusion to his groundbreaking Batman trilogy of films. Batman Begins had been released in 2005, and its meditations on fear made for a potent superhero story in the midst of the War on Terror. The Dark Knight was released in 2008, and seemed the perfect film to close out the Bush era. It was even described as “the first great post-Sept. 11 film.”

In some respects, The Dark Knight Rises was lost on its initial release. It seemed rather out of place, with audiences unsure how best to read the film. It was not the sequel that anybody had been expecting. Indeed, it seems fair to observe that it was not the sequel that Christopher Nolan would have been expecting as he worked on The Dark Knight. That had been a crime epic with political undertones. The Dark Knight Rises was a revolutionary epic and war movie, an odd combination for a film released in 2012. And yet it feels perfectly in step with 2016.

"Okay, maybe Batman vs. Superman wasn't everything that it could have been."

“Okay, maybe Batman vs. Superman wasn’t everything that it could have been.”

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Star Trek: Deep Space Nine – Paradise Lost (Review)

This February and March, we’re taking a look at the 1995 to 1996 season of Star Trek, including Star Trek: Deep Space Nine and Star Trek: Voyager. Check back daily Tuesday through Friday for the latest review.

Part of what is so remarkable about Star Trek: Deep Space Nine is how prescient it seems.

The Star Trek franchise is renowned for its central metaphors and allegories, its fondness for addressing contemporary issues through abstract philosophical discussions. Even the most casual of television fans can point to episodes like Let That be Your Last Battlefield or A Private Little War as examples of the franchise’s engagement with contemporary social issues. (Of course, they may not be able to actually name those episodes.) Of course, the reality was always more complicated than that, but this social engagement is part of the popular memory of the franchise.

Armed and dangerous...

Armed and dangerous…

While there is a tendency to overstate the importance of social commentary and engagement in the history of the Star Trek franchise, it is a massive part of the cultural behemoth. Although not every (and arguably not even most) Star Trek episodes are explorations of moral philosophy that apply to the contemporary world, they are an essential part of each and every Star Trek series. Sometimes these episodes are brilliant, and sometimes they are heavy-handed. Sometimes they are earnestly sincere, and sometimes they are hopelessly misguided.

However, Deep Space Nine stands out in comparison to its contemporaries. Even twenty years after the show aired, it seems like Deep Space Nine speaks to contemporary anxieties and uncertainties.

The Changeling Face of Evil...

The Changeling Face of Evil…

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