Oscar Nominations 2021: Cultural Representation and Unity In Cinema Is Across the Board and America, Even At A Distance

Even the iconic Oscar statue is keeping his distance

In spite of social-distancing guidelines still in tact, even as vaccinations across the nation and globe are continually on the rise, the Oscar ceremony--in honoring films from the year 2020--are still a go. This morning, the Academy of Motion Picture Arts and Sciences announced the nominations for their 93rd annual event (with help from couple Nick Jonas and Priyanka Chopra-Jonas), which will take place a little later than usual. Plus, the ceremony will be telecast in Los Angeles, at both the Dolby Theater and the railway hub Union Station. 

While 2020 forced most of us to quarantine and/or work from home, and movie theaters closed their doors, several filmmakers (and streaming platforms) took advantage of various and diverse stories that celebrated or showcased everything from cinema history to music, cultural immigration, journeys across the American landscape, mental and/or physical health, and even the #MeToo and #TimesUp movements. 

Here are a few highlights from this year's nominees. 

ROSEBUD!

The film with the most nominations this year is David Fincher's black-and-white biopic, Mank, which tells the story of the making of Orson Welles' Citizen Kane (often hailed by numerous critics and historians as the greatest film of all time), particularly the troubled life of its co-screenwriter Herman J. Mankiewicz (played by Gary Oldman) in the early 20th century. The film scored ten nominations, including best picture, actor (Oldman), director (Fincher), supporting actress (Amanda Seyfried), sound, production design, score (Trent Reznor and Atticus Ross, who were also nominated for co-composing Pixar's spiritual adventure Soul), makeup and hairstyling, costume design, and cinematography. 

Amanda Seyfried and Gary Oldman in Mank

STREAMING SOARS AND SINGS (AS DO SOME SMALL, SURPRISING COMEBACKS) 

Perhaps this is a fitting time to bring up an elephant in the room. Due to limited movie theater openings (and for everyone's health and safety), most of our viewing options were at home. While major or independent studios like A24 (Minari), Searchlight (Nomadland), and Sony Pictures Classics (The Father) were still prominent, this year was mostly dominated by the streaming services Netflix (Mank), Amazon Prime (Sound of Metal), and even Disney+ (Mulan) and HBO Max. The latter recently made the controversial decision to release their 2021 feature film lineups simultaneously on the platform and in theaters, leaded to a reported falling out between Warner Bros and director Christopher Nolan (whose latest, Tenet, picked up nominations for its impeccable production design and visual effects). I'm still a firm believer in the moviegoing experience, so I doubt streaming services will ever truly replace that. 

Many screen veterans were recognized for their leading or supporting roles, from Viola Davis (Ma Rainey's Black Bottom), and Glenn Close (Hillbilly Elegy). But Close holds the rare distinction of being nominated by both the Academy (as "best supporting actress") and the Golden Raspberries (a.k.a. Razzies; for "worst supporting actress"), and for the same role. Talk about divisive criticism. And speaking of Razzies, two other "worst actor" veterans each starred in films that were recognized by the Academy this year. In 2003, Italian native Roberto Benigni (a previous Oscar-winner for his brilliant Holocaust dramedy, Life Is Beautiful) won "worst actor" for starring in a universally-panned live-action version of Pinocchio, which he also directed. This year, he starred as Geppetto in a more-acclaimed update of the famous Collodi fantasy adventure, which was commended for its costume design, as well as its makeup and hairstyling. Will Ferrell, on the other hand, has arguably not had a good track record of films in recent years (save for The Lego Movie); this includes his "worst screen couple" win (shared with Nicole Kidman) for the 2005 remake of Bewitched. This year, his Netflix-distributed musical comedy, Eurovision Song Contest: The Story of Fire Saga, was nominated for best original song. Call that a comeback, LL Cool J! 

Speaking of music, everything from the aforementioned Ma Rainey (five nominations total) to Soul (nominated as best animated film, along with fellow Pixar feature Onward, as well as for its sound and score) made some noise during the morning announcement. 

(L-r) Viola Davis, Carey Mulligan, Frances McDormand, Riz Ahmed, Maria Bakalova, Daniel Kaluuya, Steven Yeun, David Fincher, and Chadwick Boseman

HISTORY AND HUMANITY 

The Academy continues its long history of saluting human stories. The topic of mental health and/or illness was showcased in the leading and supporting role categories, and was human psychology and trauma, from The Father (which earned six nominations, including best actor for Anthony Hopkins) to Promising Young Woman (a satirical revenge thriller, nominated for five awards, including best actress for Carey Mulligan) and Sound of Metal (an intense character study about a drummer with progressive hearing loss, nominated for six awards). 

And, of course, there's politics, as seen in films like Aaron Sorkin's The Trial of the Chicago 7 (nominated for six awards, including Sorkin's original screenplay), Lee Daniels' United States vs. Billie Holliday (nominated for Andra Day's breakout leading role as the legendary singer and activist), Shaka King's Judas and the Black Messiah (a Black Panther movement biopic, nominated for five awards), and Regina King's One Night in Miami . . . (a fictional account of a 1960s-centered meeting between icons Sam Cooke, Cassius Clay, Malcolm X, and Jim Brown, nominated for three awards). 

More importantly, quite of few of this year's nominated films took us on a historical or current journey across the American landscape, casting a lens on communities that aren't generally documented (let alone dramatized) on film. These included Lee Isaac Chung's family drama Minari (about a Korean family that immigrates to Arkansas in the 1980s, nominated for six awards), Paul Greengrass' western News of the World (one of the big surprises this year, nominated for four Oscars), and Chloe Zhao's Nomadland (about a van dweller living after the Great Recession, nominated for six awards). 

Frances McDormand and Chloe Zhao behind the scenes of Nomadland

FIRST TIME, BIG TIME

There are several first-time nominees, including Riz Ahmed (for his leading role in Sound of Metal), Maria Bakalova (for her supporting role in--try saying this in one breath!--Borat Subsequent Moviefilm: Delivery of Prodiginous Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan), Vanessa Kirby (for her leading role in Pieces of a Woman), Lakeith Stanfield (for his supporting role in Judas and the Black Messiah, a nomination he shares with co-star Daniel Kaluuya), and Steven Yeun (for his leading role in Minari). Even the late Chadwick Boseman was posthumously recognized, for his leading role in Ma Rainey's Black Bottom. 

But the first-time nominees that stand out this year are recognized in more than one category. For instance, four specific nominees each pulled double duties, including actor-provocateur Sasha Baron Cohen (for co-adapting the sequel Borat Subsequent Movie, and for his supporting role in The Trial of the Chicago 7), actress Frances McDormand (for her leading role, and co-producing credit, in Nomadland), actor-singer Leslie Odom, Jr. (for his supporting role and original song noms in One Night in Miami . . .), and filmmakers Shaka King (for co-writing and co-producing Judas and the Black Messiah) and Lee Isaac Chung (for writing and directing Minari). 

But the first-time nominees with the most hats this year are filmmakers Emerald Fennell (who hails from the UK) and Chloe Zhao (who hails from Beijing, China). Not only are they the sixth and seventh female directors ever recognized in the Academy's history (the last being Greta Gerwig, for her 2017 coming-of-age dramedy Lady Bird). Fennell was honored with additional nominations for writing and co-producing Promising Young Woman (a feat not seen since Jordan Peele's triple threat with his breakout 2017 debut Get Out). Zhao, meanwhile, received additional nominations for editing, adapting, and co-producing Nomadland. 

This may be, perhaps, the most ethnically diverse list of nominations in the history of the Academy. If there's one term that fits the year 2020 besides "social distancing," it's "cultural representation". 

WRITER'S NOTE: I didn't really see a whole lot of new movies, including those mentioned above, in 2020, save for films like News of the World, Nomadland, and Soul (all terrific, for the record). So I can't really speak for reported snubs like Spike Lee's Da 5 Bloods (which did get nominated for Terrence Blanchard's score otherwise). As of this writing, The Father and Minari are the major awards contenders on my "must-see" watchlist. 

RETROSPECT: Classic Films I Watched In 2020

As we come to the end of another year (lest we forget, the start of a new decade), it's really no surprise that 2020 has been very difficult, especially on the film industry. Several major summer releases (as well as a few previously scheduled for this current holiday season) have been delayed for 2021 or have switched to video on demand or select streaming services as Netflix, Disney+ or Hulu. 

Since theater chains reopened temporarily back in September, only a very few major tentpoles have (sort of) stirred up the box-office, like Christopher Nolan's mind-bending, IMAX-filmed espionage-thriller Tenet and the already-long-delayed Fox-Marvel feature The New Mutants (a film that turned out middling, to say the least). Recently, Warner Bros and DC released the long-awaited superhero sequel Wonder Woman 1984 in select theaters and on HBO Max on Christmas Day. 

For nearly the past decade, I've been spending the end of each year reflecting on films that have stuck with me respectively. Since 2020 didn't have enough "theater-going" experiences by yours truly (and I stand by my belief that movie houses and streaming services are two completely different mediums), I've spent much of the last few months watching classic films, most of them from the 20th century. Many of them were seen by me for the first time, and I've developed a new-found appreciation for the legacy of cinema. For this piece, I'll be reflecting on eleven select films--eleven, as an homage to Stranger Things, Spinal Tap, and a sense of "new normal"--and what made them stick with me in an unprecedented period (which we can only hope will soon be over). 

*** 

Clue (1985) 

This live-action movie version of the popular board game from Parker Brothers wasn't a bona fide box-office draw on its initial release in 1985. (Perhaps a certain time-traveling DeLoreon is to blame for that.) Either way, this madcap murder mystery-comedy has developed a fan following for its witty and hysterical nostalgia (although its sexual references wouldn't play as well today). As simple and convoluted as a plot gets, viewers get the added bonus of multiple ways the "game" could end, along with a brilliant and fun cast (especially Tim Curry as "1+1+2+1" butler Wadsworth and Madeline Kahn as "flames out of the side of her face" Ms. White). (Available on Amazon Prime.) 

Dick Tracy (1990)

The Disney-owned Touchstone Pictures label had several big hits throughout the Eighties and Nineties, as well as a few underappreciated flicks. This stylish and eye-popping film adaptation of the Chester Gould comic strip via the 1930s, brought to the screen by veteran filmmaker Warren Beatty, is one of the latter. Probably most known for its impeccable production design (fresh off the heals of Tim Burton's 1989 Batman) and its colorful cast of characters, particularly the rogues gallery of gangsters Tracy seeks to bring to justice. The standout: Al Pacino's hammy and over-the-top Big Boy Caprice. Fun fact: Pacino's performance was the first Oscar-nominated role based on a comic book character. And to think this was the same year he gave his curtain call screen performance as Michael Corleone. (Available on Amazon Prime, HBO Max, and Hulu.) 

Ikiru (1952) 

Akira Kurosawa is often regarded as the greatest filmmaker to ever hail from Japan, and one of the greatest directors in general. In a career spanning over half a century, he's primarily known for crafting epic stories set in feudal or ancient times, with complex character arcs and distinct action sequences, from Rashomon (1950) to Seven Samurai (1954), Ran (1985), and Dreams (1990). But his best work may arguably be his most benign and challenging. Ikiru (which translates as "to live") follows a middle-aged bureaucrat who learns he has stomach cancer and wrestles with how to spend the remainder of his days (even contemplating his former years). A film worth discussing and (pardon the expression) digesting. (Available on HBO Max.) 

King Kong (1933)* 

This classic monster movie from 1933 has one of the best high-concepts of any film: a movie crew set sail to a mysterious island and discover mysteries unlike anything mankind has ever seen, including a ferocious beast now dubbed as "the Eighth Wonder of the World." Known primarily for its revolutionary special effects (a mixture of stop-motion and animatronics, dated by today's standards), what's even more impressive (and mostly overlooked) is how the filmmakers injected genuine pathos and depth into the characters, from the fearless (if crazy) director Carl Denham, to young-actress-off-the-streets Ann Darrow, sailor John Driscoll (who falls for the newly-appointed lead actress), and the eponymous ape. This is how you craft an effective story, no matter how old it is. (Available on HBO Max.) 

*This is one of only three films on this list I had already seen once before. Watching it (and the other two films) this time was the best. 

Kramer vs. Kramer (1979) 

I'll be honest, I was on the fence in my decision to watch this 1979 Oscar-winner starring Dustin Hoffman and Meryl Streep as a divorced couple fighting for custody over their young son. As a child of divorce myself, it's a difficult topic for me. (I'm not sure I even want to see Noah Baumbach's latest film Marriage Story in that regard.) But I did view the film, and as difficult as Kramer vs Kramer is, it's also very sincere and raw. Part of that has to do with the profound and genuine performances of its lead actors, who really make the most out of what could've been a corny soap opera in the wrong hands. (Available on Amazon Prime and Pluto TV.) 

Night of the Living Dead (1968)

Perhaps no subgenre of horror has been more relevant in 2020 than that of zombies. And the undisputed veteran of that subgenre is the godfather of zombie movies himself, the late George A. Romero's. His original 1968 frightfest, Night of the Living Dead, essentially follows a group of survivors (including an African-American protagonist, revolutionary at the time) hauled up in a farmhouse as countless "ghouls" invade the area. Shot in black-&-white on a low-budget in Pittsburg, Pennsylvania, Night serves as a striking social commentary that broke a lot of molds (and some censorship controversies for some "flesh-eating" imagery. Of course, such content would be pushed to the extremes with the sequels, Dawn of the Dead [1978] and Day of the Dead [1985], both intriguing premises in their own right). "They're coming to get you, Barbara." (Available on Amazon Prime and Sling TV.) 

Only Yesterday (1991) 

The Japanese anime company Studio Ghibli has been making exceptional, high-quality animated features since the late-70s/early-80s. For every celebrated masterpiece like Spirited Away (2001) and Princess Mononoke (1997), there are also underappreciated gems that deserve equal if not greater attention. This 1991 coming-of-age drama from the late Isao Takahata (Grave of the Fireflies [1988], Pom Poko [1994], The Tale of the Princess Kaguya [2013]) is one of them. The central story of a young city woman who returns home one weekend brilliantly alternates between her past upbringing (with dynamic lighting cues) and her present rediscovery of country lifestyles with such delicacy, grace, and realism, not to mention magic. This unseen masterpiece made its debut in America in 2016, with vocal dubs from UK actors Daisy Ridley and Dev Patel. This is a film I highly recommend. (Available on HBO Max.) 

Raging Bull (1980)* 

Martin Scorsese's brutally poetic character study of former boxing prize-fighter Jake Lamota is thoroughly profane, difficult, and challenging. (It's an equally incredible feat when considering the celebrated filmmaker's own background at the time; Scorsese had reportedly been battling a cocaine addiction when DeNiro presented him with this story and urged the director to clean himself up for this film.) Perhaps Robert DeNiro's most career-defining performance is also a cautionary tale of one man's self-destruction. Not really a sports film, as the boxing serves as the main character's emotional state. (Available on Amazon Prime, Cinemax, Hulu, Philo, and Sling TV.) 

Sherlock, Jr. (1924) 

One of silent comedy star-director Buster Keaton's most famous and enduring pictures follows an amateur sleuth who also happens to be a theater protectionist, who imagines himself as the detective hero of the movie he's reeling. A high mark of the clash between reality and fantasy, as well as one gem of a film. 

The Sugarland Express (1974) 

Everybody knows Steven Spielberg and the unforgettable body of work he's famous for (Jaws [1975], E.T. [1982], Jurassic Park [1993], you name it). But very few know of his directorial debut. A loose adaptation based on a true story, the underappreciated and impressive Sugarland follows two married felons on a cross-country road trip to reunite with their baby boy. Goldie Hawn leads a roster of incredible talent (under Spielberg's skilled and crisp direction) in this quirky and engrossing commentary on the media and parenting. (Available on HBO Max and Hulu.) 

Willy Wonka and the Chocolate Factory (1971)* 

Okay, this one's a bit of a cheat (meaning this is the film I have seen the most times compared with the others mentioned above). But seriously, who doesn't love seeing the late Gene Wilder as author Roald Dahl's quirky and mischievous candy maker? Those who know the story best know it as a cautionary morality tale, as five different children win golden tickets to tour Wonka's titular factory. While many are still traumatized by the psychedelic boat sequence, there's no denying the charm and eccentricities of the film's characters and morals, especially the hero's journey of the eponymous Charlie Bucket. "So shines a good deed in a weary world." (Available on fuboTV and Philo.) 

History of the Modern Blockbuster, Part V: Snap, Marvel & IMAX!

Chapter 5 - Snap, Marvel & IMAX! 

Close Encounters of the Third Dimension 

The surprise success of Avatar at the turn of the decade was fittingly a turning point for the film industry. For one thing, the resurgence of 3-D viewing (a tool first used as a gimmick in the 1950s) convinced other filmmakers to get on the band wagon and convert their anticipated blockbusters using the same technology. Some of them even did so at the last minute during their respective post-production phases. Only a certain few, like Alfonso Cuaron's Gravity (2013) and Martin Scorsese's Hugo (2011), were done with genuine expertise--generally because they were shot in the native format--while others (lots of others) had poor results; dizzying, even. Some directors like Peter Jackson and Ang Lee even experimented with higher frame-rate resolutions (i.e., 48 frames or 120 second, in contrast to the industry standard of 24), with mixed to negative reviews. 

A few classic films from the 1990s were re-released in the 3D-conversion process near the beginning of the decade as well, including The Lion King, Finding Nemo, Titanic (to commemorate the real-life ship's centennial anniversary in 2012), and Jurassic Park (for its 20th anniversary). The latter reissue soon placed the 1993 Steven Spielberg-directed dinosaur epic as the most financially-successful film in the history of Universal Pictures at the time (unadjusted for inflation). But poor box-office returns of other re-releases in the animation libraries of Disney and Pixar led to the cancellation of other such theatrical runs. 

For a period, it seemed as if shooting digital was the wave of the future and that the old-fashioned way of making movies photochemically was yesterday's news. Just look at the fascinating 2012 documentary Side By Side. And yet, even as most of this decade's films relied heavily on CGI, previsualization, fast cars (Fast and Furious, anybody?), robot smashing (we're looking at you, Michael Bay), and even virtual reality, many veteran and current directors stuck with celluloid as the best way to tell their stories. 

Quentin Tarantino utilized 70mm Panavision cameras for the roadshow run of his ensemble western The Hateful Eight (2015). Steven Spielberg transported audiences back to pre-20th century America and World War I with Lincoln (2012) and War Horse (2011), respectively. In the midst of a digital run of comic books adventures from Marvel (which we'll get to later), Zack Snyder led the charge by using 35mm film for his roster of DC Comics' movies, including the heavily-divisive Man of Steel (2013). And then there were up-and-coming directors like Greta Gerwig (for her debut coming-of-age feature Lady Bird [2017]) and Patty Jenkins (for her adaptation of DC's origin of Wonder Woman [2017]). 

Getting back to animation, Pixar (which was purchased by the Walt Disney Company in 2006) released follow-ups to their features Cars, Finding Nemo, The Incredibles, and Toy Story, while only four original films were produced under their banner (including Oscar-winners Coco [2017] and Inside Out [2015]). DreamWorks Animation churned out numerous projects including the acclaimed How to Train Your Dragon, while Fox's Blue Sky Studios struck box-office gold predominately with their Ice Age series. The newly-formed Illuminating Entertainment (co-founded by former Blue Sky executive Chris Meledandri) became a prominent division for Universal Pictures since Amblimation and DreamWorks in the Nineties, with smashes like the Despicable Me series. 

(L-r) Illumination's Despicable Me, Blue Sky's Ice Age, and Disney's Frozen 

Just Like Taking A Stroll Through the Woods . . . 65 Million Years Ago

The number of films to gross over $1 billion (including some of the aforementioned animated hits) has exponentially increased during just about each year since Avatar's release. In fact, the 2010s highlighted a growing trend in these and other franchise features. 

While no Jaws, E.T., or Titanic sequels were in sight (the former proved in the late Seventies and Eighties that one movie was enough, and no shark movie since has matched the original's superb impact), there were new renditions of James Bond and Star Trek, thanks to directors like Sam Mendes and J.J. Abrams, respectfully. (To be fair, Cameron did direct a subsequent Titanic documentary in 2002, titled Ghosts of the Abyss, and has devoted much of the past decade to developing Avatar sequels, scheduled for releases throughout the next decade.)

J.K. Rowling's boy wizard Harry Potter had his final big-screen adventures in 2011 (The Deathly Hallows, Part II), while the Pirates of the Caribbean series continued with a fourth installment that same year (On Stranger Tides) before sinking with a disappointing fifth chapter six years later (2017's Dead Men Tell No Tales). The same could be said for the Jurassic Park sequels, now titled Jurassic World, which some believe (particularly with 2018's Fallen Kingdom) has become stale. Again, like with Jaws, some filmmakers learn the hard way.

Disney, meanwhile, began producing live-action remakes of their beloved animated classics, starting with Tim Burton's eye-popping-though-occasionally-creepy take on Alice in Wonderland (2010). Others that followed (alphabetically) included Aladdin, Beauty and the Beast, Cinderella, The Jungle Book, The Lion King, and Sleeping Beauty (2014’s Maleficent). Most of these were met with lukewarm results, with many questioning the reason behind their inceptions--other than, perhaps, introducing said stories to a new generation and taking advantage of quantum leaps in visual effects (Cinderella [2015] and The Jungle Book [2016] are exceptional in these regards.)  

More importantly, Disney experienced another renaissance in their animation department, with hit movies that were extremely well-received commercially, critically, and culturally, especially from children. From the wintry landscapes of Frozen to the glorious oceans in Moana and the animal kingdoms of Zootopia, audiences were taken, like snow queen Elsa, into the unknown realms of imagination and wonder. They also produced many worthwhile themes from these films. 

Because Disney had their hands full these ten years (having purchased Marvel in 2009 and Lucasfilm in 2012), I want to talk about two specific franchises that stood out above the rest: one resurgent (if divisive); the other, ever-growing.

Disney's goes live-action with (l-r) Beauty and the Beast, Alice in Wonderland, 
Sleeping Beauty, Cinderella, and Aladdin 

To the Stars

After helming two Star Trek features, J.J. Abrams became the first director to helm films involving the Starship Enterprise and a new chapter in George Lucas's Star Wars saga. In fact, the sale of Lucasfilm to Disney represented, in many ways, a passing of the baton on to a new set of filmmakers--and introducing the galaxy far, far away, to a new generation while honoring the old one.

Fans and critics were pleasantly surprised when they first caught a glimpse of the anticipated seventh episode. The gritty atmosphere and practicality in this new chapter recalled the original trilogy, compared with the CGI of the prequel series, which many fans believed agreeably lacked an aesthetic realism. Similar things were said about Peter Jackson’s prequel film trilogy based on J.R.R. Tolkien’s The Hobbit (An Unexpected Journey [2012], The Desolation of Smaug [2013], and The Battle of the Five Armies [2014]), with many ridiculing said film adaptations for their overlong run-times and overly-computer-generated action sequences. (These films, on the other hand, did have some impressive work, particularly the makeup effects for the central dwarves, Martin Freeman’s performance as Bilbo Baggins, Ian McKellen’s return as the wizard Gandalf, and the astounding digital presences of the mischievous Gollum, played by Andy Serkis, and the villainous dragon Smaug, played by Benedict Cumberbatch.) 

The resulting seventh (chronological) Star Wars episode, titled The Force Awakens, brought back the visual and visceral impact of the originals, emphasizing real sets, practical effects, and 35mm Kodak film, while integrating current CGI tools. This is something filmmaker George Miller also took advantage of when he made Mad Max Fury Road, released the same year.

It also brought back original characters (Han Solo, Leia, and Luke Skywalker), while introducing a roster of new ones (scavenger Rey, reformed Stormtrooper Finn, X-wing pilot Poe Dameron, sinister apprentice Kylo Ren), which have quickly become part of the canon. And it's always a thrill to hear John Williams' iconic score return as well. (The celebrated composer eventually scored his fiftieth Oscar nomination in history with his work on this film.)

Chewbacca and Han Solo return in Star Wars: The Force Awakens 

Even though The Force Awakens does have some obvious comparisons to the 1977 original, the quality in the filmmaking and story is done with such skill and affection. It's no wonder the film grossed more than $2 billion worldwide and became the highest grossing film in North America. (Adjusted for inflation, it's the 11th, and the second most successful Star Wars film in history.) It paved the way for the saga's first anthology feature, Rogue One, the following year, which is a great example of how to do a prequel and more specifically a stand-alone story. The 2018 Han Solo spin off fell short of expectations, despite being generally favored by critics.

Just as the Marvel universe did later, Star Wars reached a visual stepping stone in digitally resurrecting deceased actors for supporting roles (i.e., Peter Cushing's Grand Moff Tarkin in Rogue One). Although a better example of this improvement in computer graphics was the work done by Weta Digital (the visual effects company behind The Lord of the Rings and Avatar) for inserting the late Paul Walker into the seventh Fast and Furious movie, titled Furious 7 (2015).

Interestingly, fans have expressed disappointment (or rather, "a disturbance in the Force") over the eighth Star Wars episode, The Last Jedi (2017), which portrayed Luke Skywalker as a pessimistic trainer. Well, audiences and critics initially did the same with Lucas's prequel trilogy, as well as The Empire Strikes Back and Return of the Jedi during their premiere releases in the 1980s. (Just saying.) But 2019's sequel trilogy closer The Rise of Skywalker (which received mixed reviews) may have been the slaw that broke the camel's back. What could be seen as another reported case of studio interference and fan service, over creative freedom and originality, may have put the future of the film franchise up in the air for now.

To paraphrase Yoda, there is another hope for the saga, what with the acclaimed success of The Mandalorian series on Disney+, as well as recent news of actor Ewan McGregor reprising his role as a younger Obi-Wan Kenobi in an upcoming spinoff streaming series.

Better clench up, Legolas

Beginning with Iron Man in 2008, audiences first caught a glimpse of not only grounded superhero stories that still delivered on a visual level, but also a glimpse of "a bigger universe," as Samuel L. Jackson's now-iconic Nick Fury proclaimed. Director Jon Favreau's better-than-expected origin story of billionaire Tony Stark was gritty, engrossing, and redemptive.

Proceeding standalone films involving the Incredible Hulk, Thor and Captain America led to what was then unheard of: a crossover film involving multiple characters and story arcs. Helmed by TV veteran Joss Whedon (Buffy the Vampire Slayer, Firefly), The Avengers (2012) also introduced meatier roles for fellow characters Black Widow and Hawkeye as S.H.I.E.L.D. director Nick Fury recruits "Earth's mightiest heroes" to stop the villainous Loki from starting an alien invasion.

Other independent films and studio films have had crossovers before, whether involving characters or different franchises. Remember Freddy Kruger and Jason Voorhees going toe to toe? What about Nickelodeon's Rugrats meeting the Wild Thornberry's? Even Michael Keaton's Ray Nicolette character from Quentin Tarantino's Jackie Brown (1997) made a brief cameo in Steven Soderberg's Out of Sight (1998), both films adapted from novels written by Elmore Leonard. With Marvel, never have such crossovers been done on a massive and universal scale. 

Subsequent interlocking films did a brilliant job (mostly) of developing the aforementioned characters, as well as lesser-known heroes like the Guardians of the Galaxy, Ant-Man, Captain Marvel, and Black Panther. The latter film became an instant, surprise phenomenon, particularly for audiences of color. It also made history by being the first comic-book-based film to ever be nominated for a Best Picture Academy Award. More importantly, it was a highlight in this decade's progression of diversity and representation onscreen. Just look at the most successful films, including DC's Wonder Woman, Disney's Moana and Pixar's Coco, to name a few.

It should be noted that, just as Star Wars launched the careers of actors Mark Hamill, Carrie Fisher, and Harrison Ford, the Marvel films have served as staples in the careers of the Chris's Hemsworth (Thor), Evans (Cap) and Pratt (Star-Lord); Elizabeth Olson (Scarlett Witch); Mark Ruffalo (Hulk); Jeremy Renner (Hawkeye); Paul Rudd (Ant-Man); Tom Holland (Spider-Man); Scarlet Johannson (Black Widow); and, of course, certainly Robert Downey, Jr. (Iron Man). The same goes for filmmakers like James Gunn (Guardians of the Galaxy), Scott Derrickson (Doctor Strange), and Taika Waititi (Thor: Ragnorok).

DC: A Dark World

In the mean time, following Christopher Nolan's completion of his Batman trilogy with 2012's The Dark Knight Rises (released the same year as The Avengers), Warner Bros attempted to replicate and capitalize on the success of Marvel with their own "Extended Universe." That attempt, unfortunately, didn't exceed expectations as audiences and critics had hoped, as criticisms over the darker interpretations of characters like Batman and Superman (not to mention grim atmospheres and saving the world from giant skybeams) didn't help. 

They did, however, produce exceptional standalone films with Wonder Woman (2017) and Aquaman (2018), which proved that such stories can be sincere and jaw-dropping without being melancholy. This spring, Zack Snyder's long-awaited director's cut of Justice League will even see the light of day, in the form of a miniseries on the relatively-new HBO Max streaming service. The aforementioned standalone films could also be seen as a form of therapy from what many would consider to be "franchise fatigue."

Then again, there were a few critically-acclaimed R-rated comic book movies like Deadpool (2016) and Logan (2017). Even DC's Harley Quinn got her own R-rated spinoff earlier this year with Birds of Prey. 2019's hard-R Joker (the second Best Picture Oscar nominee inspired by the comics) stands as a more recent example of bold and original, yet provocative and jolting, cinema that works outside the conventions of its "comic book" guise. (I should emphasize that that statement is far from a recommendation.)

"Is This An Old Message?" "It's the Front Gate"

To get back to Marvel, perhaps no character in the studio's pantheon has arguably had more development and maturity than Chris Evans' take on Steve Rogers and his difficult adjustment to the 21st century. And that's where directors Anthony & Joe Russo come in.

Along with J.J. Abrams and Joss Whedon, the Russo brothers began their careers writing for television, including episodes of the acclaimed and popular series' Arrested Development and Community. Their work on 2014's Captain America: The Winter Soldier (which was more political thriller than popcorn muncher) and 2016's Captain America: Civil War (an unofficial Avengers chapter) showcased and proved that they aren't interested in just mere spectacle (as so many genre films have recently been accused of, whether from Martin Scorsese or Francis Ford Coppola), but more so in character investment and complex emotional arcs. Compare the first Avengers movie with Civil War and you'll see the difference (or at least a maturity).

(L-r) Benedict Cumberbatch, Robert Downey Jr., Mark Ruffalo,
and Benedict Wong in Avengers: Infinity War

Lest we forget, Coppola himself had been involved with at least one film franchise, namely The Godfather. 1974's The Godfather, Part II did win six Oscars, predating The Return of the King's 2004 ceremonial triumphs, and is widely regarded as one of the greatest film sequels of all-time. (A new version of 1990's mixed-reviewed The Godfather, Part III was just released this month.) Plus, longtime Batman film producer Michael Uslan had long claimed that comic books are far more than "cheap entertainment," that they encompass mythology and sociology and so forth.

The Russo's decision to film the last two Avengers films entirely in IMAX set a new benchmark, as well as a good reason the technology stands superior as specific film viewing. No other filmmaker knows that better than Christopher Nolan. An independent writer-director who began his career with cerebral, mind-bending thrillers (Following [1998], Memento [2000], Insomnia [2002]), his work on the Dark Knight trilogy (2005, 2008, 2012), the space-travel adventure Interstellar (2014), and the genre-defining war thriller Dunkirk (2017) showcase his persistent use of IMAX technology as well as immersive and gripping storytelling.

Avengers: Infinity War's culmination of over 60 characters and story arcs (the simple plot pits most of these characters against the mad titan Thanos, whose main goal is to obliterate half the universe) resulted in a thrilling, mind-blowing, and gut-punching experience that left audiences polarized yet anticipating for a year in how the series would officially end. That being said, the marketing campaign for the penultimate Avengers: Endgame was brilliantly done, keeping the plot as under wraps as possible. After all, it was the end of Marvel's now-official "Infinity Saga," as well as the start of a whole new universe of possibilities. (And no, I'm not going to bother going into plot details, so as not to "Spoil the Endgame" for those of you who haven't yet seen it.) 

I will say this--as I've said in previous posts--that these Marvel films represent the Saturday matinee serials of the 21st Century, just as Star Wars and Indiana Jones represented at the end of the 20th Century. And I stand by that claim. Plus, along with the spaceships in Star Wars, bikes across the moon in E.T., dinosaurs and helicopters in Jurassic Park, dragon-like banshees in Avatar, and even the bow of the Titanic, the Avengers invoke a sense of flight, which has helped keep the moviegoing experience (with some support from IMAX presentations) alive, enduring, and unparalleled to the end.

Chris Evans in the blockbuster to, ahem, end all blockbusters 
(at least for now).

But it hasn't and won't stop there. Not yet. As they advertise in sneak previews, stay tuned for coming attractions.