Tag: movies

In which I am unbelievably petty (WARNING: Superman opinions)

On By Luther M. SilerIn Geek, idiocy, movies6 Comments

Let me begin with some Statements which are Generally Known to be True:

  • That I am insanely, irrationally protective of Superman, and do not believe the character has been done right in live action since the Reeve era, with the possible exception of Tyler Hoechlin in Superman & Lois, which I really enjoyed for about five episodes and then mysteriously stopped watching;
  • That I am fully aware that a set picture is not the best way to evaluate a superhero costume;
  • That I have been loud and wrong about iconic superhero costumes before;
  • That I absolutely hate it when nerds do exactly what I am about to do, although I will attempt to mix in some positives;
  • That I am probably not going to see this movie, not because I am boycotting it but because I don’t see movies any longer, and I feel like maybe that’s could give me an out about having an opinion, an out that I am currently not taking; and
  • That David Corenswet’s performance is going to be infinitely more important than his costume, as will other minor details like the fucking script, and I know literally nothing about how he’s going to move and act as the character. I do know I’m not terribly interested in Ultraman or Mr. Terrific, one of whom was also in the leaks but one of whom is still technically a rumor.

That said!

Wait. No. Let’s do this first:

Two things are Correct about this costume.

  • The colors, for the first time in years, are correct, and this says good things about the direction the film is going to take;
  • Putting the S-shield on the back of the cape in yellow is also Correct.

I hate every single other fucking thing about the fucking costume.

  1. The collar. They’ve clearly drawn inspiration from the New 52 costume, which I hated, and part of the reason I hated it was the fucking collar. Every other and I mean every other live action iteration of Superman’s suit has done the cape/shoulders/neck area better, including Tyler Hoechlin’s, which dropped the cape into prominent gold grommets and still looked better. I hate the collared look. It is, in fact, the thing about the costume that I hate the most.
  2. The S-Shield. This is a version of the Kingdom Come shield, which was fine in Kingdom Come, which was set in the future and involved a Superman who had gone through intense personal loss, and is not fine here. Just use the fucking regular S-shield, Goddammit. This is not a place where we fucking need to innovate. Also it could stand to be a little bigger– if it was right, at least– but that’s not that big of a deal.
  3. The texture. This may not survive the transition into the actual film, but I hate all the little lines and shapes everywhere. The cape looks like it’s made from microfiber, which also sucks.
  4. The belt. Yes, the costume needs the belt, and I’m happy it has a belt, but that belt looks like Batman’s belt. It looks chunky and rubbery for no clear reason.
  5. It’s fucking baggy. Superman wears his costume under his clothes and it needs to be tighter. This also may not survive the transition onto the actual silver screen. In fact, I really doubt it’ll be noticeable on the screen. I hate it anyway.
  6. The wrists. Also borrowing from New 52, and perhaps more obvious in other pictures than in these, they’re pointy, and they look fucking stupid. You also can’t conceal pointy wrist cuffs under a dress shirt.
  7. The briefs. Shut up, Goddammit, the word “petty” is right in the title. Yes, I’m happy they’re there, and I’d rather have them than not have them, but those are fucking boyshorts, not Superman briefs. It’s wrong and it’s wrong for no reason.
  8. The boots. Actually, the boots are fine. I have no beef with the boots.

Do not get me started on Clark’s hair:

(Actually, the hair is whatever; I think Clark would have a more conservative haircut than that ramen-looking GenZ mop bullshit but it definitely makes him look less like Superman, so I’ll deal.)

Okay. I’ve got that out of my system now, I hope. I have seen a couple of images today that I can’t find now where someone took the Corenswet suit and basically Photoshopped in the edits that I suggested above, and it looks perfect, and I’ll update if I find one again. And I will get over it, especially now that I’ve written this. It’s not the most important thing about the fucking movie. All the same: blech.

#REVIEW: Abigail (2024)

On By Luther M. SilerIn movies, Reviews1 Comment

ABIGAIL is one of those movies that technically has a big twist, but if you’re aware of the movie at all, all of the marketing, including the trailers, has spoiled the shit out of that big twist already, and it happens early enough in the film that the twist is kind of also the premise, which makes it hard to talk about. So this sentence will serve as the spoiler-free review: Abigail is kind of a failure as a horror movie– I am bad at horror movies, and I have been since I became a father, and I was never scared. It is, however, a pretty damn effective, predictable but wildly entertaining horror-adjacent action/slasher film, and all in all I’m going to recommend it, so long as you go in with the proper expectations. Expect something closer to From Dusk Till Dawn than to The Exorcist or Paranormal Activity and you’ll be fine.

So, yeah. Spoilers from here out, although once you know the premise, you already know the broad strokes of the movie.

Alisha Weir, am I right? I haven’t seen a child actor this effective since Season 1 of Stranger Things Millie Bobby Brown, and I really don’t think Millie has ever had a role that allowed her to cut loose the way Weir gets to in this movie. Millie has never gotten a line as iconic as “I’m sorry for what’s going to happen to you.” But let’s back up and talk about the actual movie: Abigail starts off as a heist movie, as a group of criminals kidnap a little girl from a massive mansion and then, rather inexplicably, spirit her off to a similarly massive but much older and creepier mansion out in the middle of nowhere, where Giancarlo Esposito tells them to wait with the girl for 24 hours, during which time he’ll extract a $50 million ransom from her father, which they can all split and then be off on their separate ways.

Only, oops, the little girl is a vampire, and, well, it doesn’t go great for them. This plan has some flaws even before you get to the vampire, and my wife called another minor twist early on– all of the kidnappers have screwed over this little girl’s vampire crime lord father at some point or another, and she’s managed to bring them all here so she can hunt and kill them. Two of them die before it’s immediately clear what’s going on, and the reactions of the rest to being hunted by an actual vampire are kind of hilarious. Eventually the main female character survives, blah blah blah, you know how this is going to go.

This movie rides on the strength of its atmosphere and its characters, and the house is effectively creepy, Amelia’s penchant for tossing ballet moves into her fighting style and her hunting (watching her tiptoe across a stairway bannister on her way to try and kill somebody is impressively fucked up; her movement and physicality throughout the movie is excellently done) and the gore level is turned up to 15; the number of bodies and/or body parts that literally explode in this movie is … significant.

And, again, the characters are fun, if broadly drawn; the ex-undercover cop turned criminal, the dim-bulb Quebecois muscle guy, the e-girl hacker, and the Main Character With a Dark Past, along with an ex-marine and a druggie wheelman, plus Giancarlo fucking Esposito, who has never in his life not elevated anything he was in. The biggest problem with the movie is that everyone in it looks like someone more famous than them; the Quebecker looks like Elon Musk, the hacker looks like Winona Ryder circa Beetlejuice, the ex-cop is Not Ryan Gosling, and the druggie is basically playing the exact same character he played in Euphoria, which I guess isn’t quite the same thing but it’s still kinda weird. They all bounce off of each other nicely and most of them get at least a couple of cool moments here and there to chew some scenery of their own. I mean, this moment here. I love it:

The house itself is straight out of Resident Evil, and I mean it as a compliment when I say this movie would make a great video game, although it kind of already did, except with a little ballerina girl instead of nine-and-a-half-foot-tall Lady Dimitrescu. The scenery is great, the pool scene is horrifying, the ‘plosions are gross, the characters are fun, and at least some of the acting is absolutely phenomenal. Again, it’s not scary, so don’t go in wanting that, but I’m really glad we actually sat down and watched this last night. I don’t watch many movies any more so I like to be able to recommend them when I do. Two thumbs up.

On nepotism and Willow Smith’s EMPATHOGEN

On By Luther M. SilerIn movies, Music, ParentingLeave a comment

Fun fact: under certain circumstances, I’m not at all convinced that nepotism is a bad thing. Take sports, for example. My understanding is that there’s been some debate about whether Lebron James’ son Bronny ought to be entering the NBA draft or not. But here’s the thing: maybe (I have no idea, and don’t intend to check) Bronny can use his dad’s no doubt impressive influence to get drafted higher than he might be otherwise. But if he can’t perform at the NBA level, he’s not going to perform at an NBA level. There’s nothing Lebron can do if his kid goes out there and averages two points and six turnovers a game. He’s not gonna get playing time, and if he does, there are a billion people out there who are going to be losing money when he’s on the court and eventually it’s going to catch up with him. I remember when Bob Knight insisted on recruiting his son Patrick. Patrick dragged down the team. It was a terrible fucking idea and IU’s basketball program paid for it.

It seems like the place where nepotism is the biggest problem is in politics and business, along with those parts of the entertainment business where, y’know, knowing things can be useful. There are too many examples here for it to be really necessary to list any, but nonetheless, the previous occupant’s wastrel children and Meghan McCain come to mind immediately. You don’t even know about Meghan McCain because her dad was good at something. You know about Meghan McCain because her grandfather was good at something. Similarly, Eric Trump would be living in a trailer park if his grandfather hadn’t been rich. Go find a picture of Rudy Giuliani’s kid sometime. He barely even looks human.

Which brings me to Will Smith and Jada Pinkett Smith’s children. They have tried, tried oh so hard, to make Jaden Smith a thing. Jaden Smith’s not a thing. He’s not gonna be a thing. Because in order to actually be a thing in the entertainment industry he’d have to be talented, and if he is talented I have yet to see any evidence of it. Which is why he doesn’t show up in things that don’t have his parents’ money and influence behind them.

Now let’s talk about Willow.

Okay, you would never have heard Whip my Hair if it wasn’t for Willow’s parents. Fine. But do you happen to remember how that story ended? The kid shaved her head in the middle of the tour so that she didn’t have to perform the song any longer. She’s got all kinds of interviews talking about it, but I’ve always enjoyed hearing Will discussing it here.

Willow just released empathogen, a … jazz album? I have her two previous albums; I haven’t listened to anything earlier, although I think I’m going to have to bite the bullet and dive into her work before I discovered her on lately I feel EVERYTHING. Her last two albums have been punk rock, and they have kicked ass. This is completely different, and from what I’ve seen her first three albums don’t sound like any of these last three either. I’m not convinced empathogen is a jazz album, although it’s definitely jazz inflected, but most of the instrumentation is guitar, bass and drums; if there are any horns or other strings on there I didn’t notice them on my first listen, which I will admit was in the car and not exactly careful. The vocals are definitely jazzy. I’m not even sure I liked the damn album, but I’m absolutely fascinated by it. (Thinking about it, empathogen is as much of a jazz album as Cowboy Carter is a country album. The influence is clearly there, but you can’t pin either album down to a single genre.)

There’s been some talk in the last few days about whether Willow is a “nepo baby,” in other words, whether she owes her career to her parents’ influence or not. I would like to suggest that given how wildly, insanely eclectic Willow’s musical output over the last nine years had been, I’m really fucking glad that her parents are Will Smith and Jada Pinkett Smith and not Steve and Carol Smith … because the kid wouldn’t have a career if she didn’t have a leg up. The music industry doesn’t work with people who refuse to fit into boxes like this. Can you imagine what would have happened if some random fuckin’ kid told Jay-Z that she was done with her fun little hair song and wasn’t touring any longer? We’d never have heard from her again. And, I mean, we can argue about whether Will Smith as a parent should have said “Okay, baby, I got you” or, uh, something else(*), but the fact is if her parents weren’t famous I wouldn’t have these albums, and if nepotism gets me lately I feel EVERYTHING and empathogen once in a while, I’ll maybe put up with some fourth-generation news nitwit if I have to.

Suri Cruise and Shiloh Jolie-Pitt are both either already or about to turn eighteen, by the way, so I look forward to the two of them owning the world in, oh, five years or so.

(*) “Baby, Mr. Jay-Z is going to cut Daddy’s balls off and bury both of us underneath Madison Square Garden. You’re gonna grow that hair back today if I have to sell your soul to Satan to make it happen.”

You weren’t wondering, but…

On By Luther M. SilerIn moviesLeave a comment

The Marvels didn’t make much money over the weekend, at least by Marvel Movie standards, and … well, I feel the need to report that not even the big-screen debuts of two of my favorite Marvel characters of all time was enough to get me into the theater. I keep finding more ways to be surprised that I’m done, and there’s still a chance that we’ll see it over Thanksgiving break, but … yeah.

In other news, my son was sick last week with a stomach bug, so guess what I’ve been doing for the last 48 hours?

Okay, guys, last chance

On By Luther M. SilerIn Geek, moviesLeave a comment

I may or may not have girlishly squeed, possibly more than once, while watching this trailer. If this movie, featuring two of my favorite comic book heroes of all time, does not get me back into a movie theater, the MCU is offically-really-I-mean-it-this-time, no-bullshit dead to me forever:

#REVIEW: The Menu (2022)

On By Luther M. SilerIn movies, ReviewsLeave a comment

Remember when I used to do reviews of stuff? I feel like it’s really been a while, but I do actually still have opinions about media once in a while, and last night my wife and I sat down and Watched a Movie Together, that being Searchlight Pictures’ The Menu. I miss movies; I used to reliably see at least thirty or forty a year, then I went into this long period where I only saw superhero movies, and now I don’t even give a damn about those, so it was a good feeling to be able to carve a couple of hours out of a Friday night to be able to watch this. Given that 90% of the television I watch involves cooking in some form or fashion, there really wasn’t any way I was going to be missing this.

And … man. I really didn’t know last night what I thought about it, and it took until taking a shower just now (yes, it’s the second-to-last day of break and 6:52 PM and I just took a shower) to figure out what I think. And the tl;dr is that if you watch the trailer and think Yeah, I might want to see that, then go ahead and follow up on that feeling, and if you feel like the trailer is for what seems to be a really schizophrenic movie that maybe can’t decide what it wants to be when it grows up, well, roll with that feeling too.

I can imagine people loving this film and I can imagine them hating it, although people who hate it are maybe a little easier to imagine? And one way or another, I think maybe they made the wrong movie. Want details? Massive spoiler territory from here on out, although it’s not like the trailer conceals a lot of secrets and one way or another the film tells you exactly where it’s going at about the halfway point and I think counts on you to not believe it in order to continue to maintain dramatic tension.

So! A short black line, and then spoilers ho!

The one thing that you might be thinking and be wrong about, having watched the trailer, is that there’s probably a scene where they discover that they’re eating people at some point during this movie. No! I am as surprised as you are that they resisted their urge, but no; I don’t know how much the food can be considered food, really, but there’s no cannibalism, intentional or not. What there is is basically a suicide cult among the head chef and his various kitchen and front-of-house staff, and they’ve decided that this is their last service and as such it’s the one where everybody dies.

You get no insight into how this decision was reached or how he (presumably) managed to talk everybody into this nonsense, and you will discover as you watch that the dinner guests are remarkably passive about their impending demise. At about the halfway point the head sous chef shoots himself in the head right in front of everybody, and Ralph Fiennes’ Chef Slowik literally says “You’re all going to die” to the guests at more than one point during the movie, so there’s no real argument to be made that they aren’t aware of what’s going on, especially when one of them actually does attempt to get up and leave and gets a finger chopped off for his trouble. It eventually turns out that everyone in the room has offended Chef Slowik in some manner or another (and some of them are really cheap; John Leguizamo’s character is a washed-up movie actor and apparently he was picked for death because he was in a movie Slowik didn’t like) except for Anya Taylor-Joy’s character, who is effectively a replacement +1 after her dinner date’s girlfriend dumped him.

There’s some effective creepiness here, and some fun satire of the way high cuisine works and (especially) the way major chefs are treated as gods and eventually expect to receive that treatment. Unfortunately basically every character in the film, especially the dinner guests, is some form of douchebag or another, really excepting only Taylor-Joy’s Margot and the hostess whose name escapes me. There are a lot of words that describe her, but “douchebag” isn’t one of them, I think. In some ways she’s the movie’s scariest character. And the thing is, a lot of what’s going on in the film either doesn’t go anywhere, doesn’t make any sense, or some combination of both, and the notion that any of these people just sit around and wait to die is almost too ridiculous to bear. Also, Slowik’s operation apparently involves both a sophisticated hacker and an actual kidnapper, along with one hell of a surveillance and intel operation.

The movie should have been about one of the sous chefs.

The problem is that Slowik is such a guarded character, and the chefs by and large are entirely faceless, that you really can’t get any clue as to why any of them might go along with this insane plan to, eventually, and this is not a joke, dress up all of their guests as human s’mores and then burn everyone involved to death. And the fact that the guests don’t fight back just doesn’t make any damn sense. No; what you do here is you make the guests mostly faceless and terrified and you pull us into the cult of personality around this chef, and you hire a more charismatic actor than Ralph Fiennes, or at least cut him loose to be charismatic, because Julian Slowik, as he’s portrayed, couldn’t talk a kid into eating ice cream. I don’t know if I should blame Fiennes for that, or the director, or the script, or all three, or what, but this is not the guy. Nobody dies for this dude, or if they do, we’re gonna have to get a lot more background as to why, and you can keep all of the satire elements without them descending into utter ridiculousness like this one does.

(A prime example: the guests pay their bills and are given gift bags, all while wearing marshmallow serapes and chocolate hats, before they are set on fire and killed. Slowik tosses off a line about how their gift bags each contain a finger from a guy who is drowned as one of the “courses” earlier in the film. I have no idea whether the line was supposed to be funny or creepy or what. It’s ridiculous.)

The movie should have started off with a hot young chef getting hired by this dude– go ahead and let Anya Taylor-George play that character instead– and go through a couple of normal dinner services and some moments with Chef where it becomes clear why people might be willing to kill/die for him before getting into the murder shit, and have her be the one chef who decides she can’t be part of it. Or, hell, leave her conflicted! You can still have your horror satire if you want. Or, hell, have her be the hostess, so she’s outside the dynamic of the kitchen and maybe not part of The Plan but still enough on the inside of everything that we can see why this guy might have made the decisions he did, and why people might have followed him, and why people might have decided to go ahead and be burned to death instead of fighting back, which … no, sorry, I can’t buy it.

On complexity

On By Luther M. SilerIn Geek, movies1 Comment

What you’re looking at here is the engine block of the Lego model for the Ecto-1 from Ghostbusters. I’ve had it for a little while and wanted to get it built this weekend, so I’ve been been coming back to it intermittently for the last couple of days and right now I’m about halfway through the build. I’ve been really impressed with it so far, and it continues to amaze me how much entirely unnecessary complexity Lego builds into their modern models. First of all, they modeled the engine block. I don’t actually know if the hood for this thing is going to be removable or openable or what once it’s finished (if there’s a hinge assembly for it, I haven’t built it yet) but it wouldn’t surprise me one bit if they modeled the engine block carefully enough that you can actually identify individual parts of the engine and then covered it with a hood assembly that wasn’t meant to be removed. The grille in the front? Each of those little silver rectangles is an individual piece. That yellow X-shaped piece in the back with the yellow circle around it is attached to the steering wheel, which is actually set up in such a way that turning the steering wheel turns the front wheels of the car. There’s a whole steering column and what appears to be a gearshift next to it. There are stickers in places on the car that you will never see. The engine has belts, for Christ’s sake– you can see a bit of one of them, the red band next to what is clearly meant to represent the battery.

Do I want to find out what model of Cadillac the Ecto-1 was supposed to be and see where the battery actually is? Yeah, I kind of do.

I’ve been kind of in a funk lately regarding writing and the internet and a few other things, so this has been a nice change for me to focus on for a few days. The problem is these sets are expensive and they’re starting to kind of build up around the house and I don’t really need one more fucking thing to figure out how to display. But fuck it, that’s a problem for later, for right now I’m going to continue enjoy building the car.

EDIT: The hood does open. Entertainingly, the hood is one of the few actual flaws with the build, as it doesn’t quite close as tightly as I like and wants to be no more than about 98% closed. That doesn’t sound like it should be an issue but it means a few things don’t line up. I just need to make sure to display the car with the passenger side facing out, I guess. 🙂

EDIT EDIT: The hoses from the battery were in the way. I shoved them deeper into the engine and it’s fine now.

#REVIEW: The Princess (2022)

On By Luther M. SilerIn movies, ReviewsLeave a comment

You could be forgiven– I would forgive you, at least— if you dismissed the idea of watching Hulu’s The Princess almost immediately upon hearing about it. You have literally heard the plot a thousand times; the titular Princess, who is never named in the movie, is expected to marry a Bad Guy to ensure the also-unnamed Kingdom has an heir, refuses to do so on account of he’s an obvious sociopath, blah blah blah everyone’s captured and she’s chained up in the top of a tower awaiting her forced marriage because apparently the Bad Guy’s only rule is that he can’t just usurp the kingdom by killing the king; he has to do it “legitimately,” even though the wedding is a farce.

The movie has the distinct feel about it, especially in any scene not starring Executive Producer and star Joey King, of something that Disney would make with 7-10 year old girls as the expected demographic. There’s a lot of broad humor. At one point there’s a trap pulled directly from Home Alone. There’s a guy whose only role in the film is to be fat. The first forty minutes or so are structured in a way that feels very video-gamey. It’s all very, very Disney, and while there’s nothing wrong with making movies for 7-10 year old girls, it is also fine (especially if you aren’t a 7-10 year old girl) if you are someone who does not enjoy said movies.

And then, maybe five minutes into the start of the movie, the Princess dislocates her own thumb on camera so that she can slip out of her chains and then messily kills the two men who are there to keep her quiet and under guard. And, uh, we’re off to the races after that.

So take that Disney movie you had in mind, and then cross it with a really hard-R Charlize Theron action film, only with better fight choreography and a petite redhead who doesn’t immediately scan as a monstrous badass, and understand that there is DNA of both of those things in this movie (which is, for the record, rated R), and that this film, which starts out with the Disneyest of imaginable plots, ends with a beheading.

It’s … really something.

I only found out about this movie from TikTok, which advertised it to me relentlessly for weeks until I caved. I haven’t seen any promo for it anywhere other than TikTok and Hulu.

You want to see this movie for a couple of reasons: 1) the fight choreography really is fucking amazing. It’s well-shot, which is getting rarer and rarer in action films, and the choreographer never (well, really rarely) forgets that his heroine is a 120-pound girl, and despite fighting lots of grown men who are much bigger than she is, she manages to come off … realistic? She uses her agility and size to her advantage throughout the movie, fighting with accuracy rather than strength– there’s a bit where she’s fighting a knight in full armor that is just remarkably well-done, as she focuses on dodging big, heavy swings and counter-attacking at the gaps in his armor, and the movie never lets you forget that swinging a sword around is exhausting, as King spends roughly half her time on-screen gasping for breath.

Oh, and she has virtually no dialogue at all for about the first 45 minutes of the film. There’s only escaping, hiding, and kicking ass. The film’s even really light on badass quippery, which wouldn’t feel appropriate with this character. She does get a great “to the pain” monologue late in the movie, but there’s surprisingly little badassery for the sake of badassery in this movie.

The second reason is closely related to the first: Joey King is awesome, and I want to see her in many many more movies, only movies that know from the start that they’re geared for adults. I don’t know how well this has done for Hulu (it’s possible it’s been a runaway success; I genuinely don’t know) but it straddles two genres that really don’t generally … uh … straddle together, and I fear that that might have cost it some well-deserved viewership. This kid’s the real deal, and the fact that she somehow snagged an executive producer role for this and a couple of other Hulu projects makes me think that she’ll be around a while. The movie itself? Harder to say, but the bad parts are wrapped around some seriously cool shit, and I think it’s probably worth your time.